Three weeks (and three fashion weeks!) have gone by since I wrote on this app, and in the meantime, I have taken four midterms, submitted three essays and one research proposal, applied to multiple jobs, and somehow secured a part-time internship at Cultured Magazine. This semester at Georgetown has been my favorite one yet, because: being a senior comes with a sense of security, I know what I want to do now so at least I’m working towards a goal, my little sister is here now, and I don’t feel the need to go out so much. However, working towards a goal takes a lot of work (LinkedIn messaging, resumé formatting, portfolio creation, getting bylines, etc…) so it’s safe to say that I’m working on borrowed time right now.
I won’t be able to rest or start my job tomorrow unless I’ve at least written a short recap of London, Milan, and Paris fashion weeks, so here is my über-concise summary. For your sake (and mine), I’m choosing to hone in on a few shows that I think were particularly gorgeous, trend-setting, or controversial. These are the shows that I think will shape the zeitgeist for next season, starting with Molly Goddard in London and Sabato de Sarno’s Gucci debut in Milan. Make sure to open this article in the app, because the pictures have made it far too long for email format.
If you don’t manage to get to the end of this page to read my conclusion (I don’t blame you), here is a brief summary of what I think defines cool-girl style for this season and why:
With the term “girlhood” leading cultural expression to unexpected places (girl dinner? hot girl walks? girl math?), and the female economy making headlines with the Eras tour and Barbie, it makes sense that we’re craving girly fashion now more than ever. Sandy Liang, Molly Goddard, and Shushu/tong are riding this wave with schoolgirl skirts and “bloquette”. Marni and Paul and Joe have amped-up the maximalism with their vintage-inspired suiting and Prince of Wales prints. The point of “girl clothes” is that they involve the duality of androgyny and delicate elements such as lace, tulle, and soft pastels. They aren’t sexy (and if they are, it’s in a cool way), they’re eclectic and feminine. I concluded this round-up with Miu Miu because this collection’s irreverence and whimsy sums up what I think the current “It-girl” look is. Miuccia Prada is one of the increasingly few women at the helm of a major fashion house (Kering’s top houses are all led by white men), and her work has stepped up to the challenge of defining “girl clothes” in a time like this. Other brands are rising to the occasion with oxford shirts paired with ballet flats, metallic blazers, bloomers in suiting, and micro minis with blazers. The shows I liked most were the ones that appealed to this yearning for girlhood, because they demonstrate an understanding of where women are at right now in culture. Those were the ones that felt contemporary and evocative.
London:
Molly Goddard
This was one of the only shows I cared about at LFW, mainly because I think her brand is one of the few to embody true “London” style alongside a few other labels with a niche caché such as Bella Freud and Rixo. For those who aren’t familiarized with what I mean by “London style”: playful, exaggerated silhouettes (think OTT puff sleeves or frills), contrast between tomboy cuts (i.e. Alexa Chung for Barbour), and mismatched prints and hues - Vivienne Westwood-esque tartan, gingham, pastels, and wild prints. London-girl style is less refined than American style - it never looks quite put together, but not in a French cool-girl way but rather in a frazzled and charming sense.
I love the contrast of frilly hems and boot sneakers. My takeaway from this show is that “bloquette” is now a very real phenomenon, not just the small square of the fabric of the metaverse that it once was. I’ve seen this happen a lot with a lot of TikTok aesthetics - when they exist purely online we think who the f*** would actually wear that? Then, mysteriously, the aesthetic is mainstreamed during the next fashion week.
I saw on Instagram somewhere that “Bloquette” was listed as a mainstream aesthetic at CENTRAL SAINT MARTINS. That’s when you know…
For those who don’t know: Molly Goddard’s frilly white hems + mid-calf lace-up sneakers = bloquette. Whether you like it or not, we are going to be seeing a lot of calf-grazing sneakers in the next year.
We’re going to be seeing tons of exposed hems like these in the Spring. “I was really focussed on and quite obsessive about underwear and bedding, and the inside out of garments,” Goddard told Harper’s Bazaar about her inspiration for the show. This makes a lot of sense to me because it feels like everyone wants to look like a Degas ballerina right now.
I’m also predicting that these dusty pink hues are going to be huge. Everyone is already wearing baby pink (a la Sandy Liang), but the more this pink enters the mainstream, the more we are going to see it as a NEUTRAL rather than a statement hue. People (specifically, the girlies) are replacing their beige and cream neutrals with pinks, so it’s going to have to get a little more versatile.
I really love this look. I think with fashion becoming far less seasonal, it isn’t too much of a stretch to predict that Prince of Wales/tartan will be big in the summer, instead of the usual gingham. I also like the drop-waist bloomer effect on these pants. Seems like everyone is wearing drop-waist puffy skirts and dresses, and I don’t see the trend going anywhere.
I’ve had my eye on these Manolos for some time, and I think they would look perfect with a summery, prairie-esque outfit. Seems like Molly Goddard is on the same wavelength as me.
Here’s another drop-waist look with exposed seams/underwear. If you’re looking to get in on the trend, I just bought this skirt from Gimaguas. Also, it seems like every influencer has the drop-waist dress from Mango.
Another drop waist from Molly Goddard. 
Drop-waist Gimaguas skirt that I bought. 
Here’s the one all the influencers have bought. Final thought: Molly Goddard is to London what Sandy Liang is to New York what Shushu/tong is to Shanghai.
Milan:
Gucci
I can’t remember the last time a show was as fiercely divisive as Sabato de Sarno’s debut for Gucci, and I’ve been itching to share my takes here. I like the way that Jess Cartner-Morley for The Guardian puts it: “With a 15-minute showcase of crisp silhouettes and elegant accessories, seven years of Alessandro Michele’s exuberant camp were wiped clean.”
De Sarno is trying to win back a consumer fan-base that has strayed to other luxury brands such as Dior and Louis Vuitton since the post-pandemic luxury boom, and it looks like he’s trying to do this through clothes that exude sex appeal and the Tom Ford era of Gucci. However, I don’t think he’s succeeding. Tom Ford was cool because no one had done what Tom Ford did before Tom Ford himself.
One thing I think De Sarno got right is the shoes and bags in this collection. Luxury brands’ successes are often tied to handbag and shoe sales - a designer bag purchase is a vessel that ties the buyer to the brand’s world of luxury, a quality of access that an unbranded RTW item just doesn’t possess. Most models carried a Jackie bag in brand-new patent leather colors - the “Ancora” red/cherry red is going to be a huge hit - and the collection of loafers and kitten heels were elegant and wearable.
Runway shots from Gucci SS24 “People will maybe say these things are boring in fashion but not for me. Maybe they don’t see the details on the runway. Honestly, I don’t care,” said De Sarno to the Cut. “I want people to recognize Gucci because of the shape,” he added. He admits that the level of detail and sartorial tailoring of his designs may not convey from the runway, or on Instagram. And, given that none of us (bar the few editors and famous people who attended the show live) have seen the collection, it’s tough to judge, especially when Alessandro Michele’s Gucci, with its mismatched prints, bold tweeds, and gold embellishments, was a social media darling.
Sabato de Sarno for Gucci SS24 “If Tom Ford put louche sex appeal at the heart of Gucci, inspired by the halcyon days of Studio 54-era New York, and Alessandro Michele ushered in a sense of whimsical romance and gender fluidity that turned the house into a money-minting candy shop — then Gucci’s new creative director, Sabato de Sarno’s debut show offered a clean break from the Gucci that we think we know,” says Osman Ahmed for i-D, diplomatically referring to de Sarno’s vision as an “urban uniform.”
Even if de Sarno’s new collection invites consumers to a new “urban uniform”, a uniform is still boring, and it’s definitely a far cry from the whimsical spectacle that was Alessandro Michele’s debut for the fashion house. I get that this collection is going to bring in the big bucks for Gucci. Many people I’ve spoken to already have their eyes on a cherry-red Jackie bag, and others appreciated the wearability of these clothes. Nonetheless, I felt a sense of loss watching the show: Michele’s Gucci was inclusive, gender-fluid, and obscure. If Michele created a new language of fashion that called on everyone to break rules, then, de Sarno is the teacher’s pet.
Alessandro Michele and Jared Leto twinning at the 2022 Met Gala. If you’re feeling particularly wistful for Michele’s Gucci, then read this article by Vanessa Friedman of the NYT.
Bottega Veneta
In the words of Dazed mag, this has been “the season of little spectacle, but a lot of beautiful clothes, and right now, no one does beautiful clothes with as much care, consideration, and precision as Matthieu Blazy at Bottega Veneta.”
Blazy’s collection was inspired by globetrotting - the director said “There is a need to reconnect to a primal world of animals, minerals, and plants. It’s like collecting seashells - beautiful, meaningful or meaningless. It’s linked to the beauty of small marvels and natural wonders.”
The director is the king of texture and sculptural forms, and used this collection to showcase his precision and immaculate craftsmanship.
Bottega Veneta SS24. 
Bottega Veneta SS24. 
Bottega Veneta SS24. I don’t know where anyone is going wearing most of this stuff, but after all, it is runway. I’m curious to see what actually hits the shelves for Spring. Just like Gucci, Bottega amped up their performance with unique bags that riff on their famous intrecciato styles. Below is a TikTok from HighSnobiety showcasing the bags. Designers have been trying to push bags for men for a couple seasons already, and other than Jacob Elordi, no one has really caught on. I’m thinking that more men are going to start carrying bags on the runway, but it’s definitely going to take some time for this trend to ender the mainstream.
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Jil Sander
Jil Sander might just be the only brand that amped up the drama - rather than shying away from it - at MFW. Luke and Lucie Meir are hailed as the king and queen of highly polished minimalism in the high fashion world, but this show was less sensible and more playful than their usual modus operandi.
Here me out: I think they’ve decided to stray from their minimalist routine because their usual look, which evokes ~quiet luxury~ is growing too mainstream. As a quiet luxury hater (Sofia Richie’s style feels like a grown-up version of the King Kylie era) who has noticed that outfits people are calling “Row-ified” are just copies of Zara basics (which are a copy of something else to begin with!!), I’m thrilled that we’re moving away from this trend.
Paris:
Courrèges
“Courrèges SS24 Slayed So Hard, Models Broke the Runway (Literally)” is my favorite headline of this fashion month so far. Creative director Nicolas di Felice has been breaking ground (no pun intended) as creative director since joining the fashion house three years ago and spearheading its revival from relatively niche space-age relic of the 20th century to pop-culture mainstay. Artist Remy Brière created a runway with an “earth shattering” effect - check out the TikTok clip from Dazed below.
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I have to admit that this isn’t exactly what I wanted to see from Courreges this season, because I love their 60s/mod nostalgia looks so much and especially think their brand is quirkiest when riffing on their vinyl re-edition collection. But the collection is definitely a risk that was worth taking - di Felice has established his own competence as an auteur with fluid, versatile shapes that stray from the label’s signature geometries. He stays true to their futuristic, outer-spacey brand identity, but instead of doing so through actual space-age fashion this feels more Dune-inspired - which conveys strongly except for a few v-neck hoodies that look like they were made for a Tulum techno-shaman. He’s also making a name for himself as the “club-kid” of high fashion - his shows are consistently set to techno tracks, and almost all of the looks felt wearable and nightclub-ready.
Dior
I like what Maria Grazia Chiuri is doing this season because it felt a lot like her debut collection in 2016 - and the few seasons following that one - with nods to feminism, witchcraft, the “mother-goddess”, and the Middle Ages.
Dior SS24. The lace doily-dressing trend that we’re seeing everywhere feels made for Dior, and so do the chokers. I’m seeing a lot of 2015-2016 resurgence emerging now that pop-culture has already entered full indie-sleaze/Kate Moss revival, and I wouldn’t be surprised if those thick chokers became cool again soon, especially since we’re all wearing statement ‘90s cord necklaces right now. Every look in this collection is ultra-wearable, witchy, and elegant. Although most of the looks are monochrome black, I noticed some tapestry-toile prints in the mix that reminded me of Kristin Mallison’s tapestry corsets.
Marni
Marni SS24 is probably the only show to actually succeed in filling me with wonder and excitement, and the only thing easing my mourning of Alessandro Michele’s tenure of sartorial opulence.
Highsnobiety describes it as a “poetic ode to getting dressed”, “a balm for boring runways”, and “joyful noise”, which I think is apt.
Marni SS24, shot by Christina Fragkou. 
Marni SS24, shot by Christina Fragkou.
This show was creative director Francesco Risso’s debut at Paris fashion week, so naturally the event was staged at Karl Lagerfeld’s former home - Risso has an obsession with Lagerfeld’s craft.
Key elements of this collection: Prince of Wales tartan for spring (I said it was coming even before watching this show…), 60s mod-turned-micro-mini, saturated candy pastels, and brightly colored flowers in a sculptural decal form.
Isabel Marant
My mom says that “everyone right now is doing Isabel Marant except for effing Isabel Marant,” and she’s totally right. The newly rebranded “Marant” is set for huge expansion in the next few years, but their designs just don’t have the cool factor to get there.
The collection is supposedly inspired by “ornamental art nouveau curves and radiance”, which doesn’t really make sense - the brand has always been boho-chic and the party-girl looks with 80s shoulders and sequins just don’t inspire the new guard. The brand is supposed to be OG French girl style with a 70s-inspired twist - think flared jeans and cozy sweaters - and their vintage looks never miss.
If Marant followed the lead of Natacha Ramsay-Levi for Chloé when she took on their rebrand in 2018, they would be hugely successful. They just need to look back to their most successful eras - the 90s and early 2000s, when their clothes oozed with indie-sleaze coolness and 70s sex appeal - and they would come out on top.
Paul and Joe
I’m choosing to include Paul and Joe in this list because I feel like their collection is much more harmonious with the whimsical, girly vision that I have for SS24 as a whole than some of its more established contemporaries.
The collection feels spontaneous and girlish, with ruffles, sequins, bloomers, optimism and energy, much like a more feminine/less streetwise alternative to Molly Goddard or Sandy Liang.
Miu Miu
I’m ending this round-up with Miu Miu because this collection’s irreverence and whimsy sums up what I think the current “It-girl” look is. With the term “girlhood” leading the cultural zeitgeist to unexpected places (girl dinner? hot girl walks? girl math?), and the female economy making headlines with the Eras tour and Barbie, it makes sense that we’re craving girly fashion now more than ever. Sandy Liang, Molly Goddard, and Shushu/tong are riding this wave with schoolgirl skirts and “bloquette”. Marni and Paul and Joe have amped-up the maximalism with their vintage-inspired suiting and Prince of Wales prints. The point of “girl fashion” is that it involves a duality of androgyny and delicate elements such as lace, tulle, and soft pastels. It isn’t sexy, it’s eclectic and feminine, and Miu Miu’s is exactly that.
“As one of the increasingly few women at the top of a major fashion house, the world has never needed Miuccia Prada more,” says Osman Ahmed for i-D.
You’re genius
Brilliant.