’90s-Era Prada Nylon, Investment Blazers, and the Blanket You Share With Your Bed: What We Bought in 2018

’90s-era Prada nylon, investment blazers, and the blanket you share with your bed are just a few of the things that dominated what sold (and sold and sold) this past year. As we all know in life, there is the runway . . . and there is the reality. The two clearly do intersect, if the following three takes on what were the retail hits of 2018—from MatchesFashion.com, Net-a-Porter, and Ssense—are anything to go by. What won’t surprise you: Gucci, Balenciaga, and Loewe continue to be powerhouse brands. Prada has also come back to the fore, thanks to the very current nostalgia for the ’90s—and what was more evocative than that era-defining industrial-minimalist nylon that Miuccia Prada was so constantly inventive with?

Otherwise, new labels have quickly been embraced—Marine Serre, for one—or it’s off the runway where the action is happening. There has been an explosion of small, influencer-driven names springing up far away from the usual fashion map of New York, London, Milan, and Paris—and which have been powered by word of like, as in tapping the IG heart.

Much of this adventurous trying of the new speaks to a growing confidence in just wearing a name for a name’s sake; individualism and self-expression are driving fashion buys like never before. That comes from comfort in one’s own skin, something that has fueled the desire for long dresses, flats, and bags that can be slung across the body. Throw a blazer into that trinity of easy chic and you’re looking at the perfect snapshot of style 2018.

Natalie Kingham, fashion buying director, MatchesFashion.com

What have been the standout items and labels for you this year, in terms of those that made a connection with your customers?

Balenciaga and Gucci. Did I say them last year? [Laughs] They’re still at the top of their game in terms of how customers reacted to their collections. Obviously, this year we saw a lot of shifts because of creative directors leaving and arriving, so things could change in 2019, but these labels . . . they’re so true to their DNA. I talk a lot about the DNA of [Gucci and Balenciaga], and this is why: They speak to their fans and they make great fashion—they’re not trying to be all things to all people. Saint Laurent did well, too, particularly shoes and bags. Loewe performed well, as did Prada. All of these brands are true to their DNA, and they are very luxurious; with these names, it’s pretty much as high end as you can get.

Why do you think those connected?

Their strong sense of identity. That’s the way we buy them, too. Loewe speaks directly to that fashion-forward, artisanal customer; Gucci has a very extroverted customer. And often they’re the first to come to the market with strong items—the Hammock bag from Loewe or the Triple S from Balenciaga; the success of those two is undeniable. We also did well with logoed tees from Gucci, and the white shirting from Vetements. And anything that’s really special or hard to find, that did well, particularly from Alexander McQueen and Valentino. Christopher Kane’s sweatshirts and tees with More Joy emblazoned on them; we had to reorder and reorder those. And Jil Sander connected. The customer has reengaged with it quite quickly. The old Celine customer is going to go there—and the new Bottega Veneta, when it hits.

At the other end of the spectrum, there’s this whole voyage of discovery, with a label like Chopova Lowena; it has these full skirts, made out of Bulgarian aprons, on leather waistbands. We did extremely well with those very quickly. I do love our customers—they will try! That makes me smile. Also, Ganni and Staud did very well, particularly the latter’s Shirley bag. And Le Spec’s Lolita cat-eye sunglasses did really well for us.

We’ve also seen a big uptick in beautiful wardrobing. There’s a brand called Extreme Cashmere [that does] very good, classic-with-a-twist, oversize sweaters and cardigans. Also Prince of Wales check and tweedy tailoring from Blazé Milano, and the loafers that Hillier Bartley did with Crockett & Jones. And the collaboration Claire Thomson-Jonville did with Pallas—the tuxedo, the velvet suit, great items for your wardrobe. We are seeing a strong reaction to timeless pieces, things that won’t date quickly.

What was new that broke through—labels, looks, et cetera?

Marine Serre. There was a very positive reaction to that brand. The designer is very strong, very important to our fashion client. When her debut hit in February, it sold out pretty quickly. There’s also a lot of storytelling with her label; the excitement angle, the sustainable angle. Sustainability—Gabriela Hearst, Germanier, Ingy Stockholm earrings, Veja sneakers—has been a big story this year. People have become very socially conscious. That’s good to see. It’s resonating. It’s powerful.

What’s driving someone to buy now?

Investment dressing—so if you want a cashmere sweater, you’re buying the best one you can, or if you’re buying a suit, you’re going with a tuxedo because it will live in your wardrobe a long time, which is why we saw Blazé Milano and Pallas do well. There is a sprinkling of fashion items, but there’s a lot of thought to wearability and can I get my money’s worth out of this? In a time of such uncertainty, perhaps there’s some comfort to be had from having those great timeless pieces in your wardrobe—the blazer, the trenchcoat, the suit. We’ve seen a definite response to key investment items—the Loewe bag, say, or sneakers; it’s which trainer woman are you, the clean-soled plimsoll or the extreme trend-driven version? In a way, you have to start at the feet! Heel heights have come down, and women wanted more comfort—loafers, sneakers, and low heels really gained momentum. Cross-body bags, particularly from Gucci and, again, Loewe, were hugely popular.

What shifts are you seeing in how people want to look?

A longer length dress, a small bag, flat shoes; that look has been really key. We saw more and more long dresses. They’re a comfort thing, and also they can be trans-seasonal; they can be worn layered up, with boots, or just with sneakers. They appeal because they can go all year round. With that idea of comfort . . . we saw a lot of interest in shawls and blankets, which can be thrown on the bed or worn wrapped around you. It’s about how women want to live their lives, the weather, travel, doing more entertaining at home.

What has been the biggest surprise fashion-wise of 2018?

There’s been a lot of attention to the head this year, and the return of the scrunchie was a surprise. And I didn’t expect us to sell so many Dior sun visors!

Elizabeth von der Goltz, global buying director, Net-a-Porter

What have been the standout items and labels for you this year, in terms of those that made a connection with your customers?

Chloé, Gucci, Balenciaga, Balmain, Saint Laurent, and Loewe, which has had huge growth. Ganni did well, and Isabel Marant, which came back in a big way. And we did well with Jacquemus and Nanushka.

Why do you think those connected?

They all give you hot items. I am a big fan of what Loewe is doing, what Jonathan [Anderson] has been able to grow that label into; the handbags—the Puzzle, the Gate, the Gate Mini—sell and sell, but the ready-to-wear is also growing in a huge way. The sneakers at Balenciaga—those have been such a big thing from them. Ganni continues to grow and evolve; its wrap dress was a big seller, and we launched its denim exclusively. Nanushka out of Budapest has this very cool and clean aesthetic; its vegan leather has this incredible suppleness to it, and we sold hundreds of everything in it. Isabel Marant was strong, I think because it went back to being very Isabel, whether it was the acid-wash denim or a cocktail dress. And Wandler; just a beautiful collection. Its belt bag did really well.

What was new that broke through—labels, looks, et cetera?

[Accessories label] By Far; we’re obsessed with its bags, sort of ladylike, structured, and in stamped croc in shades of cognac, cream, and ocher. Orseund Iris, which is a direct-to-consumer brand that we’re now selling, had sexy wrap blouses and camisoles. Rixo—we took one of the designers to Australia [to meet customers] and she saw pictures of the royal wedding while we were there, and someone [at the wedding] was wearing the same dress as she was! Les Rêveries printed dresses; we sold hundreds and hundreds of those. Bags from the Korean label Gu-de. Rotate, which we just launched and is flying out! It was started by two influencers from Copenhagen.

A lot of these brands were founded by really stylish women who basically thought, I need this and I can’t find it; they’re filling the gaps in wardrobes. The customer responds by saying, ‘Oh, my God, I do need that!’ These pieces are emotional; that has been a big part of the response. Our women are coming to us for fashion, and they are still buying all the traditional luxury names, yet there’s also the sense of joy from the discovery of something new, that they’re experimenting with something different. Take the Shirley bag from Staud; the whole office has it.

What’s driving someone to buy now?

We are back to the It bag: Gucci, Prada, they’re working. The whole leather dressing, be it real or faux, has become a year-round thing. Pastels and neons. Tailoring; we sold tons and tons of jackets—7,000 blazers last spring alone. Leopard sells so well it has become like a basic! Small sunglasses, with an ’80s vibe. Cowboy boots. Hiking boots. Dad sneakers. Mules and sandals with a reasonable heel; they’re selling so well all year round that we’re asking brands to create more of them. Labels are still thinking in seasons, but the customer isn’t; she’s happy to shop for boots to wear now and then during the spring months. The old idea that a woman is buying her wardrobe three months ahead of time . . . now she’s not thinking that way at all.

What shifts are you seeing in how people want to look?

There’s more of a comfort, a confidence level, in wearing things your own way. Women are answering the question ‘How should I wear it?’ themselves. There has been a big streetwear vibe for so long, but it’s becoming more feminine; a lot of the items we sold have fed into that. There’s also an increasing emphasis on tailoring, even if you’re not wearing a suit. The idea from back in the day that a jacket finishes your look—that’s back, and women wanted one. We did well with jackets from Gabriela Hearst, Tibi, Khaite. Evening became a huge opportunity for us. Every woman has some kind of event in her life for which she wants to dress up. We launched some 40 evening capsules this fall.

What has been the biggest surprise fashion-wise of 2018?

How much we are selling through our Instagram. Social media is still impacting customer habits in such a major way. We can be following someone and say, ‘What’s that bag they’re carrying?’ Sometimes it’s on an influencer before retailers have seen it! But [social media] feels right for the times; it’s not about some piece that was in a show you never saw and somehow it just arrived in a store. The connection, the realism, to it being on someone . . . it just feels more accessible and relatable.

Brigitte Chartrand, womenswear buying manager, Ssense

What have been the standout items and labels for you this year, in terms of those that made a connection with your customers?

What was hot: Prada nylon handbags and down jackets; Marc Jacobs Redux; the Burberry capsule; Virgil Abloh x Ssense Cutting Room Floor; Kiko Kostadinov x Asics; Matthew Williams x NikeLab; Maison Margiela Tabi boots; Adidas Originals x Danïelle Cathari; and the La Bomba collection from Jacquemus.

What wasn’t: denim jackets; graphic and slogan tees; pool slides; bomber jackets; millennial pink; and sock sneakers—the exception being the Balenciaga Speed sneaker.

Why do you think those connected?

I think with Prada it’s down to the revival of the classic nylon from the ’90s; it’s really speaking to our audience—our fashion crowd is looking for something a little subtler. Last year was so much of an extravaganza: the silhouettes, the volumes, the branding. In 2018 there has been a desire for something more toned down, something iconic. That also drove the desire for Marc Jacobs’s reissue of his [Perry Ellis] grunge collection; the response to it has been fantastic. We take a very day approach to what we buy, and our customer is responding to that; she’s not changing much, if at all, when she goes from morning to night. I think that’s why our ease of styling on the site also helps make these pieces and labels resonate.

What was new that broke through—labels, looks, et cetera?

For labels: Rokh, A Plan Application, Marine Serre, and Kwaidan Editions. As for what trended: heeled and strappy sandals; tailoring, particularly blazers; minidresses and miniskirts; elevated activewear; cozy (and sexy) knits; and futuristic materials.

What’s driving someone to buy now?

There is so much going on now that I don’t think there is one answer. Instagram is definitely playing its part, but there is a greater emphasis on individuality and personal style; people are being more and more true to themselves, and how they choose to show themselves. The choice as to what to buy and wear is being made by themselves for themselves. And they like change; they don’t ever feel oversaturated by newness. That’s why drops throughout the year worked. Though the desire to buy isn’t only necessarily driven by newness. The Tabi had such a moment this year, and that’s been driven by the cycle of fashion.

What shifts have you seen in how people want to look?

This fall we started to see the integration of activewear into how people wanted to dress. We sell streetwear really well, but we’ve also been approaching it more as activewear, and we have been having a really strong response to that, elevating it; that’s why the biker shorts from Martine Rose and the leggings from Victoria Beckham, for instance, have done well. And those are getting mixed with sexy knits or tailored pieces, [like] a blazer or an overcoat. We’ve seen a lot of interest in tailoring that wasn’t there before; it didn’t sell for us in the past. We brought it in for fall—we thought, let’s just try it, because we believe in it. We’ve sold it well: pieces from Maison Margiela; Kwaidan Editions; Jacquemus; even Ader Error, a Korean streetwear brand—it had some blazers that just sold and sold.

What has been the biggest surprise fashion-wise of 2018?

Strappy sandals, which we’re going to do a lot more of in 2019. For us, dresses have always been somewhat of a challenge, but the mini versions did well. And deciding to really go into tailoring; maybe it wasn’t a surprise, because we felt so good about getting behind it!