Tangible Form. Quira AW22

April 19, 2022 | Design & Culture by Ed

Veronica Leoni follows an instinctual approach to design. Her way with fashion is thoughtfully raw, direct and soulful – spontaneity is her signature. Quira, the Milan-based label, is Leoni’s solo endeavor, named after her seamstress grandmother, Quirina. The spontaneous urge of the project is sealed with a family tie, and a sentimental value is woven to the background. Quirina was the reason why Veronica Leoni’s path started. The brand captures that ever-present idea into tangible form. The autumn-winter 2022 line-up – Quira’s second collection – is lensed by Paul Kooiker and features the amazing Guinevere Van Seenus. Voluminous cocoon dresses worn over slouchy pants; thick knits in bold colours and fluffy textures you want to touch and feel; flowing, light pleats contrasted with chunky clogs (or rubber boots); draped capes layered on top of masculine tailoring and crisp cotton shirts. That’s a lot to love. But this isn’t the first time you see Leoni’s hand in fashion. Two work experiences fine tuned the designer’s aesthetic sense: first she acted as head designer of knitwear at Jil Sander, under Sander herself. After that, Leoni was head of pre-collection at Céline for four years under Phoebe Philo (well, now we know why Quira feels so good). Today she is the creative director of womenswear at 2 Moncler 1952. Milan is gradually becoming a hub for new-gen designers, and Quira is a very promising addittion!

Collage by Edward Kanarecki.

Vibrant Vibes. The Elder Statesman AW22

April 17, 2022 | Design & Culture by Ed

Happy Easter! Here’s a beautiful treat: The Elder Statesman‘s vibrant autumn-winter 2022 look-book. This season, Los Angeles-based label’s creative director, Bailey Hunter, rang up her friends in Jamaica and gave them the keys to the castle. In collaboration with Savannah Baker, the collection’s photos and film were shot around Portland, Jamaica, and include jacquards and intarsias created by Baker’s niece, the British-Jamaican artist Kione Grandison. Good vibes abound. With each year, founder Greg Chait reports business going better and better and better, and with each season the brand opens the door to new ideas and techniques. Coats are made from an Italian woven hand whipstitched in Los Angeles. Post-consumer recycled-cashmere button-downs are hand dyed in the brand’s expansive L.A. H.Q. A new corduroy program, made from Italian cashmere, brings the label beyond sweaters and into one-of-a-kind tie-dye separates. Elsewhere the dyes have no ties at all – and there is experimentation in new ways to create print and texture on the sweaters. Even the abstracted checkerboard patterns and amoeba-like dyes – both executed in previous seasons – feel new and exciting. And that’s a big statement for a mostly knitwear brand.

Collage by Edward Kanarecki.

Oomphy Glam. Ashish AW22

April 15, 2022April 16, 2022 | Design & Culture by Ed

For 20 years Ashish Gupta has created joyously ironic garments that are highly compatible with pleasure. And by developing his pieces in sequins via Indian handcraft rather than pixels via code, these garments command real-life attention on multiple levels. For autumn-winter 2022, Ashish is offering what appears to be uncomplicatedly oomphy womenswear. Halston-reminiscent bias cut slip and halter dresses, the Edith Head–evocative goddess gown shot by the fireplace, and the vaguely-Valentino ruffle mini are as exacting to craft as they are apparently enchanting to wear. Sprinkled around these conventionally glamorous shapes worn unconventionally were denim, separates, and swimwear, plus a powerful fringe bomber jacket that lent this collection enough versatility be worn anywhere from evening reception to all-night rave. With Ashish, the real decoding lies in the pattern. This season he went back to one of his most enduring inspirations, the intersection of modes of dress he observed on the street in Delhi before he set off for London and Central Saint Martins. “In winter you will see Indian ladies in their silk saris, and then putting over a little Fair Isle cardigan – saris meet Scotland.” This became the launchpad for a seasonal in-sequin-remix of ikats, stripes, argyles, and houndstooth (some cherry-strewn) that spoke directly to the spirit of cross-cultural relish that is central to Ashish. That fireplace dress was cut to evoke the sari as much as it was to conjure mid-century glamour. A sequin cricket jumper spoke of another shared language, and a Chanel-template jacket and mini dress were emphatically anti-monochromatic. While Ashish talked about these elements “clashing together,” that clashing was anything but antagonistic; instead it proved the source for some sparklingly fresh and fun fashion harmonies.

Collage by Edward Kanarecki.

Mother To Be. Di Petsa AW22

April 13, 2022 | Design & Culture by Ed

Dimitra Petsa’s sensual clothing is all about the female form, and rather than change her ideas for the seasons of the year, she changes her design tack to better suit the seasons of a woman’s life. Pregnancy and all its stages was her inspiration for autumn-winter 2022, specifically the myth of Persephone and the relationship between a mother and daughter. “When she was with her mother, Demeter, she was a daughter,” Petsa says, “but when she was in the underworld she was a queen.” That spooky regality plays well with Di Petsa’s aesthetic, her sensual sirens slinking about in wet look dresses and revealing corsetry. But for every exciting aesthetic note Petsa hits she is also a designer who truly considers and cares for a woman’s body. This season the vast majority of the collection is designed to be worn during and after pregnancy. Corsets and trousers unclasp at the nipple and the waist to allow for breastfeeding or a growing mid-section, and most tops are structured to work for Hot Girl Summer or New Mom Spring, with straps, folds, and drapery built in to work for breastfeeding. “I am so interested in the way a woman’s body inflates and deflates, I really wanted to have clothes that accommodate these changes,” she says. But for every smart and gracious choice she makes to accommodate a woman’s life, she is also thinking about the environment and protecting traditions. Her materials are mostly dead stock or recycled and she engaged Greece’s oldest pleating studio to make a new kind of long slinky Fortuny pleat à la Petsa. For a designer with such a specific taste, her collection has the potential to break boundaries about what clothing can do and how it should be made. Rihanna, who has us in awe with her revolutionary pregnancy style since January, should definitely go for one of Petsa’s designs during her due date!

Collage by Edward Kanarecki.

Witchy & Whimsy. Anna Sui AW98

April 10, 2022April 10, 2022 | Design & Culture by Ed

Anna Sui‘s charming 1990s and early 2000s collections made the kids who these days love and embrace the arty-crafty, slightly goofy, very witchy, highly whimsical aesthetic – which got additionally intensified by such it-girls like Ella Emhoff and, of course, the power of TikTok. The autumn-winter 1998 line-up by Sui seems to capture all things which are suddenly (re)loved in 2022. The collection was inspired by fairy tales, but also nodded to all the great illustrators of the 1900s. At the time, the designer had seen an exhibition in London about the Victorian fairy tale illustrators that included Arthur Rackham and Kay Nielsen. “It was the most incredible and really moving exhibition that I had seen in a long time, and I just kept looking at those pictures, so then I thought, OK, I’ll do a collection like that“, she recalls to Vogue. The runway looks were all like a kid’s version of dress-up – “with the cowboy with the big badge, and oversized hat, and chaps that were all studded” – as if you were taking stuff out of the trunk and putting it on. All the animal hats and everything came from looking at Walter Crane drawings of frogs and bears. “I just thought it’d be really fun to do it almost from a kid’s perspective and make those into faux fur hats, so I called the milliner James Coviello and said, ‘We have to make these teddy bear hats.’ And I showed him a picture of one of the girl bands at the time that had knocked the stuffing out of a stuffed bear and made a hat out of it. I said, ‘Let’s do a fairy-tale version of this.’” And then, with Erickson Beamon, Anna came up with the crowns, which became instant hits. In the collection, there was also a whole series of the fairy-tale princess looks. “I just loved the frosted velvet that we made all those dresses out of. It was a stretch velvet in these frosted colors and then we trimmed everything with faux fur. There was a lot of it throughout the collection. The show opened with those black and ginger folkloric dresses trimmed with faux fur fringes. And then we did inside out faux fur, like there’s that jacket that Amber Valletta’s wearing, which we trimmed like Lapland clothes.” Looking at the collection today, it just feels so amazingly dreamy and so, so desirable. Every single look is relevant – especially in contemporary times where all aesthetics and subcultures become one big, eclectic melting pot.