Out Of Town. Burberry Resort 2024

June 30, 2023 | Design & Culture by Ed

Daniel Lee‘s era at Burberry is taking shape. In his debut, Britishness and the emphasis on the outdoor-wear were the biggest take-aways. In his second collection – resort 2024 – these ideas are further developed. I’m stuck with the same impression as back in February: the offering is good, but… I’m not shook. It seems that Lee’s Burberry will be much safer in fashion-wise terms, comparing to his time at Bottega Veneta. The latest line-up is a mix of “proper” looking clothes with a touch of Philo-isms (Lee worked under Phoebe at Céline; the silk foulard look in swan print is a clear signifier of that) and accessory tricks he mastered to perfection at Bottega (the big, chunky boots are back). The faux-fur trapper hat is still hot, even though we’ve seen it on the runway debut. Probably the most interesting thing about the collection is what the designer did with Prince of Wales check. He morphed it into something sophisticated but just a little weird: traditional at the top, but warping downwards into digital-age waves. Below that, tights that take up the same pattern. And on the feet, a slew of the kind of footwear that engendered fanatical enthusiasm from Lee’s followers at Bottega. The designer talked about establishing “an outdoor and outerwear” feel for this collection. That’s Burberry-central, of course – windswept moors, rain coats, quilted jackets, and all that. Playing around with Burberry checks comes with the territory. The landscape and culture are first nature to this Yorkshire-born designer, meaning he’s no need to ladle on the references with a heavy hand. One of his English country-walk tropes turned into a delightful lattice-work of yellow dandelion flowers printed on dresses in a pattern mimicking a traditional argyle.

Collage by Edward Kanarecki.
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All The Beauty and The Bloodshed. Christopher Kane Resort 2024

June 22, 2023 | Design & Culture by Ed

Yesterday’s news of Christopher Kane entering administration and considering selling his namesake label make you realize that in this industry, truly inventive creatives have to struggle, while others get unlimited budgets and press just… because. It’s no news that running an independent creative fashion label in London is practically impossible, but the vision of Kane exiting fashion is just heartbreaking. His knack for wickedly original, sometimes even disturbing pairings of strange materials and references has earned him a reputation of a playful conjurer who with grace combines non-obvious sexiness with contemporary chic. Hopefully, the designer will find a financial solution similar to Roland Mouret, another significant London-based designer, and will continue designing under his own name with new, supportive partners behind his back.

If resort 2024 is actually the last Christopher Kane collection we will ever see, then it’s exemplary of the designer’s unique fashion vocabulary. This line-up is packed with chic-funny-simple evening ideas that look like a joy to wear. Should you detect a ’50s/’80s post-punk New Wave-ish vibe coming off it, you’re not wrong. As ever, behind every brilliant Christopher Kane party-trick, there lies something darker. This time, Christopher and his sister, Tammy, had been watching All the Beauty and the Bloodshed, the documentary about Nan Goldin that weaves her groundbreaking ’70s and ’80s photography into footage of her campaign of protest against the Sackler family’s sponsorship of major museums and galleries (The Sacklers own Purdue Pharma, a pharmaceutical company whose main drug is the opioid Oxycontin). It struck them that the connection between the forces of super-wealth at one end of society, and the most deprived at the other were stingingly present – in the clothes. It was the sight of the cocktail dresses, lingerie, and scrappy gowns worn by Goldin’s penniless junkie LGBTQ friends that resonated. “The reason they looked so amazing in their poverty is that they were wearing second-hand and discarded clothes thrown out by the wealthy – couture, designer clothes from the ’40s and ’50s”. For them, that fit with their childhood and teenage memories of seeing the deprivation of communities in the post-industrial Glaswegian conurbation they grew up amongst. It took them back to remembering the glamour of the neatly-dressed barmaids serving in Working Men’s Clubs in the mid-to-late ’80s—another source for the sexy synthetic fitted dresses they conspired on in this collection. The subversive references they use aren’t at all visible, of course. What Kane always does is to turn the brew of associations into relevant fashion. Really, not many contemporary designers have that skill.

Community. Martine Rose SS24

June 13, 2023 | Design & Culture by Ed

The spring-summer 2024 menswear fashion month has kicked off with Martine Rose‘s dynamic fashion show in London. “Before there were actual club venues as such, people from so many communities co-opted community centers and youth clubs to put on their club nights. All over London, wherever waves of immigrants have come in, you saw them – West Indian, Turkish, Polish, Irish – everyone has had their own community centers. They’re really important, the life-blood, ” Rose said. ”And this one – at St Joseph’s Parish Centre – is untouched. I thought it would be fun for people to sit down, have a drink, and feel pulled into participating in something.” Her living celebration of London subcultural codes opened on a blast of reggae. Out walked the totally believable Martine Rose cast of characters in clothes layered in her subversively kinky takes on men’s and womenswear. “I love playing with gender lines. I find it very sexy – I love men in women’s clothes and women in men’s clothes. It’s things that I’ve played with a long time. And I think it’s a real proposition. Not a gimmick, you know, a genuine proposal.”

Sure enough, there was a complete and recognizable wardrobe of recurring Rose signatures – her oversized tailored jackets, voluminous floor-sweeping coats, and reappropriated hi-viz workwear and sportswear. To give it a sense of lived-in ownership, she used worn-in, washed, and patinated materials.“Because I never like it when things look new. There’s a kind of make-do-and-mend – like denim we patched with gaffer tape,” she explained. Rose developed the hunched-forward shouderline of women’s leather jackets from looking at the posture of motorbike-riders. Her ideas seem always to come up through those kinds of socially-observed transferences—from the pre-existing, from gestures or half-dressed slip-ups. Her women’s skirts were inside out, with pleats bursting from under linings, creating a cool volume. Then there were her wicked twists of humor. “For menswear, I always like this tension between two poles. I’m using quite classic things like tailoring and sportswear, but the other pole has to be quite far apart. So I was looking at quite stately lady things, like Barbour jackets cut on a ’50s women’s a-line, corsetry, and pearls.” And all of a sudden, you glimpse a very British class joke going on.

Goth-y Funk. Chopova Lowena AW23

April 9, 2023 | Design & Culture by Ed

Chopova Lowena‘s style is a fine balance of alluring quirkiness and astonishingly great craftsmanship. For autumn-winter 2023, Emma Chopova and Laura Lowena went for their signature, funky eclecticism. The collection sees a ’70s ski-theme that somehow got caught up with Georgian petticoats, bloomers, cross-lacing, and bonnets. Trust the London-based designers to turn such a bonkers combo into an extensive collection of clothes and accessories that are at the service of cold-weather practicality as well as… fun. They’ve played with the idea of retro children’s patterned ski suits and sleepwear to come up with high-waisted checkered pajama-cum-snowboarding trousers, baby-bedsheet prints, and the piped-pocket detailing that made the whole recognizably Chopova Lowena. Genius cardigans – some with vintage baby-book doll characters dancing on the front, others threaded through with tartan ribbon tied in bows – evoke some sort of deranged Tyrolean classic, possibly an ode to one of Vivienne Westwood‘s signature looks. There are layers and layers to explore here, from heavy-duty brown leather ‘carabiner jackets,’ through ski-capris with frilly knees, stripy wool scarves, tights, and knotted-top beanies, all the way through to stuff that sorts out how a Chopova Lowena person parties – which is to say in lacy white and bows, but with a definite Goth-y attitude.

Collage by Edward Kanarecki.
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The Great Outdoors. Burberry AW23

February 21, 2023 | Design & Culture by Ed

There’s a lot of debating going on whether Daniel Lee‘s debut collection for Burberry was fashion-forward enough. In this patchwork of signature Burberry plaids, outdoor-perfect blanket coats, cozy knits and floor-sweeping English Rose dresses (yawn), it’s hard to seek real fashion novelties – or even witty styling tricks that made Lee’s take on Bottega Veneta so appealing. The new direction at Burberry reminds of the one that Christopher Bailey had for 17 years, in the pre-Riccardo Tisci times. Bailey delivered proper collections that were sometimes cool, sometimes naff variations on the notion of Britishness. No co-incidence that today, Bailey has a mentor-like role for Lee. To be frank, I had no expectations regarding this debut, so I can’t say I’m disappointed. The collection is better than about 80% of Tisci’s work for the brand, but in defense of the Italian designer, he took creative risks that attempted to stimulate Burberry into something more than a brand with classy outerwear.

“I think that the brand is about functionality,” Lee told the press after the show. His men’s plaid trousers, with their horizontal zippered pockets, echoed the shape of technical hiking gear; women’s kilts had the casual air of wrapped-around picnic blankets. You might even really be able to go for a walk on the Yorkshire moors in his heavy-duty climbing boots or cropped wellies. The designer well knows the worldwide fashion appeal of the exaggerated accessory. It showed up in a giant trapper hat, in satchels and saddlebags fastened with a “B” clip and dangling multiple fake-fur tails. One of the models wore a hilarious hand-knitted bonnet in the shape of a duck, complete with a beak and dangling red legs. This sort of bonkers English eccentricity is something Lee should definitely expand on. The designer is very serious about branding and exactly how it can radiate fashion appeal far beyond the mere stamping of logos on everything. The evidence is in the message he delivered at this show on the back of his redesign of the Burberry Prorsum medieval knight on a charger. It was blown up like a flag on a white dress. But the main point about it is the color. It’s a vibrant blue. So is the type that Burberry now uses. After Lee’s success-story of Bottega green, is Burberry blue the new “it” colour? Time will tell.