Collections

A Fine Edit. Victoria Beckham AW21

| Design & Culture by Ed

It’s the official start of fashion month, which of course won’t be the usual, hectic marathon we know from the pre-COVID times. Look-books and videos are here to stay, and much less brands will show in the traditional schedule. New York Fashion Week is having a hard time, cropped down to just two days. Many designers are reflecting on the way they used to work and put sustainability as their main priority. Victoria Beckham‘s autumn-winter 2021 is a fine edit of both pre- and main collection. It’s all about unmistakable wardrobe essentials with versatile intentions – meaning easy day-to-night transition pieces. After the financial shockwaves of the epidemic, this season marked Beckham’s pared-down foot forward in general. “I sell clothes,” Beckham told Vogue. “I don’t sell so many shoes and bags that my collections are just about ticking a fashion box. They’re about creating clothes that people want to wear and can really wear. That’s why commerciality is not a swear word to me.” The look-book she released today demonstrated what a consolidated Victoria Beckham woman looks like. Rather than introducing new complex cuts or ambitious experimentation, familiar VB garments bore testimony to a certain studiousness: they’ve been simplified and perfected. Prairie and flapper dresses were streamlined, her slinky long-sleeved everyday dresses were recut for a t-shirt-like ease, and tailoring looked as optimized for comfort as it must have felt. For anyone hankering for more bling-bling, there were those knee-high silver sparkle boots and some rather subversive floral prints. In one instance, the latter clashed in a mad floaty dress that evoked some of Beckham’s more directional collections. “We never want anything to be boring,” as she put it. The morale of this collection is that less is more, if the quality and design is at its best. “People ask me if I think people will buy less when we come out of lockdown, and I hope they will! We want to sell clothes, don’t get me wrong, but I hope people will want to invest in pieces they really want to wear. Buy a piece and get your wear out of it. Don’t just buy it for one season,” Beckham concluded.

“Live” collage by Edward Kanarecki.

Wild Horses & The Sea. Chloé SS01

| Design & Culture by Ed

In the yesterday’s Insta-episode of “Never Worns” by Liana Satenstein (I highly recommend following her @schmattashrink!), she talked to journalist and fashion critic Alexadner Fury about his museum-worthy archive collection, and vintage trends that might be big soon. He mentioned Stella McCartney’s Chloé as a fashion moment that just waits to become sought-after on the market. I personally love Stella’s era at the French brand from the early 2000s, and I wish she did more of that carefree, sexy, trippy thing at her brand now. So, 20 years ago, the designer certainly did not disappoint her legions of fabulous young fans. For spring-summer 2001 season, in addition to delivering sexy new T-shirts and plunging bathing suits (with playful pineapple motifs – this sent shock-waves in Paris that day and eventually ended up being a feminist moment), McCartney explored grown-up territory, of course according to her signature princess-at-a-party style. Perhaps drawing inspiration from Elsa Schiaparelli’s inventive chic, McCartney worked graphic horse prints (borrowed from Stubbs and Géricault) into loosely structured diagonal-seam dresses and beautiful jackets with a softly draped triangle shoulder. Skirts were long and relaxed, perfect when paired with lightweight, flouncy off-the shoulder tops. Wide-brim hats and dainty pillboxes with a tulle overlay gave the look a touch of ’30s sophistication. More casual pieces included sexy jeans with zipper pockets and metallic horses galloping along the backside, and a T-shirt with strategically placed banana appliqués in the front and the words “Keep your bananas off my melons” in the back. This was one of the most memorable Stella-at-Chloé collections and one that confirmed her talent and potential as a major designer. I feel like those are clothes we want to see, love and wear in 2021 (or in post-COVID era that will eventually arrive, right?). Slightly hedonistic, beach-perfect, wild like a graceful mustang and simply sparking joy.

“Live” collage by Edward Kanarecki.

Classics. Alaïa AW21

| Design & Culture by Ed

Azzedine Alaïa‘s studio team respects the late monsieur’s aesthetic, techniques and silhouettes, and keeps on working with well-known codes of the maison. The brand consistently evolves, mostly in peace and silence (the rumours of big-name designer appointments are just rumours). Given Alaïa’s decades-old archive of tens of thousands of prototypes, patterns, samples, and unfinished ideas, it’s amazing the house manages to edit down about 40 pieces for the seasonal Editions line. “It’s difficult and horribly frustrating because every time I go through [it, I] see so many pieces I know and love,” explained the house’s Heritage and Editions director Caroline Fabre Bazin. Ultimately, she and Alaïa CEO Myriam Serrano decided to focus on pieces they see as “important for the house, important in the history of fashion, that also speak of technique and timelessness.” Alaïa followers will recognize such iconic designs as the body-con black dress with a wraparound zip, now in long and short versions. They may also recall the intricacy of a coat held together with a technique the designer extrapolated from woodworking and transposed onto leather for a coat from 2006. Called charnière, the French word for hinge, it involves interlacing leather seams by hand in lieu of stitching. A rose-beige knit dress recalls the time a supplier turned up to show Monsieur Alaïa new lacelike techniques; he took them all and used them together for a corset dress. Elsewhere, a wool that was accidentally overboiled became a mesh-like coat, and entered into the house lexicon. Every piece has not just a date, but also a backstory. Autumn-winter 2021 revisits house techniques in new treatments and combinations that sometimes rival couture-level craftsmanship. Fragility and strength meet on a tiered lace dress with a charnière construction on the neckline, waist, and skirt. African inspirations inform the weave of a graceful skirt in russet, beige, and black; the skater skirt is revisited in a sculptural Japanese fabric, and a white skirt picks up on origami techniques. Laser-cut leather features a new style of perforation named for Sidi Bou Said, Alaïa’s Tunisian hometown and final resting place. The snow white sheepskin jacket embroidered with arabesques is a showstopper. Classics that never get boring.

Collage by Edward Kanarecki.

His & Hers. The Row AW21

| Design & Culture by Ed

Seeing both The Row womenswear and menswear in one collection makes so much sense. Ashley and Mary-Kate Olsens‘ autumn-winter 2021 collection is like the full picture of their luxe minimalism world, now shared by her and him. The designers decided to modify their showing schedule, skipping New York Fashion Week altogether and showing in January and June. One of the reasons is logistics and sustainability. Both the women’s and men’s collections are rooted in minimal tailoring and they share materials across them; these include the double-felted wool of outerwear, wool flannel for suits, and a textural knit that they call fur cashmere, all of them subtly luxurious. Of course, the collection is delightful – and feels like detoxicating palette cleanse after all the couture fantasy we’ve experienced last week. Their autumn suiting is strong across both genders. The women’s jackets come with removable shoulder pads, as does a mock-neck, midi-length cashmere dress. Alongside the tailoring, they showed wrapped shapes, emphasizing comfort and warmth. A male model looks practically cocooned in a three-piece fur cashmere set. Amid the oversized proportions and the swaddled forms, a button-down with short three-quarter-length sleeves worn with washed linen wool pants that taper at the ankles stands out. On the accessories front sturdy burnished-leather rain boots in a range of lengths look like top sellers in the making. They’ve also added a nylon tote to their handbag offering. Comfort and practicality have become important talking points in the last year as the pandemic has impacted the industry in so many ways. The Olsens are taking on those conversations – and the one about collection timing, too – but they’re doing so in their usual elegant, refined way.

Collage by Edward Kanarecki.

Power Move. Area Couture SS21

| Design & Culture by Ed

You really couldn’t wish for a better ending of an incredible (digital) haute couture week. Saying that this was Area‘s debut couture collection is quite a false statement, since each collection coming from New York-based Piotrek Panszczyk and Beckett Fogg is a couture-level fantasy. The designers ditched the spring-summer 2021 ready-to-wear schedule, making a bold power move not only for themselves, but for American fashion (same can be said of Schiaparelli’s Daniel Roseberry!). Area’s bold 14-look couture collection showcases their range of talent (think showgirl crystals and outlandish silhouettes combined with technically ambitious tailoring), and their lookbook, which stars Precious Lee and Yasmin Wijnaldum, is a sort of statement of intent. This is most certainly not old-world couture, with its strictly sample size casting. “Difference for us is a positive thing,” Fogg told Vogue. Lee opens the lookbook in a black smoking, featuring extravagant metalwork trimming the cuffs. The designers, who are catholic in their references, said they were looking at the coin embroideries of Berber peoples for the jacket’s embellishments, as well as for a pair of delicate and quite dreamy dresses made from thousands of individually hand-finished circles of organza. The rib cage pieces, embroidered with Swarovski crystals in India and assembled in New York, look destined for the Grammys or concert stages, once IRL events ramp back up again. Cake dresses whose tiers are fashioned from duchesse satin fully panniered in tulle do take their cues, Panszczyk said, from the couture of Emanuel Ungaro, Yves Saint Laurent and Cristobal Balenciaga, but the Area designers constructed them so they are open on one side. Wijnaldum flashes skin from her shoulders to the crystal-encrusted tops of the black leather platform clogs that Area will be selling with their third ready-to-wear drop later this year. This couture season has shown us that some of the designers are ready to challenge the system and are capable of reflecting the times we are living in. But seeing the new generation taking couture to new dimensions and redefining it is what I’m looking forward to the most!

“Live” collage by Edward Kanarecki.