Milan

Beautiful And Practical. Jil Sander Pre-Fall 2021

| Design & Culture by Ed

Lucie and Luke Meier‘s Jil Sander always feels like blank canvas, in a good way. No non-sense references, just delightful, soft minimalism that will never be “out”. And, you will love it even while staying at home. “Fashion is always a commentary,” reflected Luke. “It’s actually a very reactionary phenomenon, in that it reacts towards the zeitgeist, the moods and emotions of people or else towards a certain music or artist. So it’s only right that now you feel that need for ease in collections. What’s happening, it’s just impossible to ignore no matter how much designers are prone to live in a sort of creative bubble.” Lucie chimed in during a Zoom call with Vogue from the Jil Sander showroom: “This is presently the world we have to face, so we felt that in our work, it is really important that we’re not totally in dreamland. Our reality dictates today a different approach, whereas in other moments as a designer, you gravitate more towards a different set of references and inspirations. But we really felt that this is now and you just can’t ignore the different way we’re interacting together.” Having quarantined in their apartment in Milan, the Meiers wanted the collection to convey a more homey feel, albeit rendered with their exacting sophistication. To further channel the message, the look book was shot in an apartment, a modernist space mirroring the polished minimalism they favor (this part felt quite Bottega-Veneta-ish). Sensitive to the mood-lifting role fashion has to play now, they introduced a touch of spirited softness, a sort of feel-good factor which complemented the collection’s yin-yang dynamic between the ease of sporty practicality and the elegance of their chic, angular tailoring. Case in point: slightly oversized masculine blazers, whose straight-cut precision was contrasted by the delicately embroidered circle skirts and slender yet luscious dresses they were worn with. This year’s ubiquitous track pants were elevated in soft Nappa leather and worn under a collarless, sharp-cut jacket. It made for a cool silhouette, a kind of of-the-moment alternative to the classic tailored pantsuit. The intimacy, warmth, and protection we’re all craving inspired a series of great knitted pieces. An oversized wool-silk sweater was wrapped with a huge matching scarf, while a form-fitting, sporty ribbed dress opened to reveal soft cashmere leggings underneath, its exaggerated collar becoming an enveloping cape when unzipped. Artsy Bauhaus-inspired jewelry, including golden ribbon-shaped portrait necklaces and sculptural bracelets, added a dash of vibrance, while oversized bags in luxurious, supple leathers looked comforting and pillowy in a tactile, playful way. “Let’s be realistic—fashion isn’t going to cure the problems we’re in today,” the Meiers concluded. “But if putting on something beautiful elevates our mood a little, if we can provide something that’s inspiring as much as it’s practically useful, that’s then us doing a good job.”

Collage by Edward Kanarecki.

Balancing Act. Salvatore Ferragamo Pre-Fall 2021

| Design & Culture by Ed

Pre-fall 2021 collections are gradually popping up (yes, the industry still wants you to think about next year’s autumn in this year’s winter). Paul Andrew likes to put things in context; he has so far used films and historical locations to frame his fashion narrative. In keeping with that practice, he shot the Salvatore Ferragamo pre-fall lookbook in Florence at Manifattura Tabacchi, a former cigarette factory built in the modernist style of the 1940s, which was recently rescued from a state of disrepair to become Polimoda’s campus: “It’s a progressive, creative place full of life and enthusiasm, with lots of young people hanging around,” he told Vogue during a Zoom call from his Florentine studio. It proved an apt location to convey the collection’s feel. “I want to bring joy and beauty to this world.”Andrew isn’t alone in his desire for turning toward the positive; nor is he alone in the urge to contextualize collections within a larger frame. Social and cultural issues have become non-negotiable parameters for every fashion designer who wants his creative work to resonate with a broader audience. Customers more than ever buy into conscious creativity – ethical, responsible, value-driven. Andrew is playing his part, steering Ferragamo into sustainable territory and keeping his commitment to responsible practices – reducing waste by choosing deadstock leathers; using recycled nylons and certified natural fibers; editing collections with a tighter focus. Doing less but better has become his mantra, a belief that has him embracing a timeless, nondisposable aesthetic. Collections are built around high-quality investment pieces that have longevity and durability, while retaining a strong contemporary appeal. This pre-fall collection is a good example of his new approach. The chic purity of line and the slender construction Andrew favors looked timeless indeed; what made the offering distinctive was its focus on tactile leather dressing offered in many variations, highlighting the artisanal expertise of the Florentine house. Shapes and silhouettes for both the men’s and women’s lines conveyed a feel of ease and comfort, while retaining their sophistication. He didn’t shy away from the occasional statement piece either. Ample A-line and wrap dresses featured adjustable matching belts or scarves, changing them into more form-fitting shapes; slender tunics and elegant shirtdresses were often worn over matching trousers or lightweight cashmere leggings. A leather circle skirt patchworked in a bold geometric archival motif added a decorative flavor, as did the contrasting hand-painted edgings on a softly architectural nappa coat dress. “I’m really thinking of what customers will want and desire after this COVID nightmare will be over,” he mused. “We’re keeping our fingers crossed that they’ll be back in stores and eager to be dressed up and to buy and invest in fashion. But they’re not going back to the old ways.” Things have to be shaken up and changed, then. “My feeling is that people will continue to be more casual, after months at home Zooming in their pajamas I’m not sure they’ll be suddenly dying to be in form-fitting garments again,” he said. “So it’s a balancing act. Whatever you do, there must be some casualness and ease combined with high-values and sophistication, refinement, beauty. But mostly, it has to have a certain vibrance – and to bring joy.”

Collage by Edward Kanarecki.

Ouverture Of Something That Never Ended. Gucci SS21

| Design & Culture by Ed

COVID-19 made fashion rethink many matters, from fashion week schedules to overproduction, but most of all, it accelarated the reflection on how to show a collection to wide audience, through the digital media, in the most appealing ways. Most of brands come up with a video or film. But the latest example takes notes from Netflix. Gucci‘s Alessandro Michele hired the one and only Gus Van Sant to make seven-episode miniseries that were shown one by one, for the entire week. At moments, the experience was bumpy. The poll I’ve made on Instagram mid-week suggested that 75% no longer paid attention to the digital Gucci event. While the visuals of Ouverture Of Something That Never Ended were striking, Silvia Calderoni’s acting was phenomenal and Gucci celebs appearances were amusingly witty (Harry Styles made a cameo wearing a pink tee tucked into denim shorts, and pronounced his improvised modern-day art manifesto: “when it comes to making art it’s about finding the thing you’ve always wanted to see that has never been made. It’s always an uncomfortable moment, I think, when you find the thing. You don’t know if you love it or hate it because you don’t really know what it is yet. But I think that’s the most exciting place to work in“; Florence Welch glided through a Gucci-fied vintage store and slipped handwritten notes into the pockets of jeans or the purse of a passerby; Billie Eilish performed her new song and danced with her pet robot dogs in what looked like the suburbs of L.A.), the focus on the clothes was hard to comprehend. Fashion films are pretty much always product-driven and lack substance, and here it was quite the opposite. There was plenty of substance, but I felt there was not enough of the collection itself. Maybe, as some editors suggested, the episodes could be shoppable? It would be great to find that golden balance. The miniseries streamed on Instagram and on a dedicated site dubbed GucciFest, where the brand also supported videos made by 15 emerging designers from around the world – which was a lovely gesture. Once you finally look at the look-book to see the actual spring-summer 2021 (and pre-fall 2021) clothes, you will be surprised (or not so much) that Michele decided to utterly focus on the core of his Gucci. The 90 looks saw some most distinct signatures, as well as Alessandro’s archives (especially pieces from his first Gucci collections). There was pretty much nothing new, and the collection was free of bizarre over-the-topness that made the label feel just too much for me in the pre-pandemic times. So, the brand’s customer will be pleased with all the vintage-y, wearable styles that are just the right amount of quirk, while the rest of the audience might use the line-up as an inspiration-filled portfolio. It seems to say: “shop your closet, no need to buy new stuff“.

Collage by Edward Kanarecki.

Summer. Missoni SS21

| Design & Culture by Ed

Missoni‘s spring-summer 2021 look-book warms me mentally on this cold, rainy November day. “Summer, come back”, it seems to say. While other designers switch to loungewear with lockdown on their minds, for Angela Missoni it comes much more natural. “For us, comfort has always been at the foundation of our style,” she told Vogue via Zoom. “Knitwear is indeed the most malleable, versatile medium to convey a feel of ease. So there’s nothing new for us – we haven’t changed our perspective.” Discussing her new collection, she elaborated, “Since my parents established our house in the ’50s, our collections have never been elaborate or over-designed. Nevertheless, this season I went for even more simplicity and clarity. It came as a spontaneous feel. We are designers and not sociologists; our creativity is what drives us. Although these times call for a heightened sense of responsibility and more engagement on social issues, women – myself included – still desire to be feminine and to express a certain sensuality, even when confined at home.” The lineup pivoted around an elongated and slightly ’90s silhouette, popularised by Jacquemus in the last few collections – think tube tops or midriff-baring mini cardigans; slender body-hugging midi-skirts with sexy thigh-high slits; and straight-cut thin-strapped slip dresses baring the back. Missoni’s typical 3D textures were smoothed and simplified, with plays of horizontal intarsias contrasting the verticality of the lines, a touch of Lurex and fishnet-knitted sequins adding luminosity and sparkle. Missoni paired every outfit with T-strap stilettos, casually wrapped around the ankle with printed foulards. “I’ve found myself looking at high heels in my wardrobe with a feel of longing,” she said. “I can’t wait to wear them again when all this will hopefully be over.”

Collage by Edward Kanarecki.

Elevated Softness. Jil Sander SS21

| Design & Culture by Ed

Minimalism is integral to the Jil Sander brand, and Lucie and Luke Meier make it feminine, contemporary and distinct. And embracing a consistent, visually-recognisable signature is something that’s key to many brands this season. The designers have been back in the Jil Sander studio since May. They’re thoughtful about the lockdown and the changed new world that they returned to, but resolved. “We’re going about life in a normal way, just wearing masks,” Lucie said on a Zoom call. Their new collection for the brand, where they recently rounded their three-year mark, responds to some of the shifts we’re all living through, with more time at home and fewer social engagements to buy for. Luke said they emphasized daywear, for instance. To be sure, there are no stay-at-home sweatsuits in the Meiers’ new lineup. Instead, Lucie said, they “softened” their tailored silhouette and added sheer organza to the mix for a more “intimate” sensibility. In a video they filmed for the season, models clutched pillowy, unstructured bags designed to feel “comforting to carry.” The collection is enlivened by zingy shots of gold and yellow amid its neutrals: flat metallic leather boots that extend above the knee, a sunny dress that follows the line of the torso but flares gently below the hips. Clothes with a human touch are Meiers’ signature. That came across this season in the hand-crocheted overlays worn on top of slip dresses and in the way a shawl was tied voluptuously over the shoulders of a sleeveless tee. A pair of hourglass-y color-block sheaths were a surprise, a glimpse of a more carnal side that felt especially new in the context of Jil Sander.

Collage by Edward Kanarecki.