Marketed towards the most affluent customers of a brand, resort collections are always a spectacle. With the majority of major fashion houses having unveiled their Resort 2019 collections over the past month, we’ve rounded up the season’s runway highlights.


Louis Vuitton

Despite the recent spate of designer comings and goings, Nicholas Ghesquière announced that he renewed his contract with Louis Vuitton and will remain there for the near future. No stranger to collaborations, the house worked with Grace Coddington on a collection of bags based on the former Vogue editor’s sketches of her cats. Besides the Coddington-inspired accessories, the full range of Ghesquière’s offerings for Resort 2019 also rang true to the stylist’s eccentricity: folky prints were collaged together in flowing dresses, the tailoring of outerwear conveyed a definite 80s edge and the shoes were, in true Coddington fashion, comfortable.


Christian Dior

Inspired by escaramuza riders, female rodeo riders from Mexico, Maria Grazia Chiuri of Dior seamlessly melded French and Mexican influences in her Resort 2019 collection. Equestrian tailoring, beaded cotton frocks, utilitarian boots and toile-like prints of tigers and giraffes all lent a revolutionary feel to the garments. The house’s iconic saddle bags also made a comeback, this time in colorful embroidered florals with metal accents that recall Mexican silver.


Bottega Venta

Tomas Maier and his Bottega Veneta crew were installed at Bronx Community College last week, shooting the designer’s Pre-Spring collections for women. Here it was most readily apparent in the third and final section of the collection, whose patterns—Prince de Galles check, houndstooth—were achieved with a mathematical application of minuscule dots, like kissing cousins to the house signature intrecciato check. This group’s virtue was its cheery graphicism, all the way down to the mirco butterfly-printed bags. The thinking is that by January, when these clothes land in stores, shoppers will be hankering for spring brightness. The middle group consisted of wintry washed pastels and a high-low sensibility. Felted cashmere sweaters were paired with moleskin skirts, a holiday party dress was cut in delicate ivory lace over-embroidered with mohair, and a faded parka was lined in Steiff teddy bear fur. Other coats come with removable teddy fur collars.



Waight Keller is often strongest when she is most nuanced and she has a consistent track record of keeping her designs wearable. So even here, working in a more vivid and graphic register than what she proposed for years at Chloé, she’s covered a checklist of wardrobe items that are relatively risk-free while delivering at the luxury level. Slouched boots that slant from top to toe; a hoodie in satin chintz; blouses with ridged asymmetric front ruffles; and leather skirts hitting just below the knee—in each, there’s a trace of those aristocratic Givenchy codes that dovetail with her own British background.



In his pre-collections, he wants to make Valentino clothes for women to really live in. Of course, there were the precious dresses the house is famous for—some real beauties, too, like a black sequined column picked out with tangy yellow mimosa flowers, and an ivory tulle peasant gown with Art Deco beading. But best of all was a kicky little white shirtdress striped with metallic sequins, because it spoke to the overriding message about ease. Elsewhere he got his point across by serving up everyday eclecticism: a ’70s-cut blazer worn with a silk shirt, denim shorts, and fringed, stacked-heel loafers; a poncho jacket and flared jeans; a charcoal gray pantsuit paired with white trainers. What made these combinations compelling was his liberal and imaginative use of archival Valentino logos.