Collections

Naturalness. Margaret Howell SS20

| Design & Culture by Ed

I feel like a dummy, because until this season, I’ve never really taken a serious look at Margaret Howell‘s fashion. Actually, I don’t think the designer calls her work ‘fashion’: it’s far, far from disposability and every season newness. The London-based label’s unfussy, quiet way of being is as charming, as the clothes it produces. The spring-summer 2020 is a classical Margaret Howell line-up: utilitarian, tailored, minimal, but not austere. The loosely-fitted, short-sleeved shirt-dress (that came in different colours and a Lucienne Day graphic pattern) is one of the very few pieces I’ve seen this season that instantly becomes the fine thing to really invest in. Suiting, with higher buttoning, looser cut jackets worn with tapering trousers tucked into slouchy socks and flat leather sandals, other times collared shirts atop Bermuda shorts. Everything kept in a beautiful, warm, earthy colour palette. It’s a yes, yes, yes!

Collage by Edward Kanarecki.

Tulle, Knits and Love. Molly Goddard SS20

| Design & Culture by Ed

Hello London! And again, I’m in love with Molly Goddard. Even though her spring-summer 2020 collection is all about her well-known signatures – dresses made of acres of tulle and delightful colour palette consisting of candy pink, lettuce green and bold blue – there’s a certain factor behind Goddard’s style that never gets boring. Her fashion is not about being precious or pristine. Those looks are made for summer picnics, outdoor walks, brunches with your friends… also, I’m really obsessed with Molly’s expanding selection of knits. The ribbed sweaters with big bows and ties at the shoulder are so good. And there’s nothing better than a classical black cardigan and a voluminous, sheer skirt in coral.

Collage by Edward Kanarecki.

The King of New York. Marc Jacobs SS20

| Design & Culture by Ed

Traditionally, Marc Jacobs’ collection was the grand finale of New York Fashion Week. In a completely empty space, with different vintage chairs (painted white) standing in the middle as the guest seatings, a flock of paradise creatures emerged out of one side of the Park Avenue Armory, went across the audience, and disappeared. And then they came back, one by one, dancing and twirling according to Stephen Galloway’s choreography. A maxi velvet dress in orange, emberoidered with hippy florals; granny-ish knits with cats and kitschy landscapes; floor-sweeping gowns made for spectacular, late night dancing; patchworked denim flares; knitted mini-dresses that make you think of Quentin Tarantino’s Once Upon a Time in Hollywood and Margot Robbie’s Sharon Tate wardrobe; old school rockstar wife look as seen on Bella Hadid; another gorgeous ball dress and Savile Row-esque pantsuit… Describing each look in the collection is a non-sense, because they should all be seen. This was one of Jacobs’ most optimistic collections ever, full of dreams and emotions, love and happiness. For spring-summer 2020, the 60s, 70s and 80s were mixed and fused with Marc’s most beloved personalities and their bodies of work: think Yves Saint Laurent, Karl Lagerfelfd, Shelley Duvall, Anita Pallenberg and Marina Schiano. But simultaneously, it all feels… Marc. One more thing that should be praised in this line-up: it’s a mindful balance of wearable pieces that will actually sell in stores, and delightful fantasy. This is what the designer struggled with for the last few years. And he finally overcame it. Marc continues to be the ultimate king of NYFW. Dream a little dream of me…

Collage by Edward Kanarecki.

The Law of Batsheva. Batsheva SS20

| Design & Culture by Ed

Within just a couple of seasons, a Batsheva dress became a classic in New York. No wonder why: her signature prairie dresses, often made out of vintage textiles, are comfortable, flattering and the wearer never really has to think how to wear it: they work with everything. Batshave Hay‘s spring-summer 2020 show at the New York Law School (fun fact: before starting her label at home, Batsheva was a lawyer) was an actual lecture. Jamieson Webster (a psychoanalyst), Chiara Bottici (a philosopher) and Melissa Ragona (an art historian and theorist), three academics in three diverse fields, engaged critically with Batsheva’s newest collection, while models walked through a lecture hall. Writer and podcaster Aminatou Sow introduced and moderated the panel. “They make me feel like a pioneer woman who can’t be fucked with,” Sow said of Batsheva’s garments. The lecture was called “Neck, Wrist, and Ankle: Recurrence in Batsheva’s Clothing” and each speaker presented her essay accompanied by a PowerPoint presentation of pertinent details and helpful quotes. Hay’s panel of critics laid out lots of excellent points, including a description of her clothing as “defense of the tender areas of the body”. Fashion being intellectual is a rare, but great sight. Especially, when the clothes keep up with the theory. The prairie dress was present in the line-up for a few times, in tiny florals, polka-dots and print patchwork, but there were also some new additions: blazers with big, Victorian shoulders (speaking of the Victorian topic, the ‘Victorian Secret’ pun on the finale dress was brilliant, by the way), a ruffled day dress in a red zebra pattern and gorgeous shoes made in collaboration with Brother Vellies.

Collage by Edward Kanarecki.

Old Classics. Proenza Schouler SS20

| Design & Culture by Ed

While a less sophisticated collection from Eckhaus Latta feels right once in a while, Proenza Schouler’s new season offering again misses something that used to make the label so in-demand. Lazaro Hernandez and Jack McCollough are very good at tailoring, and even better at cutting a fluid-y, silk dress (the printed one worn by Adut Akech is the biggest highlight of the collection). But in the sea of great blazers and dresses we’ve seen last season and again this season in New York, this doesn’t make Proenza stand out. It seems to me that the Proenza Schouler identity is gradually getting blurrier and less distinctive. Not that the spring-summer 2020 collection is bad: it has lots of classics, like an over-sized coat or an XXL shoulder bag. However, those clothes don’t spark any feelings in me. Where’s the bolder, art-ier Proenza Schouler? Hope it will come back soon.

Collage by Edward Kanarecki.