English Version | What's Next: The emperor's newest clothes

Fashion weeks are peculiar events. Enchanted by the mythology of their glamor, the guests at these prestigious events share a peculiar variety of amnesia. Between crowded front rows and sweaty after-parties, we forget about the world that exists beyond the catwalk. What a paradox, how is it possible for such people to forget the people who feed the bull on which they ride? Customers are often forgotten. In fact, let's go further, the audience is not only forgotten, but actively antagonized. Wearable becomes an insult of the highest order. Its opposite - in the case of fashion, conceptual clothing - is far more desirable. Entire brands are established for their love of the dramatic. Comme des Garçons, Schiaparelli, Noir by Kei Ninomiya: there are many whose appeal is fashion as art. But, as Dries van Noten points out: Fashion is not just art, it is an applied art. Pants, no matter how bulky, shirts, no matter how unusual, always have one basic purpose - to cover the body. But even so, this imperative is conditional during fashion weeks. Rarely is any thought given to the end consumer or how the average person can adapt to what these prophets say about next season's trends. That is, some rarely do. I, in all the glory of my attention deficit, keep an eye out to understand what I see in front of me in the daily life of all the other non-fashion weeks. 

We don't judge the creativity of fashion's highest substratum; on the contrary, we appreciate it. But we also understand its context. Due to the artistic nature of the medium, there is a latent need for constant innovation. It's not enough to repeat cycles, it's necessary to create constant novelty. Between the expected tides, designers from the biggest fashion houses send buoys to the surface to see what floats. And when more than one designer sets out to change the course of how we think about pants, we can't help but notice. Forget the debate between tight and wide pants, the conversation has expanded: one leg or two? In Milan, Matthieu Blazy did it discreetly. Or rather, in the most discreet way of all the names about to be mentioned. Combined with a structured blazer that turns into an asymmetrical dress after the waist, the pants almost went unnoticed. Emphasis on almost. Immediately, dozens of voices announced the birth of something new. But however loud they may have been, they were drowned out by the crowd fascinated by the lively seating and the presence of Jacob Elordi - fashion is rarely the focus at a fashion show. Any plausible deniability became impossible a week later during the Louis Vuitton show. On a runway made from the classic trunks of the maison, Nicolas Ghesquière turned the catwalk into a playground, full of innovative accessories and unique silhouettes. Among these, one-legged pants appeared in several versions, each one felt like a confirmation of the trend. Unlike Blazy, who made the pants part of a look, Ghesquière highlighted them, contrasting them with symmetrical tops and geometric peplums - a classic in the designer's portfolio. Unlike his Italian counterpart, the Louis Vuitton creative director opted for a less rigid, more fluid material, so that the pants took on a lightweight quality. If the French-Belgian designer strengthened the trend, the duo behind Coperni cemented it. The show, which closed both Paris Fashion Week and Fashion Month, took place at Disneyland Paris. And even with the distraction of Cinderella's castle and Kylie Jenner on the catwalk, the asymmetrical pants were the belle of the ball. 

But calm down, put down the scissors, there's no need to cut anything (at least not yet). If there is a latent desire to interpret the trends seen on the catwalks, there are less garish (and dangerous) ways of doing it. When it comes to experimentation, it's always smarter to think about styling trends. This strategy has a double purpose: on the one hand, it doesn't mean wasting money and, on the other, it helps us understand that sometimes trends are made to be born and die on the catwalk. So let's look at what you can do with your closet (without having to sacrifice a leg). Both Daniel Lee at Burberry and the duo of Miuccia Prada and Raf Simons at Prada have fantastic advice: parkas over ornate dresses. In an aesthetic choice that reveals the emotional atmosphere, party wear is hidden behind active wear. In the British capital, Lee combined a fringed dress full of lilac sequins behind a waxed jacket. In Milan, the aim was not so much to hide as to confuse. Prada combined a dress studded with sequins, round mirrors and cut outs, with a canary-yellow raincoat. The styling idea for both is similar - extremes attract. The good news is that the trend is easily replicable and instantly recognizable, i.e. for those in the know - iykyk fashion is always more attractive. But if the aim is to participate in a less obvious trend, the fashion gods have been benevolent. With a simple shirt, it's possible to take part in various movements. Inspiration comes from different sources: Los Angeles, Milan, Paris and Antwerp. At Bottega Veneta and ERL, two shirts are better than one. All you have to do is put one on top of the other, leaving one completely buttoned up and the other open enough for you to see what's underneath. Different colors and patterns are recommended, as well as a tie to create the Blazy effect. At Dries Van Noten and Christian Dior, shirts are worn backwards. The effect creates a curious silhouette that is easy to recreate. If elegance is the goal, look at Maria Grazia Chiuri's examples, but if interest is the goal, put Van Noten on the moodboard. But if you still insist on using scissors, caution is advised. Don't run with scissors and don't cut past the thigh. If in doubt, follow Blazy's styling and Ghesquière's philosophy.

Originally published in Vogue Portugal's What's Next Issue, from December 2024. Full credits and stories in the print issue.