Victoria Beckham, Michael Kors and Tommy Hilfiger took the top three spots in digital engagement on their respective show days, according to research by ListenFirst Media.
ListenFirst tracks digital engagement data from Facebook, Twitter, Instagram, YouTube, Tumblr, Wikipedia and Google + on the designers’ respective show days.
Beckham, who showed Feb. 12, ranked first with 1.5 million engagements that day, more than the next three top ranking fashion brands combined. The success on Beckham’s show on social is attributed to her content strategy — posting more content on Feb. 12 than any other New York Fashion Week brand, and having the No. 1 most popular posts on Facebook, Instagram and Twitter, according to ListenFirst.
Kors, which showed at Spring Studios on Feb. 15, came in second place, with 967.9 million digital engagements. While 90 percent of those engagements were earned on Instagram, the brand dominated multiple channels relative to his NYFW cohorts that day, driving 21 percent of all engagements earned by the set on Feb. 15 and posting the day’s most engaging NYFW related posts across Facebook, Twitter and YouTube. Effective content included behind the scenes photos of celebrities and models and live streams of the runway shows across social. Kors’ engagement

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London College of Fashion’s Masters of Arts students staged a show of their graduate collections in the British capital on Thursday night, the eve of London Fashion Week. Ten women’s wear degree candidates showcased their ranges at Dutch Hall in east London, with looks ranging from the eccentric and the artistic to the conceptual. Among the standouts were Lorenzo Buzzi, Youngmi Kim, Gergei Erdei, Yuqing Lai, Vilu Dau and Wendel Heung.
Buzzi’s inspiration stemmed from Fifties and Sixties American housewives, and his creations included a short-waisted black wool jacket with a white cotton collar and an ankle-grazing skirt in an opulent blue floral tapestry-like jacquard. Kim’s soft lilac, boiled wool coat was scattered with bits of hand-knitted floral crochet, while Lai looked to workwear and uniforms. He exaggerated the silhouette on an oversize, deconstructed gabardine overcoat with enlarged front pockets.
Erdei said his inspiration derived from the struggle to find love. He created protective shields in the form of face masks comprising white sea shells sourced from the Indian Ocean. They referenced a Sailor’s Valentine, as did the masks done in hand-beaded embroideries. Erdei paired the intricate facewear with roomy black trousers.
Dau illuminated the runway with a metallic, knee-length leather dress. The

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Frederick Anderson’s debut collection, titled Black.like.me, set out to examine connotations of what black is as a color and an identity.
“If black is my race yet it’s not a color, then should I be defined by all colors, and therefore all the races that have impacted my specific black hue?” he pondered. The collection, set in a palette of, you guessed it, predominantly black, was a set of luxe separates inspired by these thoughts in a message of beauty in layered diversity.
The collection had a key focus on craftsmanship and sharp attention to detail that coupled with elements of baring skin, and seeing different skin tones as beautiful across the spectrum. Take, for example, any number of the black sheer shirting items that provided a filtered sense of skin color that looked beautiful on anyone; ditto for the superfine knits and a shimmery semi-sheer gold top. He toyed with experimental tailoring in a young, forward-thinking way. A fringe-y looking jacket was actually made of tweed, where the woven comes out, the grain is dropped, and then clipped.
Perhaps the most enticing item was a satin jacquard blazer cut with pushed-in, lifted shoulders and a cinched waist; paired with matching trousers, it

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Choi worked with volume and structure for this sophisticated collection that took its cue from the work of Austrian-Czech architect Adolf Loos, the minimalist, modernist designer who believed decoration was a waste of time.
Instead of working with print, pattern or adornment, Choi let his fabrics work for him in all different ways. Looks included an oversized olive knit suit with a tunic top with long sleeves that could be knotted at the wrist; wide gray wool trousers that grazed the floor and cinched at the waist, and roomy striped shirts with folds running down the front.
Flowing satin dresses in olive green and navy rippled down the runway, while chunky knitwear was slung over the tops of jackets. Among the highlights were buttery leather trousers and peacoats in tangerine — a color that was also painted on models’ lips.
Choi also joined forces with the bag brand Decke to create a range inspired by Loos’ Villa Müller. The hardware on the bags referenced Loos’ use of fittings, while the chic styles came in both soft and structured leather.

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