Is Lanvin‘s choice of showing it’s spring-summer 2021 collection in Shanghai a surprise? Not really. It’s financially and commercially a wise thing to do. Lanvin is owned by Fosun International, the Chinese conglomerate with such eclectic subsidiaries as the Wolverhampton Wanderers and Cirque du Soleil. Also, as far as fashion is concerned, there’s beautiful irony to the fact that China was the first country to return to a sense of normalcy after the coronavirus outbreak. Pre-pandemic, China was the new shopping center of the world. Post-pandemic, staging your fashion show there is pretty much a win-win scenario. “We can do a proper event there with hundreds of people,” Bruno Sialelli, Lanvin’s creative director, said during a preview in Paris, two weeks before he shipped his pre-styled Lanvin show to Shanghai and live-streamed it from the historic Yu Garden. “And to be very pragmatic, this is the market that is going to drive growth in luxury in general. It’s good for us to federate our community there.” What about the collection? The designer seems to be leaving behind his Loewe style and induldges in Jeanne Lanvin’s rich, Art Deco heritage. The opening looks were sublime: from those golden trinkets to the reimagined Jean Dunand motifs that graced garments and accessories, and the Armand-Albert Rateau pieces and Georges Lepape illustrations that inspired them. The show started with Sialelli’s interpretations of Lanvin’s robe de style, the dainty drop-waist silhouette she loosely revived from the 19th century. The first – black with a crystal bow across the hip – was virtually a replica of its 1920s embodiment. Somehow, it looks relevant in 2020. “Lanvin was at its strongest in between the World Wars. It became a huge company with hundreds of employees, ateliers, cosmetics, and everything. It’s interesting to observe the pendants between the 1920s and the 2020s,” Sialelli reflected. “Art Deco’s three words were order, geometry, and color. I think it expresses something that’s interesting to re-contextualize today.” Discussing his silhouettes, he mentioned “a certain rigidity,” explaining, “from the beginning, I’ve thought about characters like Maggie Cheung or Anna May Wong, who have this put-together attitude; very neat. I want to translate that character.” The collection has its ups and downs (the daywear felt whatever…), but finally, the new Lanvin takes shape.
Collage by Edward Kanarecki.
And just like that, it’s mid-autumn, and we all dream of (a care-free, mask-less, never-ending) summer. Maryam Nassir Zadeh made that desire even more burning with her spring-summer 2021 look-book, which she shot in Turkey this September (skipping New York Fashion Week altogether). But this season is different for one more reason: there’s Nassir Zadeh’s debut menswear, which is as good as her womenswear. Which basically translates to ultimate heaven. In general, the designer has been feeling a more relaxed, unprecious look these days, usually involving a men’s button-down, silver jewelry and her dad’s vintage leather jacket. It’s an easy, just-odd-enough mix that feels right for the moment. Surely there are guys (me!!!!!) who want that, too – vintage-tinged treasures and refined basics, without logos or sky-rocket price tags. She explained that she’s long been inspired by the men in her life – her father, boyfriends, husband, and longtime stylist Thistle Brown, whom she worked with this season – and dreamed of making men’s clothes for years. The uncertainty of the pandemic made her stop waiting for the “right” moment. The debut line is fundamentally MNZ – the tweaked proportions, soft fabrics, and touches of sensuality – but without the occasional metallic flash or neon blazer of her women’s line. It’s quiet, almost delicate menswear, the kind you’d like to swipe from your boyfriend’s closet and keep forever. That was intentional, of course: Zadeh designed it with guys in mind, but also her close female friends. What kind of shirt or pant or jean could live in both closets?A few pieces were shown on both her female and male models to drive the message home: she wore the hip-slung pleated khakis with a baby tee and shell bra; he wore them with a beige button-down and sandals. Both wore the V-neck sweater vests with nothing underneath: her with a mini skirt, him with over-sized pants. And those enveloping leather jackets were tossed over jeans and lace dresses alike. Buttery-soft, free of hardware, and perfectly anonymous, they might be the ultimate investment piece of 2021. The best part: You can split the cost with your partner.
Collage by Edward Kanarecki.
New lockdown is hitting Poland (just as many other countries in Europe) and I can’t help, but wonder… why just about ten brands come to my mind with masks (or any other accessory that has something to do with provisional face-covering) for spring-summer 2021? I honestly though every third brand would do a mask, even the simplest one, without a commercial plot behind it. I realise brands and designers might not find mask aesthetically pleasing (I don’t, for instance), but it’s such a statement of our times, a symbol. An ultimate necessity, most of all. A sign that you’ve got a brain and care for others. Even one mask in the collection already makes a difference, brings this super important stance to the front. And this fashion month, it was so awkward to see all designers taking a bow in their masks, while the models were just out there, wearing clothes, as if it’s business as usual… here are some brands (a minority!) that at least tried to bite into the masks/face-coverings repertoire:
Imitation of Christ
(Ok, this isn’t a mask, but if you happen to forget yours… cover your face with whatever you’ve got! A turtleneck is very convenient).
So, here’s a reminder: please, please, please, MASK UP!
All collages by Edward Kanarecki.