So Luxe. Givenchy Resort 2019

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It took me a while to fall in love with Clare Waight Keller‘s refined vision at Givenchy, true. But her resort 2019 collection is fire in terms of both, womenswear and menswear. That luxe feeling behind the faux fur coat, slouched boots and kimono-inspired varsity jackets is nothing ground-breaking, yes, but the effect is sublime. Clare delivers classical elegance, which feels both contemporary (satin hoodies there, slouch pants there) and true to the house’s heritage simultaneously. That black & white mini-dress is quintessentially Hubert De Givenchy. Shortly, that’s a delightful set of looks, styled by the greatest Suzanne Koller. I actually can’t wait what Waight Keller plans for the main collection – a tribute to the late founder of the house is probably in progress.

Collage by Edward Kanarecki.

Consolidated. Balenciaga Pre-Fall 2018

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Looking at Demna Gvasalia‘ pre-fall 2018 collection for Balenciaga, it’s quite clear that the designer has fully consolidated his persona into the maison. To such extent, that within his five seasons at the brand he has established cult pieces and cult vibe (like the spandex pantashoes, the Knife mule, the tea-dress, THAT “messy” look). Also, wherever you look, Balenciaga is an international top-seller. But once you take a peek at Gvasalia’s past approach towards fashion (that made everyone feel obsessed with him and his Vetements pals), and see what’s at Balenciaga now, I guess the ‘bad guy’ of fashion dramatically became a success story of the big luxury corporation, Kering. I know a pre-collection should sell, but right now it’s just about flipping prints and switching one neon colour for another. The spark that used to be there with every Balenciaga collection by Gvasalia, even the commercial ones, has gone. Let’s hope it’s a temporary phase…

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Collage by Edward Kanarecki.

New York. Prada Resort 2019

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So, resort 2019 season has started. After a very tedious show Chanel staged in Paris a few days ago (that ship standing in the middle…), Prada‘s collection in New York makes a bit more sense. The MET is just around the corner; the company tries to re-enter the U.S. market with a boom – all of that is quite understandable. Miuccia Prada went for her archives (again), giving us some 90s feels. Her famous ‘ugly print’ from the time was all over the mini-skirts and dresses, while the ‘I don’t care much’ attitude of the decade was perceived. Even, if at some points it all felt forced. Other than the bucket hats and padded trappers, I just don’t understand the impact of this outing. Well, maybe seeing a bit more of Prada on Instagram was the entire point (plus the few-minutes long Times Square livestream that surely had all New York eyes watching).

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Collage by Edward Kanarecki.

Last. Céline Pre-Fall 2018

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Yes, it’s the sad truth. Phoebe Philo‘s pre-fall 2018 really is the last collection for Céline. And, once you calm down after a minute (or two), let the tears dry, face it – this collection is a gift that keeps on giving. I think I’ve went through the images dozens of times by now and I constantly discover something new, something completely fresh, something only Philo could do. As Sarah Mower wrote for Vogue, it’s a collection of “souvenirs”, collectibles to wear and adore in memory of Philo’s Céline era. Those wool ponchos; heavy rubber boots; Margiela-esque duvet coats; the white fur coat with an equally fur belt;  simple, Katharine-Hepburn-would-approve blazers. The spontaneous shots of Binx Walton, Jess Cole, Karolin Wolter and Maggie Maurer (all the beloved Céline girls) by Juergen Teller get me freaking excited as well. That’s a very, very precious fashion moment to me. And I really can’t wait to see and get hold of some of these pieces once they hit the stores this summer.

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Sportswear is basic, I know. But the burgundy track suit can’t be ignored.

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Also, I’ve realised Juergen Teller wore this fur coat to his latest shoot for Pop Magazine.

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That. Look. In. The. Middle. I can’t.

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Well, that’s all. All good things come to an end, even if we don’t want to end.

All collages by Edward Kanarecki.