The Butterfly Effect, Issue 27
Fashion was full of color this week, from Cannes to Everlane to The Row.
Cannes is in the Can
If the Met Gala or the Oscars left you wanting, Cannes Film Festival didn’t disappoint.
And while I did enjoy this year’s Met Gala, it can sometimes feel costume-y and performative. Cannes is another flavor entirely. Cannes is fashion.
My favorite? Demi Moore in Balenciaga Couture.
Jaw-dropping. Simple. Stunning. Restrained glamour.
That is the magic Brad Goreski has down pat. You could even say it’s his uniform, and he rarely misses. Moore’s Cannes wardrobe was impeccable, but the Balenciaga was the standout.
Chef’s kiss.
A vivid green strapless column gown gently fishtailed into a train and hooked elegantly around Moore’s neck with a jeweled halter. Pierpaolo Piccioli contrasted the clean silhouette with a voluminous icy-blue satin cocoon wrap, while white opera gloves completed the look.
Proof that fashion doesn’t need to shout to stop traffic.
Everlane’s Strange Bedfellow
In what comes as a somewhat surprising move, fast-fashion giant SHEIN has acquired Everlane, the once-darling poster child of transparency and sustainable fashion.
So what exactly will this marriage of fast fashion and sustainability produce?
It’s hard to say.
Is this SHEIN making a genuine attempt to move toward a more conscientious future? Or is it simply looking for a way to polish a tarnished reputation?
My money is on the latter, but time will tell.
As for Everlane, reportedly carrying roughly $90 million in debt, it was clearly searching for a life raft. And when you’re taking on water, any port in a storm begins to look appealing.
Still, the acquisition raises an uncomfortable question: can a brand built on transparency maintain its identity under the ownership of a company that has long faced criticism for its business practices?
The answer may determine whether this is a second act or a final chapter.
Row-ing Through Cruise Wear
And finally, in what has been a somewhat unexceptional showing of Cruise wear, save a few notable exceptions (think Chanel, Dior, and Louis Vuitton), The Row quietly stuck to its house code and, unsurprisingly, didn’t disappoint.
Mary-Kate and Ashley presented a cohesive collection in black and white, punctuated by touches of azure, deep red, and camel. Against the restrained palette, silhouettes ranged from fluid tailoring and relaxed trousers to knee-length and floor-sweeping column skirts. A draped azure gown proved a particular standout, bringing a welcome moment of color to the otherwise disciplined collection.
In a world where fashion is often noisy, The Row isn’t afraid to whisper.
And we’re leaning in.