Jordan Duddy, Junior Fashion Editor 

“As an avid follower of Raf Simons’ work, the announcement that his eponymous label would close was one in every of my major fashion moments of the 12 months. His work has pushed the boundaries of menswear and had a far-reaching impact, culturally speaking. Today his shows from the late Nineteen Nineties and early 2000s are heralded as iconic menswear moments and are still widely referenced. After 27 years, the brand’s closure was big fashion news and a blow to fans. I used to be lucky enough to see his final show, a triumphant swansong that may go down in the style history books.”

Ted Stansfield, Editorial Director, AnOthermag.com

“My top fashion moment of the 12 months was Bella Hadid having a dress sprayed onto her body at Coperni, just because I’d never seen anything prefer it before. It jogged my memory of Shalom Harlow being similarly sprayed, though by robots, at that McQueen show – for obvious reasons. But the entire thing felt so recent and revolutionary; I can’t even begin to get my head across the technology. And the dress actually looked good! It made sense that it was on Bella who’s, to not sound all Wendy Williams, the moment.”

Katie Shillingford, Fashion Director

“In September, it felt very special to be out doing all of the shows again as a full team, seeing all of the collections up close and discussing and dissecting them afterwards. We especially loved seeing Loewe’s shiny red Minnie Mouse shoes up close and had a transient encounter with Rei Kawakubo within the CDG showroom. We will do our jobs from afar, however it is so rather more meaningful once we experience the collections in person. So I might say my best fashion moment of this season was being a team together at fashion weeks.”

Alexander Fury, Fashion Features Director 

“As ever, it’s difficult to condense a fashion 12 months to a single moment – especially given how multi-faceted (or perhaps fragmented) fashion feels in the meanwhile. So I even have three … or perhaps five, if we break one in every of them apart. The connection between all of them, for me, is a link to history – not a general history, but my very own very particular memories of fashion. As a baby of the Nineteen Nineties, an obvious fashion moment for me was the long-awaited return of Linda Evangelista to the catwalk, courtesy of Kim Jones and Marc Jacobs at Fendi’s September show in Recent York. I like many models – Shalom! Naomi! Kate! – but Linda has all the time been my favourite, from the Too Funky video [by George Michael] to her star turn in Isaac Mizrahi’s Autumn/Winter 1994 show, captured in Unzipped (Linda’s rant about lints and her epic side-eye is a staggering work of unparalleled genius). So to see her prowl in a Tiffany blue silk cape-coat, cracking that million-watt grin, took me right back to why I fell in love with fashion in the primary place.

“One other link back was the trinity of shows Antony Vaccarello staged for Saint Laurent: his menswear in July, and people February and September shows in front of the Eiffel Tower, a venue now inextricably linked with Saint Laurent. And owning a landmark like that may be a fuck-you power move straight out of the Pierre Berge playbook. Remember those YSL perfume adverts for ‘Paris’ whirring across the tower’s apex? Again, right out of my childhood. Vaccarello’s two Saint Laurent womenswear shows this season were extraordinary for the ability of the ladies they depicted, alongside the strength of the garments – wide-shouldered tailoring, slender hooded dresses, slipper-satin bias-cut evening gowns, and tiny details, just like the heft of a cuff, the décolletage of a silk shoe, or the proper denier of sheer black tights. They spoke about elegance and class in a way we haven’t seen for years. Add to that the remarkable menswear show staged within the desert outside of Marrakech – true Saint Laurent country – and the gender-blurring élan of that collection’s tailoring, the slip-streaming of pieces from menswear, to womenswear, and back again, and this 12 months demonstrated Vaccarello’s virtuoso grasp on one in every of the trickiest legacies in fashion history. It’s one near my heart, and I like what he’s doing.

“Love leads us to Valentino – and to my final alternative, Pierpaolo Piccioli’s couture show staged on the Spanish Steps in Rome in July. It was an occasion where I feel not only privileged to do what I do, but pause in a moment of slight disbelief that I’m actually there witnessing it in any respect. If I ever get blasé or cynical about this job, moments like that knock it out of you want a suckerpunch. Throughout the course of this 12 months I had the enjoyment of working alongside Pierpaolo on the exhibition Eternally Valentino – and to see his mind and eye inspired by the archives we had been pawing through, with such affection and respect, was incredibly emotional. This wasn’t an homage to Mr Valentino’s work, however it seemed a love-letter to his life, his adoration of ladies and of beauty, which was here all of the more remarkable because, somewhat than a static reflection, it was an evolution, a progression. It vibrated with emotion, in every stitch – the emotion of the founder, of its recent creator, and of the seamstresses who sewed all of it together. In brief, it totally blew me away. And that’s all the time my measure of great fashion. Luckily, it still happens plenty.”

Dominique Sisley, Senior Editor, AnOthermag.com

“‘Isn’t it the case that with each recent outfit, Rihanna erects a monument, sends out a flare and lights up group texts?’ These words, from Durga Chew Bose’s Dazed cover story in September 2021, would prove to be particularly pertinent just a couple of months later. The singer’s pregnancy announcement felt just like the first big fashion moment of 2022: a dramatic thunderbolt of sparkling metals and electric pink, breaking up the grey monotony of January. The references felt biblical, with Rihanna strolling along the overcast streets of Paris like a modern-day Virgin Madonna – her hair tousled, her expression serene, and her bump adorned with opulent vintage jewels from Dior and LaCroix. And to complete it off with a simple Autumn/Winter 1996 Chanel puffer and a few ripped jeans? Praise be to God, the flare was lit.”

Ellie Grace Cumming, Fashion Director 

“My favourite fashion moment of 2022 was working on (styling) the Dior Men’s Fall show in December in Cairo. It was an incredible experience with a solid of 75 models celebrating 75 years of Dior, with a set of the Great Pyramids of Giza, a soundtrack scored by Jeff Mills, and probably the most beautiful collection designed by Kim Jones. It was a dream to be a part of – not many fashion moments occur on one in every of the seven wonders of the world! After the show finale had finished, Max Richter played his sensible The 4 Seasons with a live orchestra and a laser light show; there have been many tears, it was a mythical moment.”

Sophie Bew, Editor 

“John Galliano’s Cinema Inferno – a theatre-production-cum-film-cum-runway-show for Maison Margiela Artisanal Autumn/Winter 2022 in July, earlier this 12 months – was a feat of genre-blurring beauty. The Andrew Wyeth landscape, the campy acting, the ruby slippers, latex caps and foam cowboy hats offered a technicolour feast to ceremony-starved viewers. The couture volumes, humongous back bows, plumed veiled masks and surgical scrubs: it was delectable and a bit bonkers. A welcome reminder that there’s still a lot recent ground for fashion to interrupt.”

George Pistachio, Social Media Editor, AnOthermag.com 

“I feel as if the era of the movie star is returning. This 12 months has brought such great cinema – each arthouse and mainstream – and the awards ceremonies have felt more buzzy than ever. So when Nicole Kidman arrived on the catwalk for Balenciaga’s 51st couture show, looking red-carpet-ready as ever, it just appeared to make sense. From Moulin Rouge to The Portrait of a Lady, Kidman and her taut brow are completely unforgettable, and now her seductive swaggering through Balenciaga’s Parisian salon is now ingrained in my memory.”

Rebecca Perlmutar, Fashion Editor  

“Nothing will top my first Junya Watanabe show during Paris Fashion Week. Commencing what our team has dubbed ‘Comme Day’ – the Saturday of fashion week when Junya Watanabe, Noir Kei Ninomiya and Comme des Garçons all show (aka one of the best day) – this particular Junya show left me feeling exceptionally lucky that I get to do what I do. The show was a nod to the youth of London’s Eighties Recent Romantic subculture, and from the primary beat of Duran Duran’s Girls on Film, when two models walked out concurrently at just the best moment, you were taken there. To experience it in person was just so good.”

Violet Conroy, Features Editor, AnOthermag.com

“Perhaps it’s a cop-out to decide on a movie, but my favourite fashion moment of the 12 months was in Joanna Hogg’s The Souvenir Part II. Within the previous saga, The Souvenir – which follows a young film student in Eighties London who falls in love for the primary time while concurrently grappling to search out her artistic voice – the protagonist Julie (played by Honor Swinton Byrne) is naive in frumpy pink cardigans, ill-fitting shirts and pumps; an inescapable maker of her upper middle class, traditional upbringing within the British countryside.

“Within the second film, after experiencing alternating tides of affection and grief, Julie emerges as an elegant and self-assured young artist in Vivienne Westwood, boxy Yohji Yamamoto suits and one high-powered party look – slicked back hair and a one-shouldered black minidress – that appear to channel her burgeoning sense of sexuality. Each movies are autobiographical almost to the bone, with Hogg lending a lot of her own old clothes on screen; The Souvenir Part II is a reminder that the garments we wear tell a subconscious story about who we’re (flaws and all), evolving and maturing in tandem with age and confidence.”