Briefly: Men’s MFW SS19

June 20, 2018 | Design & Culture by Ed

This season, I had a dilemma whether to skip the menswear season, or not. I honestly felt exhausted at one point with all the collections, lookbooks and shows coming up, and getting grip of what’s winter and what’s summer. And in case of menswear, I was especially appalled with the fact that every designer considers spring-summer 2019 to be a full-on sport trend. And everyone has a pair of ‘some’ sneakers, just to be like Balenciaga with their top-selling Triple S (which, by the way, is everywhere, and I can no longer look at)! But when I was quite sure I won’t write anything about men’s this time (plus the 69% of voters on my Instagram poll said ‘skip the season and chill!’, partially consolidating my decision), I couldn’t ignore those two collections coming from Milan. Marni and Prada, you’re very good to boys this season I must say.

What I love about Francesco Risso‘s Marni is his haphazard, yet appealing ‘collage’ way of doing things. The designer was thinking of vintage sportswear. Staged in an old carpark, guests sat on bouncy exercise balls, while the models’ (plus-size guys, elderly men and the designer’s friends) outfits were reminiscent of a football fan 70’s style, with retro polo shirts, check trousers and deconstructed varsity jackets made of different textiles. From yellow tank-tops to striped, knitted culottes, there’s lot to love in Risso’s latest collection. Note the prints – Florian Hetz’s photos of naked bodies and Betsy Podlach’s paintings of human beings were used on the back of the shirts and many other pieces.

Miuccia Prada also had something to do with sportiness, but not that much. Here, her intelligence and profoundness emanates in every piece of clothing. For the fashion show, inflatable, pink stools by Verner Panton – an exclusive re-edition of the 1960s piece, produced by VERPAN for Prada – were used as the guest seats. If talking of the clothes, Prada constructed a dialogue between male sensuality (ruffled shirts, very short shorts, florals) and utility-wear (lots of nylon and padded trappers we’ve seen in Miuccia’s resort show in New York). All that mixed with boldly printed sweatshirts and zipped jumpers. I definitely like this certain dynamism that was perceivable throughout the collection.

But the rest of menwear… well. Let’s see if Paris will be better. Quite exicited for Jacquemus’ first menswear collection ever, and Kim Jones’ debut at Dior Homme.

All collages by Edward Kanarecki.

Playground. Marni Pre-Fall 2018

June 14, 2018 | Design & Culture by Ed

While Marni‘s Francesco Risso discussed the Dada movement, primitivism and the need for deconstruction in our lives during his pre-fall 2018 presentation for the brand, one thing appeared to be instantly distinct while browsing the new season clothes – the approach that’s far from fashion’s typical ‘bourgeois conventions’. For him, Marni is playful. Francesco’s fascination with children’s intuitive way of learning translates in every single look, and that’s clear if you take a glance at his previous collections as well. From the bear toy necklaces and doll dresses with unfinished trailing threads to hilariously big hats and exaggerated buttons, Risso makes style a playground. But don’t think Marni is overly infantile. No. I perceive it as optimistic, joyously tongue-in-cheek in a way. Even the brand’s new Big Foot sneakers have that sense of humour about them. “Like a kid wearing his dad’s shoes”, the designer noted.

Collage by Edward Kanarecki.

Sweet Lifestyle. Missoni Resort 2019

June 9, 2018June 9, 2018 | Design & Culture by Ed

Angela Missoni can make her Missoni collection as sweet as the Spicchi de Arance e Pompelmo from the newly published The Missoni Family Cookbook. By that, I mean the softness of knits and a spectrum of pastel colours that appeared in the line-up. Missoni is more than fashion; it’s a lifestyle that’s about love, family, friendship, celebration – all somewhere situated in a very Italian villa. Light, plissé dresses in knitted Lurex and palazzo pants (note that delicate transparency) suggested fresh airiness, while the abstract floral prints and sea-shell jewellery brought on even more charm. Yet still, the collection feels dynamic, with that leading, signature “Put Together Look”, where different patterns, colours and textures are gracefully matched up. Plus, Bibi Cornejo Borthwick’s photography and Vanessa Reid’s styling fit contemporary Missoni’s image very, very well.

Collage by Edward Kanarecki.

Dessert. Marni AW18

February 26, 2018 | Design & Culture by Ed

Franceso Risso embraces individuality like no other at Marni. Here, at the the most conceptual, Milan-based brand next to Prada, he distorts volumes, combines the most unlikely (peacock feathers as earrings! felted coats made from compressed, recycled textiles!) and has… fun. I bet a word like ‘trend’ doesn’t exist for that immensely talented guy, who can do lady-like cat prints and equally chic plastic wind coats in one collection. I loved everything about this collection, from the heavy dose of bold colours and stylishly cumbersome totes to the bubble-like pumps and 30s-isnpired dresses made, or rather classed, from contrasting materials. Undoubtedly, it’s Milan fashion week’s dessert.

Collage by Edward Kanarecki.

Restart. Salvatore Ferragamo AW18

February 25, 2018February 25, 2018 | Design & Culture by Ed

Actually, when was the last time you’ve heard from Salvatore Ferragamo? To me, as to most of the editors, insiders and potential customers, the Italian brand seemed to have lost its identity long, long time ago. What does Ferragamo stand for? Does it even matter today?

Fortunately, the brand didn’t end as another ‘Made in Italy’ label with airport stores, even though the verge was very near. Paul Andrew, whom you might know for his namesake footwear brand, and Guillaume Meilland (Ferragamo’s menswear designer) joined forces to create an impressively consistent, chic and, most importantly, covetable collection of autumn-winter essentials. Leather and silk foulards are Ferragamo’s biggest codes, that’s why the collection was filled with incredible suede coats, ostrich leather boots and dresses covered in archival prints. The tailoring, for both men and women, was powerful as well. Katharine Hepburn, a Ferragamo fan of the past, and her style influence were obvious – a crisp shirt, a blazer, a perfect pair of pants. It’s important that the designers develop the new Ferragamo by embracing the brand’s heritage. Even though some pieces, like the big poncho or belted maxi-dresses, felt very Phoebe Philo, that isn’t the collection’s drawback. Quite opposite – those who will not find themselves comfortable in the Hedi Slimane-era Céline should switch for Ferragamo (which you might have never expected!). Bravo!