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79``````KENZOThe label’s lineup has long consisted of amash-up of floral motifs in femme fatalecolors on party-ready dresses. ABOVE, 1987:Christy Turlington in a viscose slip dress.OPPOSITE, FROM FAR LEFT: Montero in a Kenzodress ($1,135) and model Chu Wong in a Kenzotop ($575) and skirt ($625); kenzo.com.``````VERSACECrawford and LindaEvangelista in 1992, bothin Versace leopard-and-gold tapestry prints.``````We live, after all, in an increasingly ephemeral and cacoph-onous era. When we’ve already scrolled through Instagrama dozen times since waking up (and when not much of whatwe’ve seen has truly stuck), the need for designers to stateloudly and clearly who they are, and what they’re about,has never been more crucial. Looked at another way, thisinventive remixing of what we already know and love issomething we’re already doing in our everyday lives: Whenwe hashtag our yesteryears as #tbt and #fbf, why woulddesigners be immune to the same impulse? “There would beno future—or even present, really—without the past for usto draw from,” says Dolce & Gabbana’s Stefano Gabbana.Newness in fashion, then, is becoming less about somenotion of the never-seen-before and more about seeingsomething familiar in a new and unexpected context.KENZO: DENIS PIEL. VERSACE: FREDERIC ANDRIEU.