Author: Design & Culture by Ed

Y/Project SS20

| Design & Culture by Ed

Glenn Martens of Y/Project is a virtuoso of distorting, elongating, deconstructing and, simply speaking, creating silhouettes that at the same time have a historical twist. Many of the spring-summer 2020 looks jumped in time: the 1890s black satin evening dress, the bustle now transplanted to the plunging décolleté; the 1930s lingerie boudoir slip, buttons slithering down on the bias, with lace trimming the bust; Belle Epoque velvets clashed with 2019’s love for exaggerated forms. Eveningwear is big this season at Y/Project, also because it brings a strong female sexuality. The daywear was classic Glenn Martens: a voluminous trench coat, a shirt-dress with an odd collar, a mint track-suit draped in a way that it looks couture.

Collage by Edward Kanarecki.

Sweet, Sweet Times. Paco Rabanne SS20

| Design & Culture by Ed

Nostalgia has conquered fashion, and nothing can be done about that. But some designers make it really, really joyous. Paco Rabanne‘s Julien Dossena is a great example. Since his last spring-summer collection for the brand, something finally clicked and the designer finally seems to be feeling more confident with his vision for the brand. Chain-mail dresses aren’t the sole focus. He looks at the Paco Rabanne heritage from another angle. “He was utopian, not dystopian”, Dossen says of Rabanne. The 1960s and 1970s, when Rabanne was the bright new thing, were times of limitless optimism in France and for the enviably stylish and beautiful people who were part of a generational awakening. Julien took 1970s pop and psychedelia under the lense, creating something carefree and fun. “A dreamer and a realist…symbols of naiveté rather than nihilism.” A big red heart was placed in the center of the bodice of the first dress he sent out, and repeated in men’s chain mail top in the finale. “To me, it’s about a kind of strength. Being proud of being nice and kind. It’s something that I value now,” said Dossena. “I don’t know if that makes sense visually, but it’s what I’ve been thinking about.” The puffed-sleeve lamé blouses and the skirts, and the mod pants suits (based on templates pioneered by Françoise Hardy and Prince) were the collection’s major highlights, just as the juicy Guy Bourdin colour palette. A standout piece? The patchworked leather jackets with rising sun and cosmic planet motifs. It’s a delightful line-up, which instantly lands on my ‘season’s favourite’ list. Also, this collection will sell like hot buns, I think.

Collage by Edward Kanarecki.

Simpler. Chloé SS20

| Design & Culture by Ed

It’s Natacha Ramsay-Levi’s fifth season at Chloé, and she decided on some changes. Less over-sophisticated details, boho prints and messy accessorising for spring-summer 2020. “I’m thinking of it as chapter two for myself. I’ve tried a lot of different things; I thought, let’s simplify – be honest and true.” While such approach results in less ‘show-stoppers’ for magazine editorials (and stuff that always ends up on heavy discount), this collection proved to be one of her strongest in a while. Where earlier Ramsay-Levi might have avoided familiar Chloé-isms, like the particular shade of creamy peach associated with the brand since Karl Lagerfeld’s days, here she used them a lot: the show ended with a pair of long, graceful pleated dresses in the color. Micro-floral-print frocks were styled unbuttoned and worn over a silk bra and trousers – the look had a romantic, vintage feel. Making things simpler really works from time to time.

Collage by Edward Kanarecki.

Smiley. Patou SS20

| Design & Culture by Ed

The last time Patou, the over 100 year old French maison founded by Jean Patou, hit the runway was in July 1986 during the Haute Couture presentations. The maison’s designer at that time was Christian Lacroix and, the day after the show, he resigned and established his own label with the financial support of Bernard Arnault. From then on, the brand became dormant, barely surviving through its cosmetics and fragrance businesses. It’s 2019, and the label is resurrected by the man who brought life back at Carven (it didn’t survive without his creative direction, as the latest news prove) and Nina Ricci: the extremely talented Guillaume Henry. And looking at his joyful debut, I doubt this project will either be a blow (Vionnet comes to my mind) or another exhausting French brand revival (Courrèges). The spring-summer 2020 look-book is a line-up full of beautiful, wearable, quintessentially French clothing that doesn’t fall into cliches. “Personally, I want to go back to dressing my friends,” he told the press. ”Patou was a couture house back in the day, so I want to keep that philosophy, with an atelier—but with reality.” What to love? The lace blouses and very French short navy A-line skirts, the bubble dress, or the chic-modern pink wide-leg trouser suit with a silk shirt with an extra long, trailing scarf-tie. Or it might be the neat, sporty sweaters with the original JP logo from the ’20s and lovely denim.The black coat with white lace collar and mis-matched buttons is another favourite. “It’s a friendly brand; I’m dressing real girls,” said Henry. ”I want it to have a smile and enthusiasm.” One more thing: the label plans to sell its high quality clothes at prices that are much more affordable comparing to other Paris-based luxury labels.

Collage by Edward Kanarecki.