Author: Design & Culture by Ed
Real. Proenza Schouler SS19
Similar to Rodarte, Proenza Schouler returned to New York fashion week after a stint in Paris. Jack McCollough and Lazaro Hernandez immediately switched everything, from sensibility to the production of the new season clothing. No more feathers, meticulous embroideries and laborious craftsmanship. The feeling is New York, not Paris. Real, laid back. And that’s something that works for Proenza Schouler best. Even though I loved their last two collections they did in Europe, it was quite perceivable that the ‘prestige’ surrounding the French capital might not entirely be their cup of tea.
Their collection happens to be one of my favourites from what we’ve seen up to date in New York. First, the simplicity: most of the pieces were made in either cotton or denim. This also means that the price point will be much lower than the current collection that’s in stores. Military-style jacket with a high collar looked so good with wide-leg trousers, and a drop-waist dress in bleached denim is exactly what every summer wardrobe needs. The over-sized, tie-dyed shirts with random snapshot of New York had that art gallery feeling I always adored in Proenza Schouler, New Yorker mode. Oh, the bags. The bags! So big and comfortable. Perfect. I bet that from all the brands that show in New York this season, Proenza Schouler might expect the biggest success in retail. And not because of some shallow ‘fashion’, but well-made, contemporary-looking clothes women will wear everyday, for different occasions. That’s actually the core of the brand since it’s first days – to deliver remarkable, sort of edgy styles to intelligent, self-aware females.
Collage by Edward Kanarecki.
Heavenly. The Row SS19
No fashion show this time, but a peaceful, tranquil showroom presentation accompanied with a look-book starring Saskia De Brauw. That’s how Ashley and Mary-Kate Olsen reply to New York’s fashion week fuss. Oh, the clothes. The Row is heavenly. Majestic. Angelic. But don’t think of any opulent embroideries or ornamental details, no. Rather, a voluminous dove-gray silk dress. Tweedy coat with the frayed edges. Robe-like gowns with regally upturned collars. All hand-made, kept in the highest possible quality of craftsmanship. Those garments don’t look still and statuesque, but flowing. I’m absolutely in love with this one look where a huge bag works as layer of clothing worn over a minimal, sleeveless dress. Editors tend to say that clients who adored Phoebe Philo’s Céline should go to The Row. Well, I wouldn’t go that path of logic. The Olsen twins gradually create their own vocabulary, that is less and less Philo-esque. They finally create distinct clothing that speaks for itself; it says ‘The Row’, not ‘Philo appreciation sample’. Also, a big shoutout to The Row’s new menswear line that launches in October. Mostly with a Made in Japan tag, the men’s garments (just a few preview images were released) will be as exquisite as the women’s. The price range, that starts from $4,000, speaks for itself as well.
Collages by Edward Kanarecki.
What’s Hot (14.9.18)
Day Dream. Rodarte SS19
Kate and Laura Mulleavy are back on the New York fashion week schedule for good (after a stint in Paris and look-book presentation). And for their comeback show, the Rodarte designers chose the New York City Marble Cemetery, which appeared to be a perfect backdrop for the ethereal, fairy-tale, yet somehow supernatural collection. No mourning widows here, but a line-up of dramatic, eye-popping ball gowns made of tulle, crotchet, ruffled leather and lace. To be precise, this was a classic Rodarte collection, over-the-top and completely uncommercial. Some of the ‘bridal’ gowns were even too much, with all the floral embroideries and heavy shoulder meringues. ‘Romance’, ‘decadence’ and ‘daydreaming’ are easily coined while browsing the collection. Yes, those are alien terms that are growingly uncommon in New York, but alive for Rodarte (and the pack of actresses who fancy their dresses for the red carpet events). But, in a way, this season’s excess felt exhausting and unfocused. Noting the amount of work needed to make at least one of those dresses, I can’t help but have this sense of unneeded… exaggeration. Still, I’m glad to see the sisters supporting the NYFW calendar again.
Collage by Edward Kanarecki.
Design & Culture by Ed 