New Elegance. Dries Van Noten SS19

“A gesture of couture, but not in a retro way—the way she stands, holds her bag, all these things,” is how Dries Van Noten explained the modern elegance he presented in his spring-summer 2019 collection. A sheer top with yellow sequins that from distance looked like canary feathers; impressive, beaded mesh work that topped white, crisp shirts; evening-wear that looked like patched out of silk foulards. The Belgian designer as well played with draping, ending up with a grown-up offer of chic business-wear. Some sort of street attitude was delivered in form of colourful, PVC coats. This was Van Noten’s best collection since his much celebrated 100th show – all the garments, playful and all, looked like they are absolutely ready to be worn on the daily basis. Well, maybe the colourful feather headdresses would be a hard bit to repeat at home. But on the runway, it looked sublime.

Collage by Edward Kanarecki.

Down The Boulevard. Saint Laurent SS19

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Saint Laurent by Anthony Vaccarello. This season, it dangerously reminded you of Hedi Slimane’s YSL era, though – that LA, grungy-sultry look highlighted with extreme platform heels and lots of body exposure. Even the fake white palms standing in front of the water-filled runway (with a view at Eiffel Tower, of course) had a lot to say about Vaccarello’s current, American obsession. But other than the Hedi looks, we had a nearly all-black line-up, featuring completely sheer dresses and bathing suits. The leopard spots were very Yves as well, but made you think of another designer-predecessor of Vaccarello – Tom Ford. Where’s Anthony in all that? Well, his aesthetic is the love child of all Saint Laurent designers, whether you like it or not. Personally, I wasn’t thrilled with the collection, at all.

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Collage by Edward Kanarecki.

It’s Diversity. Koché SS19

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Christelle Kocher, just like Marine Serre, likes to keep her fashion one-of-a-kind, but suited for real life. With the designer’s signature streetwear aesthetic, Koché is the brand that makes sweatpants and hoodies in the most couture way you can imagine – think meticulous embroideries and extraordinary fabric clashes. Kocher’s spring-summer 2019 instantly reminded me of Jean Paul Gaultier’s 1994 collection, so the at-the-time controversial Les Tatouages. Just like in Gaultier’s ‘startling vision of cross-cultural harmony‘, Christelle mixed and fused cultures and ethnicities in her collection, creating a wearable ode to style diversity. There were some very literal references to Jean Paul’s collection (hopefully credited), like the tattoo motif on transparent tops. Also, I noticed some old, good Yves Saint Laurent chic here too – see the le smoking look, styled with a red flower necklace. But mostly, the collection was quintessentially Koché – easy in approach and comfortable.

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Collage by Edward Kanarecki.