Gianni. Versace SS18

September 23, 2017 | Design & Culture by Ed

Believe it or not, Gianni Versace was murdered 20 years ago, in the front of his Miami mansion. After his death, the fashion world drowned in sadness and grief – that was the end of an era of joy, sex and beauty. But, as its visible in 2017, Gianni’s soul is with us and his aesthetic is as relevant as ever – via Donetella Versace‘s medium. Yesterday was a fashion bomb in Milan, with Versace‘s absolute hits taken out of the archives. ‘Andy Warhol’, ‘My Friend Elton’, ‘Native Americans’, ‘Metal Mesh’, ‘Icons’, ‘Vogue’, ‘Animalia’ – all those wild and opulent prints, that used to explode in iconic ad campaigns by Richard Avedon, are revived. And alive. For good.

It’s hard to review a show like this, because it’s a breathing fashion legacy that has already been discussed from A to Z decades ago. Gianni’s signatures were placed on everything, from leggings to dresses, while some of the pieces that appeared to be too hard to replicate were taken straight out of the archives to the fashion show. But the models were the real stars of the runway: Instagirls (Hadid sisters) and mega-model off-springs (Kasia Gerber) sashayed along such models like Anja Rubik, Doutzen Krous and Mica Arganaraz in regular ready-to-wear; the runway queens, who launched their careers first walking for Gianni, closed the show with a fierce walk to the tune of George Michael’s ‘Freedom’. Naomi, Helena, Claudia, Cindy and Carla, the original muses, were all here (I just missed Linda…). Fashion loves spectacles. But that wasn’t a spectacle – that was an emotional ode to a genius, an icon, and her brother. Bravo, Donatella.

Collage by Edward Kanarecki.

Meet the Heroines. Prada SS18

September 22, 2017September 22, 2017 | Design & Culture by Ed

That wasn’t a fictional story of one specific superwoman, but an entire cast of heroines, who walked in Miuccia Prada‘s spring-summer 2018 fashion show. For the last few seasons, Prada is keen on portraying different types of women she wholeheartedly admires and respects. And this season, it was a full-celebration of women, who not necessarily have the wallets that afford Prada price-tags. Not only was the styling accessible – hand-printed coats with safety-pins attached (a funky-punky touch), thrift-store glasses or jacquard dresses worn over masculine shirt – but also the venue had a lot to say to women of all walks of life. The Prada show space featured art by a selection of female graphic artists – Brigid Elva, Joëlle Jones, Stellar Leuna, Giuliana Maldini, Natsume Ono, Emma Rios, Trina Robbins and Fiona Staples – and with the archive of Tarpé Mills, creator of the first female action hero. The comic-style mural presented different aspects of womanhood just as precisely as Miuccia’s new season clothes. From utilitarian nylon vests to collage-themed lady-like dresses, it was all about choices, choices and choices. The soundtrack, which changed its tune nearly every minute, had such unlikely and unexpected musical obsessions like Lana Del Rey, The Cure or Suzanne Vega. Even that aspect perfectly synchronised with the idea of an ever-changing mood – something Mrs. Prada can definitely admit in her aesthetic sense.

Collage by Edward Kanarecki.

Harmony. Attico SS18

September 21, 2017September 21, 2017 | Design & Culture by Ed

Gilda Ambrosio and Giorgia Tordini‘s brand, Attico, is like an ever-changing cabinet des curiosités that evolves with the designer’s ideas and sense of style. With a great commercial success under their belt (Attico tops the best-seller list everywhere, from Net-A-Porter to Matches), the women behind Milan’s beloved label keep it smartly small-production and very refined. Looking at Attico’s latest offering for spring-summer 2018, it’s clear what’s Gilda’s and what’s Giorgia’s. The first, master of layering and modern eclecticism, definitely put her stamp on the collection with her beloved use of sharp prints, bold colours and season’s new addition – the feathers. The second’s chic minimalist hand is felt in the feminine silhouettes of dresses and antique-looking embroideries. But what’s unique about Attico is the harmony kept between those two business partners / private-life friends. A truly well-curated selection of frocks and pajama suits await Attico’s devotees next season.

Collage by Edward Kanarecki (featuring Allen Jones’ artwork).

On Monotony. Gucci SS18

September 21, 2017 | Design & Culture by Ed

Alessandro Michele‘s phenomena at Gucci needs no introduction. I think his striking, even terrific style, has reached its limit a long time ago, and keeps on adding up with no end in sight. According to the brand’s creative director, ‘creation’ in itself is a poetic act, and I have nothing against that. But I found his spring-summer 2018 creation not poetic, but, hmm… overcrowded. Don’t get me wrong, Alessandro wouldn’t be him if he did something not ornamental, and I absolutely get that – it’s his aesthetic. But if that collection was a “map of signs to learn to live the world poetically, going beyond its contingency and standardizing monotony”, don’t be surprised if you lose your way with it. I find Ann Demeulemeester poetic. Yohji Yamamoto and Comme Des Garçons are insanely poetic. But Michele’s extremely lush clash of young Elton John’s tour costumes and intergalactic UFO-femme gowns feels rather operatic and dramatic, than a fashion poetry. It’s a hard study of costume with a capital C, not self-expression liberation. Shortly, if you thought that the last Gucci show was too much, you were wrong. This one is too too much. But no fears, the next season will be even more more.

P.s. I think that monotony is lethal. But isn’t Gucci already too predicatable? It’s a kitsch monotony, in fact.

Collage by Edward Kanarecki.

TBT: Prada Fairies

August 17, 2017August 17, 2017 | Design & Culture by Ed

For her memorable spring-summer 2008, Miuccia Prada worked closely with artist James Jean on developing special prints for the clothes and the show venue. The inked drawings depict a lush and slightly scandalous landscape of flowers and nymphs (blending suggestions of Art Nouveau and Hieronymus Bosch). By projecting the actual imaginary world over the dresses and ball-skirts, then distorting and separating the various colour layers, the Prada fairytale seemed to breath throughout the entire season. And even though nearly a decade passed since the show took place, looking back at this intriguing collection takes you to another, magical place.

P.s. Recently, Prada has invited Jean for another equally fantastical collaboration – read about the brand’s resort 2018 collection here.