Fashion Enters A New Era of Design with Women Dressing Women

In October, German designer Chemena Kamali was named creative director of Chloé, succeeding Gabriela Hearst to helm the brand founded by Gaby Aghion in 1952. "My heart has always been of Chloé, from when I walked through the doors 20 years ago," says Kamali, 41. "Coming back is something natural and very personal. I am honoured to assume this role, starting from the vision of Gaby Aghion and Karl Lagerfeld, who defined the history of the Maison. I hope to capture the emotional bond and spirit of our days.” There has always been a distinctive, but not stereotypical, femininity embedded in Chloé’s DNA that fits seamlessly into the capsule wardrobes of women with a similar sensibility. After Lagerfeld left in 1997, the brand developed a reputation for hiring female designers to enact its vision: from Martine Sitbon to Stella McCartney, followed by Philo, Hannah MacGibbon, flanked by Paulo Melim Andersson, and then Clare Waight Keller, who pivoted the brand to a more bohemian approach, and Natacha Ramsay-Levi, who re-established the brand’s relationship with art before Hearst’s steadfast emphasis on green ethics. In February 2024, Kamali will show the world her version of the Chloé woman. — Simone Vertua

Phoebe Philo, 51, studied at Central Saint Martins before joining her friend Stella McCartney at Chloé, first as McCartney’s assistant and then as creative director from 2001 to 2006. Two years later, she took over creative direction at Céline on the condition of being able to transfer the office to London. She quickly turned the French Maison into a cult brand, eschewing extravagant shows in favour of a product-focused approach and design initiatives like maternity wear. Heralded by industry insiders as the brand to wear, Philo managed to revive the house, winning numerous awards, including British Designer of the Year at the British Fashion Awards and CFDA Awards. When Philo announced her departure from Céline in 2017, her followers eagerly awaited her next project. Six years later, she returned to fashion with her eponymous brand, which will present two seasonless collections per year. Each collection is conceived as an "Edit,” composed of three drops spaced a few months apart, with the intention of maintaining a balance between production and demand. In October, she unveiled the first, "Edit A1,” a 150-piece collection of texture-rich, ready-to-wear pieces, accessories, and jewellery praised for a mix of sensuality and wearability that suits modern women in search of a capsule wardrobe featuring the classics with a cutting edge. — SV

In 1945, Marie-Louise Carven founded her namesake maison to make clothes for petite women. She was a pioneer of prêt-à-porter, marketing, and experiential fashion shows. “She infused her personality, spirit, and love for nature,” says Louise Trotter, the first female creative director of Carven since its founder. Trotter presented her Spring/Summer 2024 collection in Paris last September, restarting the French fashion house, which had been dormant since 2018. The British designer began her career at Whistles before moving to the U.S., where she held roles at Calvin Klein, Gap, and Tommy Hilfiger. Back in London, she landed a position at Lacoste, where she explored innovative methods of upcycling. Her language is ideal for a capsule: smart and sober, with a less-is-more quality, focusing on individual garments and the distinctive women who wear them. For her inspirations, she cites artist Alison Watt, with whom she collaborated for the invitation to her first show. — SV

Jezabelle Cormio founded her eponymous brand in 2019, after studying at the Royal Academy of Fine Arts in Antwerp. Inspired by the heroes and cultural touchstones of her teenage years, including Vivienne Westwood and football, her designs speak to the kind of woman who doesn’t need to explain herself. "I speak of post-gender because I tell a story of a woman who does what she pleases, not a woman who deprives herself of something to be taken seriously,” Cormio says. “Women would seem better at spending their money as consumers, as entrepreneurs, managers, or creative leaders,” she says. “The gender disparity in creative leadership roles seems connected to the preconception of creative genius/male genius. In order to interrupt this mechanism of mirrors, there needs to be more confidence in the figure of the creative. Yet another creative director will do nothing but contribute to perpetuate this game.” As a designer, Cormio aims to create pieces that will fit in a woman’s closet for a lifetime. — Donato D’Aprile

Inspired by her Jamaican-British roots and deep interest in London's underground music culture, Martine Rose, 43, is more than just one of the first designers to bring vintage-inspired sportswear and tailoring to the catwalk. First finding ground in the panorama of menswear with fans like Kendrick Lamar and Justin Bieber, Rose has come to realize more feminine collections. She collaborated with Nike for what is to date the most convincing reinterpretation of the popular ‘90s shoe: the Nike Shox. In Rose’s hands, this shoe, which launched in 2022, is now a cult favourite across gender lines. Her singularly practical aesthetic is informed by a survey of proportions, silhouettes, and surprising constructions inspired by the London communities where the designer grew up. In her work, there is always tension between attraction and resistance to the male gaze. — Giorgia Cantarini

Collina Strada is not only a New York fashion brand, but also a platform for raising awareness of social issues. Sustainability—a word synonymous with capsule wardrobes and uniform dressing—is at the heart of the brand, founded by Hillary Taymour in 2008 as an accessories label before expanding to ready-to-wear in 2012. The collections are primarily made with recycled and eco-friendly materials, with production located exclusively in New York to reduce CO2 emissions. Imbued with a fearless and fluid attitude, her looks reinvent classics—corset dresses made with nonrestrictive materials, embroidered knitwear, and with unexpected details—with a dose of humour and a vibrant colour palette. Season after season, Collina Strada’s goal remains the same: to spur action and tackle global issues, from structural racism to climate change. “We are in a crucial state of change right now and the more we do, the more we can influence others to act,” Taymour says. “As we smile and endure the harrowing geopolitical conditions in which the world burns and the reproductive rights of trans people, and human rights, in general, are threatened, we appeal to the strength of softness to defend ourselves.” The Fall/Winter 2023 collection, an ode to the animal world, was titled "Please Don’t Eat My Friends.” Fantasy details such as ears and rabbit tails were made of organza and recycled yarn recovered from a collaboration with Italian knitwear brand Vitelli, while the horns arched on the top were a deadstock satin. In addition to being nominated in 2019 for a CFDA award, in 2021, Taymour became part of Gucci Vault, a portal concept that allows users to locate refurbished vintage Gucci pieces, and discover a curated slate of emerging designers. — GC

Impressive lapels, over-cut outerwear, cool colours with splashes of bold tones, and a focus on the sinuousness of the female form. At once familiar and new, Khaite’s imaginative collections are a study in contrasts—not born of a formal habit, but to serve a practical need. "In New York, every woman has to face life boldly,” Catherine Holstein says backstage at the Spring/Summer 2024 show. "It’s a fundamental principle for me in building my collections.” Where can sensuality and practicality meet? Femininity and formality? This ‘80s-style approach, which has seen the application of traditionally masculine lines, codes, and materials in women’s fashion, is no longer enough. Women want to challenge the system, breaking moulds and refusing to emulate menswear to gain acceptance. “Right now, women need a voice that celebrates their strength,” Holstein says. The success of Khaite gives credence to the idea that women look for brands that can interpret this idea. The brand’s first fashion show for Fall/Winter 2019, inspired by the feminist movement between the 19th and 20th centuries, combined the cornerstones of Khaite (jeans, sweaters, shirts) and evening dresses with large puff sleeves, building in a mix of poplin and knitwear. After working at Gap, Vera Wang, Maiyet, and The Elder Statesman, Holstein launched Khaite in 2016, immediately supported by celebrities including Katie Holmes, Hailey Bieber, Kaia Gerber, and Dakota Johnson. Unsurprisingly, Holstein was named CFDA Womenswear Designer of the Year in 2022 and 2023. — AV

Every piece Nensi Dojaka creates is somehow a contradiction, so it’s unsurprising that the designer defines her style as "strong and poetic." Unexpected cutouts draw sensual shapes in the thickest fabric; layers and layers of tulle form opaque edges on an otherwise transparent top; the patchwork topography of a dress makes use of solid crêpe wool, shiny silk satin, and pleated georgette. Since the "lingerie effect" was introduced in 1998, no designer has revisited it in a contemporary way. This unexplored territory is where the Albanian designer finds inspiration. When Dojaka moved from Albania to the United Kingdom, she first studied Fine Arts at Central Saint Martins, before earning a master’s degree in prèt-à-porter (also at Central Saint Martins), where she discovered her true vocation: fashion. Dojaka’s debut collection for Spring/Summer 2020, presenting micro-bras, miniskirts with belt curls, and petticoats with ruches in a contrasting palette between powder pink and dark shades, garnered immediate attention and was purchased exclusively by the e-tailer Ssense. The consecration came with the first celebrity wardrobe sighting: Bella Hadid at the 2020 MTV VMAs in one of Dojaka’s transparent tops with the distinctive triangle bra and baggy pants. Winner of the 2021 LVMH Prize, in 2022 Dojaka collaborated with No. 21 for a capsule collection in one colour: black. — GC

Chinese designer Feng Chen Wang stands out from the crowd with her avant-garde approach: her garments are a combination of traditional Chinese craftsmanship, contemporary aesthetics, and futuristic sensibility—fitting, as her reference model is Rei Kawakubo. Her love for fashion was born out of her love for art, which translates into clothes that are conceptual and functional, made with dyes derived from the plants of the Wuyi Mountains (in the province of Fujian where Feng grew up) and Chinese fabrics inspired by her mother. Feng’s personal style coincides with that of the brand: a versatile mix between technical sportswear and tailoring, ideal for the capsule wardrobes of working women. Her collections feature androgynous pieces characterized by sculptural silhouettes, sometimes oversized; 3-D drapes; and architectural volume that challenges the boundaries between womenswear and menswear. Each show for Feng is an opportunity to push the bar higher and affirm her place in the system. — Giulia Gilebbi

Even if not known by name, the polychrome pleated skirts, marbled denim jeans, Victorian dresses with flocked flowers, and objet-trouvé necklaces by Chopova Lowena are impressed in the minds of fashionistas everywhere. The imaginary world that Emma Chopova and Laura Lowena-Irons have created since the brand’s inception in 2017 is rich with experimentation, weaving between folklore and punk aesthetics and epitomized by a pleated skirt made of tartan motifs, recycled Scottish tablecloths, and vintage Bulgarian tapestries mounted with climbing clips on vintage leather belts with maxi metal buckles. If it looks like a DIY fashion exercise, see references like the ‘80s punk designs of Vivienne Westwood. Reinterpreting a historic garment like the Scottish kilt from deadstock fabrics was a starting point. "Laura has always gravitated [toward] art with a conceptual approach, while I love product design. Laura loves colours; I don’t like them so much,” says Chopova. "That’s why we also introduced black clothes with metal details.” The designers balance the two souls of the brand: Lowena-Irons’s Anglo-American origins with Chopova’s Bulgarian roots, creating an unusual harmony between folkloric romanticism, punk grit, and dynamic sportsmanship suited for the closets of women with daring style. "We are inspired by the school uniform, the traditional and the historical, which can be worn in a mix of strangeness and uniqueness," says Lowena-Irons. This mix is what has given the brand resonance with high-profile women from Dua Lipa to Madonna, two of the first fans of the brand who view upcycling as a new form of luxury. — GC

Organza, taffeta, puff sleeves, sensuality. Cecilie Bahnsen is inclined toward romance. “I am very romantic, both in the creation of my clothes and in life,” Bahnsen says. Creating silhouettes that are both sculptural and impalpable, the 38-year-old Danish designer deconstructs traditional forms, juxtaposing contrasting elements and combining an imaginative and opulent design with her signature practicality. “My interpretation of women’s clothing combines elements of couture with a sensitivity to everyday life, with clothes suitable for movement. Because women [want to] feel comfortable, strong, and independent.” Trained at the Danish Design School, Bahnsen was a costume designer at the Royal Danish Theatre. After graduating in 2007, she joined Dior under the guidance of John Galliano. In 2010, she began collaborating with Erdem Moralioglu while attending the Royal College of Art in London. “Details and dedication to craftsmanship are the inspirations I draw from London and Paris without forgetting their poetry. But, of course, it’s always merged with that sense of ease typical of Scandinavian culture.” In Danish culture, the concept of sharing is very strong. Through materials and attention to detail, Bahnsen aims to design pieces that can be shared between friends or passed down from mother to daughter. — AV

In September 2023, Torishéju Dumi—the only Black designer to present in Paris for Spring/Summer 2024—closed out Paris Fashion Week at the Shangri-La Hotel with her debut runway show, opened by Naomi Campbell and closed by Paloma Elsesser. Beyond the buzzy moments, fashion enthusiasts received an introduction to her as a designer. The collection, titled “Fire on the Mountain,” fuses the native Nigerian and Brazilian wrapping technique known as lappa with elements of classic British tailoring. Dumi was originally trained in menswear at the London College of Fashion; however, this collection—which Dumi designed on her own in her London home—blends traditional design techniques into womenswear to introduce innovative new silhouettes that suit the capsule wardrobes of all genders. She learned to hone her craft through internships at Ann Demeulemeester and Céline during the Phoebe Philo era. Styled by Gabriella Karefa-Johnson and produced by publicist Lucien Pagès, Dumi’s debut was a clear indicator of greater things ahead. —AK

“I was born in Korea. In Asia, the culture of the uniform is very widespread,” explains Yoon Ahn, 47, founder and creative director of Ambush. “Although obliged from an early age to wear one, our individuality finds, however, a way of expressing itself.” Ambush’s Spring/Summer 2024 collection revolves around the uniform, combining elements of tailoring with more casual sportswear details, like the laces of football cleats employed to secure a miniskirt. Many of the items in the collection, which demonstrates Ambush’s love for bows, straps, and buckles of every shape, were created for both men and women. Early in her career, Ahn began designing jewellery and accessories for hip-hop artists with her brand Antonio Murphy & Astro. This avenue of design introduced her to designers like Virgil Abloh and Kim Jones, with whom she would go on to work as director of jewellery at Dior Men. In 2012, Ahn founded Ambush as a jewellery brand. During a 2015 photoshoot for her jewellery collection, Ahn decided to venture into ready-to-wear following her disappointment with the clothing selection on set. “I would say that it was a need,” she says. — AV

"Fuckers." This is the explicit reaction, shared on social media, by Pelagia Kolotouros in 2022 after the Supreme Court of the United States overturned Roe v. Wade. The 51-year-old creative director of Lacoste, born and raised in Queens, New York, in a Greek family, likes to say what she thinks. Before joining Lacoste in early 2023, she worked with several brands, including Calvin Klein from 2003 to 2014, where she eventually became design director of the men’s line. Before Calvin Klein, she worked at Theory, from 1998 to 2003. Kolotouros collaborated with Kanye West at Yeezy before joining The North Face in 2017, where she assumed the role of creative director of womenswear and menswear lifestyle in 2019. While there, Kolotouros continued to follow Adidas’ collaborations with Beyoncé’s Ivy Park and Pharrell Williams. Hip-hop has forged her own aesthetic universe. Set to unveil her debut collection for Lacoste in 2024, Kolotouros gave the world a taste of what’s to come at the brand’s 90th-anniversary celebration via a capsule collection. Kolotouros’ muses, including tennis player Venus Williams, highlighted the importance of Lacoste’s relationship with tennis, as well as the brand’s focus on a fresh, modern, but ultimately timeless upgrade. Kolotouros’s mission is to restore the brand’s original elegance, celebrate it through the aesthetic codes of tennis, and add a touch of sensual femininity. — AV

Gabriela Hearst’s sustainable approach has had a significant impact on fashion, both in her three years as creative director at Chloé and through her eponymous label founded in 2015. A Uruguayan living in New York, Hearst, 47, is a champion of "honest fashion," which promotes responsible production practices as a reference point for sustainable fashion. During her time at Chloé, the Maison gained B Corp certification, which measures the social and environmental performance of companies, becoming the first European luxury fashion house to receive such recognition. Hearst mainly uses cashmere and silk leftovers in order to cut down on waste, and, in September 2019, she produced the first carbon-neutral fashion show for the Spring/Summer 2020 collection.  In 2017, she introduced a new lining on jackets and coats that stops cell phone radiation from reaching the female reproductive organs. — DD

Nicky Zimmermann founded Zimmermann with her sister Simone in Sydney in 1991, focusing on vibrant colours, unique patterns, and the vintage allure of stars like Nicole Kidman. "I grew up between fabrics and fashion. My grandmother, my aunt, and my mother created their clothes with mastery, conveying a passion that I have carried with me since childhood," says Zimmerman. She completed her studies in Fashion Design at East Sydney Tech and worked with an Australian designer. "I started making clothes in my parents' garage. I later sold them at Paddington Markets in Sydney. My first shop was born from this experience. The inspiration comes from people, nature, and Australian landscapes. Then from art. For example, our Fall/Winter 2023 collection is influenced by the works of the Australian artist Rupert Bunny,” she says. “I want the joy we feel during the creative process to be reflected in our leaders. We are committed to delivering the most, hoping that our customers perceive that special touch of dedication.” — DD