Just as you are standing there wondering what to wear for winter, behind the scenes on Planet Fashion it's already spring. As you ponder whether it's worth buying a coat in these days of global warming, a model is being photographed in a floaty transparent dress (floaty and transparent being two key trends for next summer) in Rio where the sun is still shining. After a month of shows, experienced either first-hand, or from the comfort of one's home thanks to the internet, the industry gets to work on turning designers' visions into money. Four cities, and millions of pounds later, here's what happened.
New York
New York kicked off the games with a whimper, but things started to get better as a new generation of designers took to the runways (as catwalks are called across the Atlantic). Alexander Wang updated the 1980s with a collection inspired by Melanie Griffiths's wardrobe in the iconic film, Working Girl, which at times looked a bit more Lauren Hutton in American Gigolo - both good reference points. The Rodarte sisters brought a touch of Europe with a romantic and slightly sexy collection while the likes of Peter Som and Thakoon gave their take on a contemporary wardrobe in the way that Americans do well.
From the old-school - even if they are too young to be thought of as that - it was Proenza Schouler and Marc Jacobs who delivered the goods. Lazaro Hernandez and Jack McCollough (Proenza and Schouler are their mothers' maiden surnames) - their confidence no doubt boosted by the 45 per cent stake bought by the Valentino Group a few months earlier - gave the most polished and grown-up collection so far. It was sexy, sweet and totally wearable - with a bit of military feel thrown in.
Marc Jacobs showed two collections in New York. His own, and then its younger sister: Marc by Marc Jacobs. The main collection - usually unanimously regarded as New York's most directional - was not so well received (though the fact that the editors were left waiting two hours for the show to start) which is understandable, since it contained elements such as dresses that appeared to be unfinished, or put on haphazardly, and shoes designed to look like they were too small. The day after, at the second label, he redeemed himself with a more toned-down version.
London
Believe all that is being said about London fashion right now because this is really where it's at. While Paris remains the most prestigious of the four capitals, it is on London that all eyes are focused at the moment. And rightly so. There is a wave of talent that has not been felt in some time.
Designers like Jonathan Saunders and Roksanda Ilicnic have matured and successfully developed an identity of their own - Saunders giving up his usual combination of print and colour for a more neutral palette on geometric shapes, and Ilicnic with a dreamy collection that manages to stop that short of being "old world" and be totally of the moment.
But the three names on everybody's lips during London Fashion Week were those of Christopher Kane, Marios Schwab and Gareth Pugh - the new fashion Trinity - each with his own distinctive approach. Until now, Pugh's has been the most difficult, with editors often complaining about the unwearability of his clothes, but this season it has been toned down, without losing any of the wit and sexiness that made it so exciting in the first place. Schwab celebrates the body in a way that harks back to the Alaias and the Legers of the late 1980s as Christopher Kane has previously done. The latter once again took a new turn, turning away from the short and dark silhouette he created for this autumn for one that is more flowing and softer than anything he has offered so far.
Milan
Mention Milan Fashion Week to a stylist, and you'll get a rolling of the eyes and a sulk. Refer it to American buyers, and you get dollar signs. Creatives might find it boring, but Italian fashion continues to keep the tills flowing all over the world. Names like Armani, Max Mara and Ferragamo are not changing the course of fashion, but they are the ones for who the money is rolling in.
It's not all like that you know. For every Armani in Milan, there is a Dolce & Gabbana, a Roberto Cavalli, or Versace - where things are slightly more upbeat. And then, of course, there's Miuccia Prada.
Miuccia Prada has a talent that many in the industry would kill for - that of turning things that are essentially ugly or banal into objects of desire. Remember, she is the one who built an empire on black nylon. In her world even nasty1970s' wallpaper prints become desirable.
Every season, Prada makes women - and men, because her menswear is equally as important - rethink the way they dress by subverting everything that has happened beforehand. She doesn't follow trends, but destroys them, creating new ones in the process.
For summer, she picked dark art nouveau prints which she used on an essentially skinny silhouette, which billowed every now and again in the form of a full skirt, or a floaty dress.
Paris
The leading names at Paris Fashion Week are those that have given the city its reputation as the capital of fashion: Dior, Lanvin, Balenciaga, Vuitton, Saint Laurent, etc.
They all come with a reputation that makes it extremely difficult for the young designers filling in the founders' shoes to move away from the past and capture the present - or make the future - as fashion should do. But the lot at the helms of most of the old houses seem to know exactly what they are doing. They all have a clear vision, and are sticking to it, using the archives only if, and when, necessary.
Stefano Pilati at Yves Saint Laurent goes from strength to strength, as does Alber Elbaz at Lanvin.
There is new blood at Nina Ricci and at Balmain and it is causing ripples. Oliver Theyskenns (at Ricci) and Christophe Decarnin (at Balmain) both delivered, and managed to satisfy all expectations.
Nicholas Ghesquire - working at Balenciaga (and those are difficult shoes to fill) - is the class star here, and his star shines brighter season after season. He went from this season's layered urban nomad to a sparer and shorter line, using floral prints which he made modern using hi-tech materials combined with couture quality finishing.
New YorkNew York kicked off the games with a whimper, but things started to get better as a new generation of designers took to the runways (as catwalks are called across the Atlantic). Alexander Wang updated the 1980s with a collection inspired by Melanie Griffiths's wardrobe in the iconic film, Working Girl, which at times looked a bit more Lauren Hutton in American Gigolo - both good reference points. The Rodarte sisters brought a touch of Europe with a romantic and slightly sexy collection while the likes of Peter Som and Thakoon gave their take on a contemporary wardrobe in the way that Americans do well.
From the old-school - even if they are too young to be thought of as that - it was Proenza Schouler and Marc Jacobs who delivered the goods. Lazaro Hernandez and Jack McCollough (Proenza and Schouler are their mothers' maiden surnames) - their confidence no doubt boosted by the 45 per cent stake bought by the Valentino Group a few months earlier - gave the most polished and grown-up collection so far. It was sexy, sweet and totally wearable - with a bit of military feel thrown in.
Marc Jacobs showed two collections in New York. His own, and then its younger sister: Marc by Marc Jacobs. The main collection - usually unanimously regarded as New York's most directional - was not so well received (though the fact that the editors were left waiting two hours for the show to start) which is understandable, since it contained elements such as dresses that appeared to be unfinished, or put on haphazardly, and shoes designed to look like they were too small. The day after, at the second label, he redeemed himself with a more toned-down version.
LondonBelieve all that is being said about London fashion right now because this is really where it's at. While Paris remains the most prestigious of the four capitals, it is on London that all eyes are focused at the moment. And rightly so. There is a wave of talent that has not been felt in some time.
Designers like Jonathan Saunders and Roksanda Ilicnic have matured and successfully developed an identity of their own - Saunders giving up his usual combination of print and colour for a more neutral palette on geometric shapes, and Ilicnic with a dreamy collection that manages to stop that short of being "old world" and be totally of the moment.
But the three names on everybody's lips during London Fashion Week were those of Christopher Kane, Marios Schwab and Gareth Pugh - the new fashion Trinity - each with his own distinctive approach. Until now, Pugh's has been the most difficult, with editors often complaining about the unwearability of his clothes, but this season it has been toned down, without losing any of the wit and sexiness that made it so exciting in the first place. Schwab celebrates the body in a way that harks back to the Alaias and the Legers of the late 1980s as Christopher Kane has previously done. The latter once again took a new turn, turning away from the short and dark silhouette he created for this autumn for one that is more flowing and softer than anything he has offered so far.
MilanMention Milan Fashion Week to a stylist, and you'll get a rolling of the eyes and a sulk. Refer it to American buyers, and you get dollar signs. Creatives might find it boring, but Italian fashion continues to keep the tills flowing all over the world. Names like Armani, Max Mara and Ferragamo are not changing the course of fashion, but they are the ones for who the money is rolling in.
It's not all like that you know. For every Armani in Milan, there is a Dolce & Gabbana, a Roberto Cavalli, or Versace - where things are slightly more upbeat. And then, of course, there's Miuccia Prada.
Miuccia Prada has a talent that many in the industry would kill for - that of turning things that are essentially ugly or banal into objects of desire. Remember, she is the one who built an empire on black nylon. In her world even nasty1970s' wallpaper prints become desirable.
Every season, Prada makes women - and men, because her menswear is equally as important - rethink the way they dress by subverting everything that has happened beforehand. She doesn't follow trends, but destroys them, creating new ones in the process.
For summer, she picked dark art nouveau prints which she used on an essentially skinny silhouette, which billowed every now and again in the form of a full skirt, or a floaty dress.
ParisThe leading names at Paris Fashion Week are those that have given the city its reputation as the capital of fashion: Dior, Lanvin, Balenciaga, Vuitton, Saint Laurent, etc.
They all come with a reputation that makes it extremely difficult for the young designers filling in the founders' shoes to move away from the past and capture the present - or make the future - as fashion should do. But the lot at the helms of most of the old houses seem to know exactly what they are doing. They all have a clear vision, and are sticking to it, using the archives only if, and when, necessary.
Stefano Pilati at Yves Saint Laurent goes from strength to strength, as does Alber Elbaz at Lanvin.
There is new blood at Nina Ricci and at Balmain and it is causing ripples. Oliver Theyskenns (at Ricci) and Christophe Decarnin (at Balmain) both delivered, and managed to satisfy all expectations.
Nicholas Ghesquire - working at Balenciaga (and those are difficult shoes to fill) - is the class star here, and his star shines brighter season after season. He went from this season's layered urban nomad to a sparer and shorter line, using floral prints which he made modern using hi-tech materials combined with couture quality finishing.