Fashion Brands Directory

Versace Jeans Couture translated house logos, prints and body-conscious glamour into industrially produced denim and sportswear with shared creative authorship.

Zero-waste cutting and regenerative fibres shape Phoebe English’s silhouettes, leaving layered construction and tactile material logic deliberately visible.

Exceptional wool, cashmere, linen and cotton determine how a Kiton garment falls, breathes and moves before image enters the equation.

Leather remains a material of use at Coach, where patina, vintage character and New York sportswear soften the scale of a global accessories business.

DRKSHDW gives cotton, denim and sneakers the same sombre tension as the runway, making utility longer, darker and deliberately rougher.

Zimmermann shapes polished femininity through colour, print and precise cut, balancing romantic surface with a controlled, confident silhouette.

Hodakova allows the limits of found objects to dictate the cut, turning belts, fastenings and discarded clothing into disciplined new structures.

Emilia Wickstead recasts the modern debutante through clean line, precise tailoring and structured floral fabric, giving traditional grace a cooler contemporary poise.

From Fratelli Prada’s travel goods to Miuccia Prada and Raf Simons’s co-creative direction, Prada has made material, taste and presentation subjects of continuous design inquiry.

Lanvin Paris New York was the US-manufactured ready-to-wear programme launched by Lanvin and Andrew Arkin in 1970.

Sacai resolves collision into construction, joining front and back, knit and woven, formal and casual until two garments behave as one.

Print is an emotional engine at Richard Quinn, driven by saturated pattern, formal silhouette and theatrical scale.

Pollini designs from the inside out, engineering the last, leather and comfort before disrupting classic footwear with bold hardware and sculptural heels.

Adidas joins athlete-led engineering to a broad lifestyle vocabulary, treating sport as both technical discipline and cultural force.

Thom Browne converts uniform into social theatre, repeating the grey suit until proportion, gender and institutional authority begin to lose their composure.

Fetico studies the body as outline and tension, using curved seams, fitted waists and strategic exposure to set vulnerability against strength.

AMIRI engineers the traces of Californian wear, turning repair, wash, patching and stagewear detail into a polished luxury surface.

Willy Chavarria enlarges familiar American garments until marginalised bodies acquire scale, dignity and ceremonial command.

Alessandra Rich unsettles proper dress codes with puffed sleeves, cinched waists, decorative buttons and a knowing streak of rebellion.

The Row removes insignia from the equation, building luxury through cut, fabric, proportion and the persuasive weight of restraint.

Print carries structural weight at Etro, layering paisley, jacquard and global references within the discipline of Italian tailoring.

N°21 thrives on productive friction, placing lace, slip shapes and exposed femininity against strict jackets, knits and menswear proportion.

Marina Yee was a Belgian artisanal fashion practice spanning the Marie label, reconstructed garments and the limited M.Y. Collection.

KNT pushes Kiton’s textile authority into motion, giving soft suits, knitwear and outerwear a more active metropolitan rhythm.

Véronique Leroy strips decoration back to geometry, using dense texture and unusual proportion to give the silhouette a quiet, protective force.