Victor Glemaud Puts Fashion on Roller Skates at Fashion Week

The Victor Glemaud Spring 2023 collection is modeled during Fashion Week, Saturday, Sept. 10, 2022, in New York. (AP)
The Victor Glemaud Spring 2023 collection is modeled during Fashion Week, Saturday, Sept. 10, 2022, in New York. (AP)
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Victor Glemaud Puts Fashion on Roller Skates at Fashion Week

The Victor Glemaud Spring 2023 collection is modeled during Fashion Week, Saturday, Sept. 10, 2022, in New York. (AP)
The Victor Glemaud Spring 2023 collection is modeled during Fashion Week, Saturday, Sept. 10, 2022, in New York. (AP)

Tourists and New Yorkers alike crowded around the Rockefeller Center roller skating rink on Saturday trying to catch a glimpse of the vibrant statement knits on display at Victor Glemaud’s latest New York Fashion Week show.

For the Haitian American designer, who grew up in New York, the show held a sentimental meaning but served also as a marker in his career as his brand continues to grow. He launched his label in 2006 and has since collaborated on a collection with Target and forayed into home goods with Schumacher.

Glemaud’s show opened with roller skaters wearing his signature knits, bursting onto Flipper’s Roller Boogie Palace rink, laughing and dancing as guests looked on. It continued with models displaying sheer looks, eye-catching cutouts, a few capes and a new collection of eyewear.

Glemaud drew inspiration for his contemporary sportswear looks from a recent trip to Harbour Island in the Bahamas. Glemaud said he wanted his collection to feel effortless, joyful and “something you want to wear in the summer.” Models strutted around the rink in skin-baring crocheted cover-ups looking like they'd just come from an ocean resort.

Glemaud’s brand was one of a record-breaking 28 Black-owned brands on display this New York Fashion Week.

“We have strived, and we love this industry,” Glemaud said of his fellow Black designers. “And, you know, our businesses for the majority are independently owned and self-financed. Fashion week means a lot. So, the more the merrier.”

During the pandemic, the designer founded “IN THE BLK,” a nonprofit collective to support Black creators in the fashion industry.

“It’s about bringing collective creative entrepreneurs together, not just fashion designers,” he said.

Glemaud’s show brought out a handful of TikTok celebrities, among them fashion influencer Brittany Xavier.

“I love that his collection is so inspired by summer and being together,” she said. “The kind of energy that we’ve been missing for the past two years.”

While Glemaud relied on a minimalist color palette and one animal print, that didn’t stop the youthfulness of his designs from shining through with his playful cut-outs. They elevated his dresses with a subtle sensuality and gave a stylish update to swimsuits.

The capes emblazoned with the letter “V” and form-fitting leopard prints would have been considered showstoppers of the night, had it not been for one moment that stood out from the rest: As the show wrapped, Glemaud’s mother, Julie, began to tear up with pride.

“The vibration, the love, the joy,” she said. “It is always fun with Victor.”



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”