Post-fashion-month, now there’s time to look closer at the labels that aren’t looking for fashion show spotlight. The Elder Statesman is one of my favourite labels that are under the radar and its spring-summer 2020 is all about good vibes (yes, really, I used this expression – but it matches the collection perfectly!). Greg Chait has turned The Elder Statesman into the coolest of cool and the luxe-est of luxe: the proof is in the many copycats of his tie-dye knitwear and slouchy casual spirit. For summer, Chait offers body-cropped hoodies, shirtdresses in woven, dyed jeans, and the mentioned tie-dye knits. Chait takes great pride in the cashmere, cotton, and wool blends he uses, many of which he develops himself with his team. These products are beautiful, but they are also made to wear and to be lived and loved in.
Collage by Edward Kanarecki.
100 ml of pure heaven. I’m talking about Little Flower, the perfume made in collaboration between Régime des Fleurs, the fragrance label founded in Los Angeles by Alia Raza and Ezra Woods, and Chloë Sevigny, the film and fashion icon. Little Flower is Régime des Fleurs’ provocative take on Sevigny’s favorite bloom – the rose. Dewy, romantic and fleshy, with a woody musk finish. With black tea, bleeding heart (it’s actually a flower name, but then… who knows?), blackcurrant bud, peony, palo santo incense, pomelo, honeysuckle and a precious Ottoman rose absolute. I love Chloë Sevigny, I love Régime des Fleurs, I love roses – so I’m dying to try this perfume out.
Chloë Sevigny photographed by Inez & Vinoodh and styled by Haley Wollens.
There’s quite a lot of The Row on the journal this week. Blame it on Ashley and Mary-Kate Olsen‘s universe, which is so, so… perfect. Their Los Angeles and New York stores aren’t any news, but posting about them is pure pleasure. Getting the details right is pretty much a full-time occupation for the Olsens. You know that from seeing their collections, for both, women and men. You realize it even more once you see (or are lucky enough to visit) their store interiors. In Los Angeles, the space unfolds at ground level in a personal, quiet way, where one minute you can’t tear your eyes away from a cashmere robe, only to have some exquisite chair begging for your attention the next. As Ashley put it in her own words for Vogue, “in Los Angeles, it’s all about mid-century homes and growing up, it was glass and water and trees.” They opened their second store in New York, the city where the designers are based. Having lived in New York now for 12 years, the Olsens wanted the store to very much feel like a home. Located in a townhouse, with a Jean Michel Basquiat canvas on the wall for instance, it’s a sort of dream-house filled with the finest garments. Induldge yourself in all this The Row goodness by scrolling down to the stores’ images…
8440 Melrose Place / Los Angeles
17 East 71st Street / New York
All photos courtesy of The Row.
Like other fashion shows presented in far flung destinations this month, Saint Laurent‘s spring-summer 2020 collection for the boys (and resort 2020 for the girls) had its ups and downs. Ups: the runway’s spectacular venue, which was an ebonized boardwalk runway atop a Malibu beach, against a stormy horizon. Keanu Reeves sat front row. Anthony Vaccarello‘s ideology behind the collection, which well related to Yves Saint Laurent. The starting point for the collection was Marrakech in the ’70s (Yves’ ultimate favourite place to visit) reimagined as 21st-century Los Angeles, a city that resides on Vaccarello’s own emotional landscape. While that’s some geographical leap, it’s not an unimaginable one; both locations have that certain bohemian, free-spirited, almost mystical escape. “You come to L.A. for vacation,” Vaccarello said. “You can disconnect from the rest of the world.” And finally, Mick Jagger. The Rolling Stones musician gave Vaccarello access to his vintage Saint Laurent, for inspiration. Yes, it all sounds dreamy. But again, the problem of clothes hits – they seem to lose their priority in such events. Except for the abrupt comeback of super-wide, super-fluid pants (in gauzy knit or a crushed pleated silk), billowing and flowing from a high and often belted waist, there was barely anything exciting about this rock & roll-ish wardrobe. It all was a remake of Hedi Slimane-era YSL. And I guess you really need that Malibu heat to grasp the essence of this collection, and not only the imagery.
Collage by Edward Kanarecki.