Distinct. Gucci Pre-Fall 2019

December 21, 2018December 21, 2018 | Design & Culture by Ed

While we all got used to Gucci‘s extravaganza surrounding each collection, whether it’s a cementary on fire or Jane Birkin singing mid-show, Alessandro Michele‘s pre-fall 2019 look-book is just… there. Photographed by Harmony Korine, the collection is distinctly Gucci, in a very Michele’s over-the-top manner. We’ve got floral kaftans, babooshka headscarves (thanks, Asap Rocky), richly embellished eveningwear, eccentric-chic faux-fur coats, geeky sandals, a bit of power dressing in bold fuchsia, logomania, zebra prints and lots, lots more. Shortly speaking, it’s a regular Gucci line-up.

Collage by Edward Kanarecki.

New Start. Bottega Veneta Pre-Fall 2019

December 15, 2018December 15, 2018 | Design & Culture by Ed

So, I haven’t written about Bottega Veneta for ages. Here’s why. Tomas Maier’s vision for the brand was proper, classy. Sometimes comfy, sometimes lady-like. You always knew what to expect from him: very well-crafted, safe outings with occasional, special appearances. It seemed he’s at Bottega forever. Clearly, at one point the brand needed a stir. And here we are with Daniel Lee, British designer you surely never heard of a year ago. The moment Maier exited Bottega Veneta was just a few months after Phoebe Philo’s departure from Céline – and with a sudden gap to fill for Philophiles, Lee appeared in the right place, right time. He’s the guy who was at helm of ready-to-wear at Philo’s Céline. It seems to be clear that he should know how to design clothes suited for the Philo-loving women (and men). His debut, pre-fall 2019 presentation eventually feels very familiar to Phoebe’s presence. The collection orbited around leather (the brand is a heritage leather house) and the question of how it can be translated in a chic, modern way. The signature intrecciato technique appeared in coats and dresses, while the bags received an XXL treatment (so, so good!). Contrasting colour palette; minimal jewellery; sensual neck-lines; over-sized outerwear – it’s a stylish, elegant, yet comfortable wardrobe that’s absolutely seasonless and ageless. Menswear is impressive as well. One might say that there’s nothing overly innovative about it – but then, when was the last time you saw such a gorgoues, camel suit? I just hope that while everyone’s putting Lee into the ‘new Philo’ shelf, this won’t become a sort of curse for him. His design is close to Phoebe’s Céline, yes. But look again. It’s completely different. It’s rawer, it’s more modest, slightly Helmut Lang-ish (just see some of the 90s collections to get what I mean). I’m really, really can’t wait to see Daniel’s first runway collection – coming in March, I bet.

Collage by Edward Kanarecki.

Generous. Jil Sander Pre-Fall 2019

November 28, 2018November 28, 2018 | Design & Culture by Ed

There is something incredibly appealing about Lucie and Luke Meier’s pre-fall 2019 collection for Jil Sander. Of course, every Philophile (read: an individual with a maniacal obsession for Phoebe Philo) will note a number of Céline-like moments – take the knitted pants with a matching top, for example. But since Phoebe isn’t designing, and some of us decided to completely disconnect from Hedi Slimane’s Celine, Jil Sander seems to be entering that niche with big steps. What I definitely loved about this collection is its tactility, always so in-demand during the autumn season. Meiers’ simplicity isn’t coldly minimal, but rather soft and fleecy. Whether it’s a coat with a fringed blanket element, a classical pinstripe shirt dress or a voluminous duvet jacket with a hoodie that turns into a collar, Jil Sander has you covered with great outerwear and comfortable daywear. Also, don’t call the clothes ‘over-sized’. “They’re not oversize really,” said Lucie. “They’re generous, friendly volumes; it’s all about comfort, the softness around the body. There are no hard edges.” The cozy feeling was translated into double wools, lightly padded silks, and spongy, natural felts. Accessories haven’t been that good at Jil Sander for a while, too. Their new XXL bags (some, at first sight, looked like made from paper – is it a nod to Raf Simons’s iconic men’s clutches he did for the brand back in 2012?) and leather clogs are so, so good. The Meiers thrive.

Collage by Edward Kanarecki.

Flirting with Fashion. Marni Resort 2019

November 23, 2018November 23, 2018 | Design & Culture by Ed

Marni‘s just-released resort 2019 look-book is so, so good. Francesco Risso‘s pre-collection feels like a remix of fashion history’s key chapters. 1930s dynamism and turn-the-century crinolines where beautifully matched with couture-inspired volumes (see that extraordinary black coat with XXL, round sequins or one of those chic peplum dresses), while contemporary, loosely fitted biker jackets contrasted with corset-like bustiers. Risso loves jumping from one theme to another, somehow pulling harmony out of chaos in his work for the Italian house. The looks, shot by Bibi Cornejo Borthwick, have that ‘realness’ factor – those aren’t pieces for fashion editorials, but for life. A joyful, slightly eccentric kind of life!

Collage by Edward Kanarecki.

Creative Process. Marni SS19

September 24, 2018September 24, 2018 | Design & Culture by Ed

Marni by Francesco Risso is playful, that’s one thing. Second thing is that Risso lets his clothing talk for themselves – and that’s a rarity in Milan (except for Miuccia Prada, who’s been Francesco’s boss for a few years when he worked at Prada). Those aren’t just dresses, jackets and a bunch of accessories. Every single piece is a story. Whether we’re speaking of a bustier dress with an one-of-a-kind collage print or a necklace so eclectic that it reminds you of Iza Genzken artwork, Risso tells fashion tales that are neither minimal or opulent – two poles that seem to simplify today’s fashion in to two camps. For spring-summer 2019, the creative director as well developed this idea of creative process, and finding the right moment to stop working on something. He explained that in a further way backstage of his show. “It started with the process of the work in the studio, and thinking of it as a painter’s canvas, which keeps changing and modifying in the trials and mistakes – suddenly, that becomes the work itself”. His Marni seems to be experimental, but not over-pushed to look too arty. And simultaneously, each of the garment is wearable and suited for the daily life. Nothing proves that more than the diverse casting of models, of different shapes and life paths. I guess Marni is the collection from Milan I will surely look back at more than once this season.