Jimmy Choo has released its most recent ad campaign for spring/summer 2016. Overseen by the brand's new and recently appointed creative agency, Laird + Partners, the print and short film ads for the campaign offer a California-cool vibe to the brand's newest collection of footwear and accessories.
Shot in Los Angeles by photographer Cass Bird (whose previous ad campaigns include AG, Calvin Klein and Tory Burch), the campaign's backdrop is set outdoors by a sprawling sun-drenched residence.
Model Nadja Bender, who rocked the summery collection of footwear and purses, is the face of the women's campaign.
The shoot was spearheaded by Jimmy Choo Creative Director Sandra Choi, who championed a high-end-glamour-meets-effortlessly-nonchalant style. For Choi, the premise of the shoot was about bringing the brand's ideal woman to life.

Prada’s recent lookbook for men’s footwear reveals an experimental turn.
Footwear News offered a preview of Prada’s collection last week. The 14 looks, all presented clearly on white backgrounds, reflect the styles presented at Milan Fashion Week while providing something classic for menswear enthusiasts.
The former manifests in low leather ankle boots, polished and enhanced with details near the toe. The brand further unveiled two versions of its Canvas Chelsea Boots in black and gray. The style starts with a menswear staple as a template and then re-imagines it for the streetwear crowd.
On the subject of streetwear, it’s clear Miuccia Prada took influence from this style realm. Digi prints featuring bright neon hues atop black backgrounds emerge with pixilated graphics. The combination reflects streetwear’s current affinity for everything 1990s.
At the Milan show, Prada herself explained to The Guardian about the prints, “They represent any kind of symbolism – advertising, logos – although I don’t like to simplify thoughts, so we chose stupid symbols, the most infantile, that worked graphically.”

DONATELLA VERSACE celebrates women, of that there is no doubt - she was gathering her army and calling them into action. Are you with her?
Utility jackets in khaki and desert sand that made for little belted dresses, serious stealth legs on display with even more stealth and serious sandals - platforms with rubberised soles, safety buckles and a steep, steep heel - beneath; little chiffon torn dresses of camouflage combinations in neon orange, jungle green, purple and black; glossy backpacks; tie-handle scrunched bags; trailing cuffs on sheer chiffon gowns; tough jackets patched with animal print; it was high octane as she does, but stepping into the jungle with it. Are you brave enough?
Waist definition via a neon belt was key, as was the Versace military jacket - be it a bomber, be it a blazer, a blouson, cropped or not. It was sharp, it was bright, it was slits to the thigh on slinky little evening dresses. It was a self-help lesson in confidence and wardrobe building - as Transition by Violet played out, a track made for Equality Now and for which Versace is making a donation, instructing us to be whoever we are, wherever and however. 
"This is a collection for the way women live their lives today, mixing tailoring with sportswear and effortless glamour," summed up Versace.

We’re big fans of Nicola Formichetti’s Diesel – it’s all fun and games with the designer’s cool-kid campaign stars. There’s always plenty of fun, plenty of pop culture, and plenty of neo-free love vibes. For spring 2016, it’s not exactly free love, but the gang goes in on Tinder, Snapchat, and all manner of social media. Featuring Joe Jonas and set to his pop group D.N.C.E.’s ever-relatable song “Pay My Rent,” it’s all the bold colors, cheeky kids and ready-to-party clothes we all love so much.

Has a gray Armani pantsuit ever before been worn with a cropped T-shirt with a smiley emoji on it? Doubtful, but there’s always a first time for everything, and that was the way Giorgio Armani chose to open his Spring Emporio show, maybe to emote a little casualness. He got rid of his runway, too, and instead had his models walk on an illuminated path, as if at street level (that is, as street level as you can get when you’re showing inside the vast Tadao Ando theater you’ve installed inside your own lofty building)
In a funny way, this is a favorable fashion moment for Armani again—things have generally turned relaxed and casual, and he is once more a flat-shoe man in a flat-shoe time (exactly what Armani endured during the long reign of mega-platforms may only be imagined). So now he can get back to his natural state, putting models in low, pointy ankle boots and a variety of casual-formal, sporty-pretty shorts, jackets, and tops for spring.

Alessandro Michele has brought a radically different culture to Gucci. The venue spoke volumes. No more the chilly space on Piazza Oberdan with its angular benches.
If it isn't exactly new, the magpie sensibility of Michele's Gucci—scouring time, place, and gender for scraps—has a Marmite impact. (Marmite, for the uninitiated, is a yeast-based food paste that its U.K. marketers confidently advertised with the slogan, "Love it or hate it.") That, in itself, is punk. So is Michele's ardent faith in the power of youth. Asked about the religious symbolism in his collection, he talked about, "the young generation as the real saints of the new world." Tattooing, piercing, decorating themselves in a new kind of geography of the body—Michele takes all of these as youthful tokens of a new shamanism.
And that certainly added a significant gloss to a collection in which decoration was a more accessible notion than recontextualization.