The new Uniqlo and JW Anderson collection for men and women will launch at selected Uniqlo stores and online on April 20.

The collaboration line with the London-based fashion brand is inspired by Britain’s Brighton Beach and celebrates the 1950s heyday of this popular vibrant and colourful city, full of contrasts. The line highlights Anderson’s unique take on the Brighton culture, fusing quality fabrics with a fabulous fit and functionality. Complementing the unisex designs that are basic to the range are items enabling casual mixing and layering for an array of styling alternatives.

The collection highlights the enjoyment of LifeWear fashions for everyone, regardless of age or gender.

Commenting on the launch of the 2018 Spring/Summer line, Anderson said, “For the second collection of the collaboration, I was looking at a ‘British Summer’, the idea of being on Brighton beach, so have come up with something which is very lightweight, very airy, with a lot of linen, and cotton with a ’50’s subcultural movement.

“As a Uniqlo customer, I know exactly the quality that the brand gives to its products. I am very proud of the level of execution and the attention to details that we delivered on this new spring and summer collection.”

Yuki Katsuta, head of Uniqlo Global Research and Design, added, “As befitting its dedication to ‘Simple made better,’ Uniqlo’s mission with LifeWear is to create apparel that embodies simplicity, quality, and longevity and is always stylish. The new collaborative spring/summer collection represents an advance in fashioning attractive wardrobe basics by reflecting JW Anderson’s unique take on the heritage of Brighton as an enduringly popular British summer vacation destination.”

The collection features vividly striped T-shirts and knit polo-shirts reminiscent of beachwear, as well as dresses, seersucker bomber jackets, flared skirts, and blouses with JW Anderson’s iconic ruffles and ribbons. T-shirts, knits and bags with seagull prints whimsically celebrate the joy of British seaside life. The range also incorporates work wear elements, such as 1950s-style denim jackets and tunic shirts inspired by traditional British police uniforms, as well as such quintessentially JW Anderson touches as stripes and patchwork on shirts and skirts.

The collection employs soft colours with a touch of sunburn, true blue, poppy red, white and beige, and sage green. The line also showcases such celebrated designer additions as plaid bright yellow and blue inspired by playful multi striping and picnic basket designs.

Meanwhile, in keeping with the LifeWear commitment to quality, the range features shirts in soft, refreshing cotton-linen made of top-quality extra fine cotton. Other fabric highlights include prestigious Kaihara denim from Japan. Highly functional pocket parkas employ DRY-EX, a fabric which dries sweat and moisture incredibly fast. DRY-EX also employs a durable water repellent, and reduces wrinkles.

The hashtag references the urban vocation of A|X and the artistic spirit of the initiative, which consists of a series of T-shirts on which the artists’ imaginations and sense of invention are freely expressed.

The artists includes the twins behind Van Orton Design), Ale Giorgini, Matthew Laurence Knott, Decue Wu (the pseudonym of Diyou Wu), Gio Pastori, Jenny Perez, and Quentin Monge. They represent different creative demographics in terms of age and background, but are united by being part of the contemporary creative melting pot.

Each talent has freely expressed his and her own vision, creating graphics for one T-shirt for men and another for women. Some have done this through using slogans and words, others have been inspired by the history of art, or explored the power of drawings and signs.

The tees are available now at A/X Armani Exchange branches at Siam Center and The EmQuartier.

ALL HAIL GALLIANO

Genius is a word that gets thrown around in fashion like confetti at a wedding, but many who witnessed John Galliano’s two shows for Margiela over the past 12 days believed that in his case the feathered hat fits.

The British designer may never live down the notorious drunken anti-Semitic rant that cost him his job at Dior in 2011.

Yet fashion would be far less fantastical without him.

His haute couture collection using transformative fabrics which look completely different to the naked eye than through the lens of smartphone, was not just inspired use of cutting-edge tech, but deft commentary on seeing at the world through the lens of Instagram.

KARL’S BEARD

Even geniuses make mistakes. Just ask Karl Lagerfeld who is no doubt stroking his chin over whether he will persist with his new wispy white beard. Reaction to the Kaiser’s first major change in image in two decades was generally negative – and almost drowned out his very girly Chanel show. Vogue’s legendary critic Suzy Menkes did her best to soften the blow by referring to the growth as “an exciting facial accessory”.

There was nothing shabby about his uber-girly collection, however, which pushed pretty till it squeaked.

Yet amid all the frills and feathers, the bride – the figure that traditionally closes Paris haute couture shows – wore trousers.

Lagerfeld put Dutch model Luna Bijl in a white tuxedo with a long white feathered trailing cape.

The designer’s nine-year-old godson, Hudson Kroenig, scattered rose petals at her feet.

As well as closing the show, rising star Bijl, 19, also led out the run of pink and green beaded tweed suits that opened it.

They were matched with similarly beaded mid-calf boots with transparent wedge heels, with some models wearing edged leather gloves in a very Lagerfeld finishing touch.

If the set of a French formal garden complete with fountain was decidedly less overwhelming than Lagerfeld’s usual Grand Palais spectaculars, the flower theme was clear enough.

As well as Sevillian black mesh flower fascinators, bouquets of tiny embroidered flowers lit up a large part of the collection that glinted with crystals and acres of fine embroidery.

One bubble-gum pink flower-fringed bustier dress with matching pink crystal-encrusted boots skirted Barbiedom, but the veteran designer just about got away with it.

BE CAREFUL WHO YOU QUOTE

Dior under Maria Grazia Chiuri loves nothing better than a good slogan. She began her reign at the fabled label with her “We should all be feminists” T-shirt and by plastering “Christian Dior J’adore” on just about everything, from bras to sandal straps.

This week she wrote lines from Andre Breton’s “Surrealist Manifesto” across her models’ collar bones as part of a homage to Italian artist and proto-feminist Leonor Fini.

Which was unfortunate, as critics quickly pointed out, because Breton was a notorious misogynist who Fini abhorred for writing that “the problem of woman is the most marvellous and disturbing problem in all the world”.

The haute couture shows, which are unique to the French capital, are the creme de la creme of fashion with thousands of hours going into the handmade dresses that can only be afforded by the richest women on the planet.

And Chiuri pulled out all the stops to display the artistry of her ateliers in a show of more than 70 lavish creations mostly in black and white, the colours she insisted |that “the surrealists said we dreamed in”.

Chequerboard patterns proliferated as did see-through hooped “cage” corsets, another borrowing from surrealist symbolism, she said.

But her cages – the set was also hung with them – were a symbol of women freeing themselves, Chiuri said afterwards. “Our cages (on the set) are absolutely open, and there is nothing inside,” she laughed.

Many models also wore masks, a nod to the masked surrealist ball Chiuri organised in Fini’s honour late Monday.

While A-line floor-length dresses dominated, the collection was far from totally two-tone. One organza ball gown embroidered with pale gold sequins had New York Times critic Vanessa Friedman tweeting, “Fit for a fairy princess”.

But Chiuri insisted her show carried a strong empowerment message.

DON’T SAY IT WITH FLOWERS

Never write a note using the N-word and send it to someone who puts their entire life on Instagram. The Russian designer Ulyana Sergeenko learned that the hard way this week when she sent flowers to her friend the Moscow socialite Miroslava Duma when she arrived in Paris for the shows. Both women insisted it was meant as a term of endearment between friends, but the fashion world was not in a forgiving mood.

LIFE IS BLACK AND WHITE

While catwalks are more and more gender fluid with co-ed shows and androgynous and trans models, they could not have been more binary when it came to colour this week.

Black and white dominated from John Paul Gaultier’s two-tone tribute to Pierre Cardin to Dior’s surrealist checkerboards and Clare Waight Keller’s much-praised debut at Givenchy.

That couture fixture the femme fatale cut a black and silver swathe through the Azzaro, Alexandre Vaultier and Galia Lahav collections, with shoulders exaggerated 1980s-style to emphasise killer glamour.

Chanel and Valentino swam against the austere tide with a sweetshop assortment of sugary pinks and greens, while Viktor & Rolf also went for a bolder palette, giving their quirky creations an extra sheen by making the complete collection in satin duchesse.

Handcrafted at independent ateliers in Paris, the new dresses are feminine, embellished with flowers, feathers, deconstructed ruffles, lace and embroidery. The designers also like to expose the structure and architecture of garments such as shrunken tailoring with strong nipped waists.

Incorporating a lingerie element into the clothing, the line relies heavily on sheer gauzy fabrics like tulle, mesh, and crushed knits. A new twist on accessories includes pointy kitten heels in different materials and cuts, metal frame bags with lavishly precious materials.

See more at @proenzaschouler @club21thailand #proenzaschouler #proenzaschoulerth

The siblings are featured wearing styles of Calvin Klein Underwear that are available in stores and online now, including the brand’s Modern Cotton and the new Body range.

In addition, certain members of the family are featured in core styles of Calvin Klein Jeans as well as looks from the Spring 2018 collection.

The evolved #MYCALVINS concept has family at its centre, a display of unity between strong individuals, further emphasized by the symbolism of the traditional American quilt. This campaign captures these bonds and brings to life different ways we can inspire families – both born and made – to connect with one another, and celebrate the things that unite us.

The campaign will run through the Spring 2018 season, and the talent featured will represent the bridging of several generations stylistically, musically and culturally.

Calvin Klien continues to embrace a digital first, socially powered mindset in communicating through the #MYCALVINSnarrative across all consumer-centric channels. With over 100 million impressions in the digital and social space, across 12 countries globally, with key high impact outdoor in several key markets, the #MYCALVINS campaign is designed to create magnetic consumer engagement across the spectrum of the Calvin Klien brand’s followers.

Showcasing new ideas in design, patterns, fabric development, and sewing techniques, the latest Uniqlo U collection features brilliant hues inspired by nature in slightly oversized styling for effortlessly relaxed silhouettes.

Key collection colours are sky and sea blue and forest and grass green. Orange and red accents, stripes and borders, and other elements broaden wardrobe flexibility. An exciting addition to the women’s line this season is an Open Collar Shirt featuring thick stripes. A highlight of the men’s range is a multicolour Border T-shirt employing heavyweight cotton.

This season’s line also incorporates coats that offer exceptional water resistance, windproofing, and breathability. The women’s Blocktech Short Coat is both comfortable and stylish as townwear, employing a drawstring waist and a matte finish. The new men’s Blocktech coat employs chambray twill fabric that is water repellent and wind proofed, combining a clean silhouette with excellent all-weather protection.

Seamless, comfortable knits employing Wholegarment technology and seamless swimwear for women are also important additions to the Spring/Summer 2018 season. They include a bandeau bikini with removable straps, a halter neck bikini for freer movement and a bi-colour bikini.

Find out more at Uniqlo.com/UniqloU.

THIGH-HIGH Ugg boots, post-Weinstein men paraded as dogs, pigs and dinosaurs, and a tartan army of plaids and check – as Paris men’s fashion week ended on Sunday, we look back on the big trends and talking points:

MEN ARE PIGS

This was the week when the fashion industry had its Weinstein moment, with allegations that two star photographers had harassed and assaulted models.

Julien David, Walter Van Beirendonck and Comme des Garcons caught the air of the times by putting dog, pig and dinosaur heads on their models, while the American Rick Owens ripped his “clothes in anger”

“It’s draining to watch unhealthy cycles repeat themselves, behaviourally and historically, and it is hard to suppress a howl of rage,” he said, with his own president also in his sights.

Sacai designer Chitose Abe and French brand Etudes also took a stand against Donald Trump by using the New York Times “The Truth is Hard” slogan on their clothes to support media outlets Trump has accused of “fake news”.

UGLY NO MORE

They have been called “Australia’s joke on the rest of the world” and many thought they’d been confined to fashion Alcatraz. But no, Ugg boots are back and this time they are thigh-high.

Uber hip Y/Project designer Glenn Martens tried to turn the sheepskin slippers into fetish objects of desire – although the jury is out.

Martens described wearing them as putting your “feet in warm butter” and said bringing them to the crotch “keeps your thighs as well as your feet warm”.

More conventional Uggs turned up in the Sacai show, with designer Abe admitting, “I wear them myself in winter – even outdoors.”

CHECK OUT TARTAN

There was no doubting the dominant pattern for next winter. The skirl of tartan and check ran through three-quarters of the Paris collections, making fashion week sometimes feel like one extended Burn’s Night.

From street-style brands like Facetasm and Andrea Crews to White Mountaineering, Henrik Vibskov, Sacai, Agnes b, Thom Browne and the romantic classicism of Alexander McQueen, a tartan army was on the march.

No more so than with the “Prince of Prints” Dries Van Noten, whose beautiful use of Stewart tartan may have finally rescued it from clutches of Bay City Roller kitsch.

Ironically, the British heritage brand Dunhill’s debut Paris show was a tartan-free zone, proposing instead the shiny leather business suit.

MAN BAGS

With so much to be money to be made, it’s no surprise that fashion keeps insisting that men need the equivalent of handbags. Rare was the show this week that did not have a model holding a man bag, swinging a sack or shoulder bag slung nonchalantly over one arm.

Even Van Noten, who is normally above such things, included one. While a cat-shaped, highly stroke-able clutch was also spotted on one front row, Loewe won the originally prize for its elephant-shaped man bag that sits on the knee. It’s clearly a must for the man who can’t fit everything into his trunk.

BOOTS WITH SUITS

Whether it is the influence of the television series “Peaky Blinders” or to man-up more fey androgynous looks, robust boots walked all over every other form of footwear on the catwalk. Dr Martens were omnipresent, with even Dior paying homage with their own versions of the butch work boots, while Rick Owens won many new fans with his suede “hover bovver” boots with extended soles.

Boots were almost the rule under well-cut suits, with John Galliano debuting a male version of the Tabi boot at Margiela, as did wunderkind Demna Gvasalia rather cheekily at Vetements.

And Officine Generale went hell for leather with their vintage Mexican police boots, which designer Pierre Maheo said “became a reference for narco culture when many officers crossed over to the dark side”.

HEDI SLIMANE, the designer who pioneered the skinny look at Dior and Saint Laurent, is to take over at Celine, the brand’s owners said on Sunday.

The 49-year-old French-born creator is one of fashion’s biggest and most enigmatic names, and his future has been surrounded by speculation since he walked away from Saint Laurent last year.

The luxury giant LVMH, which owns Celine, has given Slimane complete control of the brand’s images and creative side in order to sign him up – a concession which put him alongside Chanel’s Karl Lagerfeld as one of the most powerful designers in fashion.

They’re also letting him create a menswear line at the label, which up until now only made clothes for women.

“He’s one of the most talented designers of our time,” LVMH owner Bernard Arnault said in announcing the surprise appointment. “Hedi will oversee and develop all creativity for both women’s and men’s fashion, but also for leather goods, accessories and fragrances.”

Slimane fell out with Saint Laurent reportedly because of his frustration at not being able to control its perfume and cosmetics arms. Slimane’s skinny and rock star chic looks made millions for both Dior and Saint Laurent, and were much copied by mass-market brands.

Lagerfeld, who famously shed 41 kilos in order to squeeze into Slimane’s skinny jeans, was the first to cheer the news of his move.

“I am enchanted – what a great choice!” he told Women’s Wear Daily. “It will be great!”

Like Lagerfeld, Slimane is a renowned photographer, and he has spent the last seven years living in Los Angeles, where he had moved his studio at the end of his reign at Saint Laurent.

The designer drew much of his inspiration from the LA rock scene, which he tirelessly documented with his photographs and in his blog.

A mysterious and intensely private figure, he nonetheless has struck up close friendships with many A-listers including pop star Lady Gaga.

AFP understands that he will continue to live in the city while he designs for Celine, and start work within 10 days.

Slimane borrowed many of the elements of his grungy, androgynous look from the world of rock, with his skinny style initially influenced by British indie bands like Franz Ferdinand and the Libertines.

Libertines bohemian frontman Peter Doherty became a friend and muse, and figured prominently in his 2006 photo book, “London Birth of a Cult”.

Arnault, who is known to be close to the designer, said Slimane would use his “global vision and unique aesthetic virtuosity in further building an iconic French fashion house”.

He will take his first bow for Celine during Paris women’s fashion week in September, when he will show a co-ed collection with clothes for both men and women.

“I am delighted to join Bernard Arnault in this all-embracing and fascinating mission for Celine,” Slimane said. “I greatly look forward to returning to the exciting world of fashion and the dynamism of the ateliers.”

Slimane will also be reunited at Celine with Sidney Toledano, one of fashion’s most influential backroom figures.

The pair formed a formidable team at Dior, where Slimane was a huge trendsetter until his departure in 2012.

Dubbed the “Sultan of Skinny”, Slimane designed for the late rock star David Bowie, with his skinny silhouette dominating men’s style for more than a decade.

He takes over at Celine from the highly rated British designer Phoebe Philo, who quit last month after a decade at the helm.

She had created a cult following at the label for her hip minimalist and very modernist style.

Philo had also lately embraced the oversized trend which Slimane is credited with kick-starting at Saint Laurent with his long gorilla-sleeved jackets.

While his designs have made millions, Slimane’s immigrant origins are modest. He was born in a working-class district of the French capital to a Tunisian father and Italian mother, who worked as a dressmaker.

He first wanted to be a journalist before slipping into fashion after he became an assistant to Jean-Jacques Picart, one of the founders of the haute couture house Christian Lacroix.

Celine, which has a turnover just shy of one billion euros, was founded by Celine Vipiana in Paris just after World War II.

Chanel liberated women from their Edwardian corsets a century ago and recut men’s tweeds and trousers to make the modern women’s wardrobe.

Lagerfeld, 84, sporting a wispy white beard which is likely to make at least as many headlines as his clothes, took her classic silhouettes and turned the femininity dial up to sugar plum fairy.

Lagerfeld’s beard is the designer’s first radical change of image in nearly two decades since he lost 41 kilos (90 pounds) in order to squeeze into Hedi Slimane’s skinny black jeans.

Much to the horror of many style watchers, the “Kaiser” wore it rather unkempt, with Harper’s Bazaar saying it made him look “surprisingly (intentionally, we’re sure) scruffy”.

Lagerfeld’s friend, legendary Vogue critic Suzy Menkes, jumped to his defence, however. “So Karl has an exciting new facial accessory. But TRAGICALLY I cannot copy it,” she wrote on Instagram.

There was nothing shabby about his uber-girly collection, however, which pushed pretty till it squeaked.

Yet amid all the frills and feathers, the bride — the figure that traditionally closes Paris haute couture shows — wore trousers.

Lagerfeld put Dutch model Luna Bijl in a white tuxedo with a long white feathered trailing cape.

The designer’s nine-year-old godson, Hudson Kroenig, scattered rose petals at her feet.

While rivals Dior make much of their feminist credentials these days under Maria Grazia Chiuri, Lagerfeld may have felt the need to signal that Chanel women are no pushovers either.

– Teenage American stars –

As well as closing the show, rising star Bijl, 19, also led out the run of pink and green beaded tweed suits that opened it.

They were matched with similarly beaded mid-calf boots with transparent wedge heels, with some models wearing edged leather gloves in a very Lagerfeld finishing touch.

If the set of a French formal garden complete with fountain was decidedly less overwhelming than Lagerfeld’s usual Grand Palais spectaculars, the flower theme was clear enough.

As well as Sevillian black mesh flower fascinators, bouquets of tiny embroidered flowers lit up a large part of the collection that glinted with crystals and acres of fine embroidery.

One bubble-gum pink flower-fringed bustier dress with matching pink crystal-encrusted boots skirted Barbiedom, but the veteran designer just about got away with it.

While the front row was less starry than of late — British-Kosovan pop star Rita Ora rubbed shoulders with Russian actress and “Valerian” star Sasha Luss — Lagerfeld’s models included two of the catwalk’s new American teenager stars.

Kaia Gerber, 16, daughter of 1990s supermodel Cindy Crawford, who is working on a capsule collection of West Coast-inspired designs with the designer, walked with Cara Taylor, who is still only 15.

Lagerfeld defended his choice of so young a model when Taylor first walked for him in Chanel’s ready-to-wear collection in March, telling AFP that “Kate Moss and Naomi (Campbell) all started at 12, 13, 14.”

Taylor, a 1.8-metre (5-foot-11) volleyball player from Alabama, has been modelling since last summer, when she was spotted on Instagram.

The haute couture shows — which are unique to the French capital — are the creme de la creme of fashion with sometimes thousands of hours going into the handmade dresses that can be afforded only by the richest women on the planet.

Out-of-this-world is a phrase often ascribed to haute couture, and Japanese designer Yuima Nakazato took the description literally by sending out some of his models in space suits.

French designer Julien Fournie turned in the day’s most feisty show inspired by pre-war Shanghai and the films of Zhang Yimou and Chen Kaige. With his clothes cut for women with curves, he finished with a traffic-stopping wedding dress.

Fellow Parisian Stephane Rolland went for a very pale and silky classicism in floor-length gowns which contrasted with his architectural twists on the Saint Laurent “smoking” tuxedo.

With black as the dress code, jewellery and watches became key pieces to make black gowns shine and bring a sparkle to the prestigious evening.

Saoirse Ronan, the young, talented actress who won this year’s Golden Globe for Best Actress in a Musical or Comedy for her leading role in “Lady Bird”, graced the event with Cartier High Jewellery earrings in platinum, sapphire and diamonds and a Cartier High Jewellery bracelet in platinum and diamonds.

Boasting a light summery tan and a beautiful black gown, 25-year-old actress Samara Weaving from “Three Billboards Outside Ebbing, Missouri” shone bright on the red carpet with a sparkling all-Cartier set of jewellery comprising a Maillon Panthere bracelet in 18k white gold and diamonds, an Etincelle de Cartier ring in 18k white gold and diamonds, an Etincelle de Cartier wedding band in 18k white gold and diamonds, a Trinity Ruban wedding band in platinum and diamond, and C de Cartier earrings in 18k white gold and diamonds.

English actor Aaron Taylor-Johnson, accompanied by his wife and Fifty Shades of Grey director Sam Taylor-Johnson, was seen with a Drive de Cartier watch in steel and leather on his wrist.

Ansel Elgort, who received a Golden Globe nomination for Best Actor in a Musical or Comedy this year for his performance in “Baby Driver:, was accessorised with a Ball on Bleu de Cartier watch in steel and leather, Double C logo cufflinks in 18k white gold and diamonds, and a Cartier LOVE ring in 18k white gold and diamonds.

A solid performance in “The Disaster Artist” won James Franco a Golden Globe for Best Actor in a Musical or Comedy this year. He appeared wearing Santos de Cartier cufflinks in sterling silver, palladium finish and black lacquer.

Justin Paul shared a Golden Globe for Best Original Song from “This Is Me” that he co-wrote for “The Greatest Showman”. His look at the awards ceremony was perfected by a Ball on Bleu de Cartier watch in steel and leather plus Santos de Cartier cufflinks in sterling silver and palladium finish.

And, as ever, Justin Timberlake underlined his presence as an enduring superstar, wearing a Drive de Cartier watch in steel and leather.