One always expects Rick Owens to be dystopic to a near apocalyptic level, and this season was no different. For his latest Autumn/Winter 2024 collection, Rick Owens seemed to encapsulate a world on the brink, a narrative he has mastered over the years. Yet each season, Owens manages to dig deeper into a chasm of his unique vision.

The theme was quite unmistakably otherworldly. White masks, reminiscent of Leigh Bowery’s iconic looks, served as a haunting prelude to the collection, immediately setting a tone that was both supernatural and intimately familiar. Hanging from models were orb-like jewels that mimicked planets in orbit, adding a cosmic dimension to the ensemble. In truth one could easily imagine these looks vesting Zendaya for the entirety of the Dune 2 press tour, another hint to the transcendent themes Owens plays with.

The collection’s attire, cushioned and wrapped the model’s forms in a manner suggestive of protection. A shell against the harshness of the world from head to toe. Evoking a sense of readiness, of armoring oneself against an impending doom. These distorted shapes and proportions were especially noticeable with the inflated boots, which played with the human silhouette, challenging our perceptions of the body and its capabilities.

This distortion was further emphasised in the collection’s closing looks which seemed to cage the body. One was left questioning if these ropey forms which constrained each model were representative of entwining roots, serpents, whips, zips, industrial pipes, wires or something else entirely.

A surprising twist came in the form of vivid pink and yellow looks that punctuated the otherwise monochromatic palette. These bursts of colour acted as beacons of hope or perhaps defiance, in a landscape otherwise dominated by shadows.

Incorporating very sporty aspects with sartorial pieces, Owens blurred the lines between the functional and the ceremonial, the everyday and the extraordinary. This juxtaposition highlighted a versatility in the face of adversity, a readiness to confront the world in all its facets.

This collection, as always, encapsulated the essence of Rick Owens’ vision: a blend of dystopian dread and apocalyptic beauty, a narrative that speaks to the resilience and adaptability of the human spirit in the face of overwhelming odds.

The words normal and Schiaparelli do not belong in the same sentence. However, for his latest collection at the helm, Daniel Roseberry ventured as close as the Maison’s codes allowed to normality. And it has to be said that even that was far from the ordinary.

Fans of Roseberry’s work have become accustomed to the fact that even his so-called ready-to-wear collections lean more towards the concept of couture than their name suggests. Yet this season the American took a different, and by different I mean toned down, approach.

The collection could easily be described by the term tailoring with a twist. Slouchy suit ensembles in wool, velvet and denim embellished with the signature Schiaparelli gold details provided an unorthodox option for those bored by their regular office wardrobe.

There were of course also a fair share of leather and fur looks, as any respectable Autumn/Winter collection should have. From exaggerated croc skin sets, to plump furry jackets, proving Rosberry’s versatility when compared to previous seasons. Indeed the collection as a whole played with texture, ridges, sequins and much more all coming together to create a mesmerising mirage.

As far as I’m concerned, the show provided a distinct highlight and lowlight as a denim lover and trichophobic. The highlight came in the form of a triple denim ensemble, a look so above and beyond I will never be able to see double denim the same again. The lowlight, the hair tie – and by tie here we speak of the cravat, not the thing one fastens their ponytail with – which is in fact my worst nightmare realised given my fear of hair not attached to a head.

Personal anecdotes aside, this latest collection proves that one does not have to sacrifice eccentricity to achieve wearability. Roseberry’s infusion of functional elements with the house’s codes, underscores the Schiaparelli’s ability to continually redefine the boundaries of fashion.

For us digital attendees Loewe’s Autumn/Winter 24 show started well before the first looks was sent down the runway, thanks to a montage of pre-show entertainment for those who joined via livestream. A charming chateaû, surrounded by ample green space (for Paris standards), where a small crowd congregated at the entrance. The scenes evoked memories of a Royal Wedding, with p.o.v. shots of guests preparing in lavish hotel rooms, en route in chauffeured cars, and arriving at the venue to greet the aforementioned crowd. And that was all before the show even began.

Once the show had commenced, it was evident that Jonathan Anderson had done what he does best. Prepared a collection fit for that friend group who never dress like they’re going to the same place, yet somehow manage to all turn up looking super stylish.

This diverse set of looks began from the works of the reclusive painter Albert York, whose works were shown throughout the show space. How it grew and evolved into what was presented on the runway I’m not entirely certain, but one can only be grateful that it did.

An expert in eclecticism, the Northern Irishman presented impeccable sartorial aspects, in the form of tailcoats and suit jackets, alongside billowing balloon pants, flowing silk dresses, and pyjama-style sets.

The patterns added to the eclectic funk of it all too; radishes for those seeking the Tomato Girl aesthetic, flowers for the more traditional types, an oversized rendition of ostrich leather for anyone who dares, or tartan with a twist.

And if that wasn’t sufficient interest for you, in true Loewe style accessories provided one final layer of gaud. Anderson truly showed everything from classic leather totes to the Maison’s iconic Flamenco bag and even a flashy beaded number which turned out to be a bag shaped like a bunch of white asparagus.

It has to be said this collection felt more suited for the Spring/Summer season. But, right before the close, we were reminded that the collection was indeed intended for the colder months thanks to an immaculate leather bomber, fur coat and shearling aviator.

It’s impossible to speak fully about the intricacies and details of this collection in such few words, thanks to the attention placed on each individual aspect, something Jonathan Andersand and his team are experts in. What is certain is that the result allows an artful blend of atypicality and normality.