Still Searching. Lanvin SS20

September 25, 2019 | Design & Culture by Ed

It’s Bruno Sialelli‘s second season at Lanvin. And it’s really not the easiest maison to design for, especially after the so idiosyncratic Alber Elbaz era and the last couple of turbulent years related to the label’s ownership and direction. And add up to all this Jeanne Lanvin, the founder of the brand, who left behind a vast archive. Before Lanvin, Sialelli was one of the designers at Jonathan Anderson’s Loewe. His debut collection was mildly received (quite wrongly – the new arrivals coming to Lanvin’s e-shop are gorgeous, take a look!), because the designer still had the Loewe mentality, soft for artistically random, crafty details. This hasn’t changed for spring-summer 2020. Not only the weather wasn’t in favour of Sialelli’s line-up, but also the lack of edit. A bit of tailoring, a bit of flou. A print inspired by comic stories, multi-coloured checks, more comics. Some unflattering leather-works that were put over frocks and skirts. The mini-dresses in the finale were absolutely whatever. The strongest point of the collection was the pleated, fluoroscent blue gown that felt every, very Jeanne Lanvin. This is a good path to follow. I bet the details of this collection were great as well, but they are just too small to catch for a runway show. While an eclectic, “curated” look works at Loewe, Lanvin needs something different. Big hopes Bruno finds it sooner or later.

Collage by Edward Kanarecki.

Predictable Chic. Saint Laurent SS20

September 25, 2019 | Design & Culture by Ed

Twinkling Tour Eiffel as the show’s backdrop? Incredible. Sebastian’s banging soundtrack? Wow. Naomi Campbell closing the show? Yay. And the clothes? Well, that’s the problem with Anthony Vaccarello‘s Saint Laurent from time to time. His spring-summer 2020 might have amazed with all the features, but in the end the clothes are the least exciting. Up to 100 looks, and most of them are either about short shorts and boots, or Yves’s iconic le smoking. Of course, the Loulou de la Falaise touches, nods to the ‘Russian’ collection from 1976 and forever chic YSL codes never get old, but Vaccarello’s result was, simply speaking, monotonous. And very predictable. But hey, that’s what Saint Laurent customers love and buy today. So why not give them what they want?

Collage by Edward Kanarecki.

Hi-Tech Minimalism. Coperni SS20

September 25, 2019 | Design & Culture by Ed

Instead of the standard runway show format, Coperni’s Sébastien Meyer and Arnaud Vaillant hosted a screening of a short film at the Apple store on the Champs Élysées in Paris. Meyer and Vaillant love doing things with a hi-tech twist, and their minimalist line-ups are as sleek as the recently launched iPhone 11. Their ‘airplane mode’ symbol bag is trending since its debut last season, so there’s no wonder why the couple decided on reproducing the familiar arches in new colours and other leather goods. There was a Bluetooth bow on the waistband of miniskirts. A customer can scan a jacket’s QR code to find out the fabric’s origins. It’s interesting to see how Coperni plays with technology that surrounds us everyday, even if the result is sometimes too literal. The simplest, least smartphone-inspired pieces impress the most: take the black mini dress with a razor-sharp cut, for instance.

Collage by Edward Kanarecki, photos by Hugo Comte.

Marée Noire. Marine Serre SS20

September 24, 2019 | Design & Culture by Ed

Marine Serre‘s spring-summer 2020 collection, entitled Marée Noire (‘black water’, ‘dark tide’ in French), was unapologetically… Marine Serre. It’s really incredible that Serre, whose label is still relatively young and small as for Parisian standards, has such a distinct, signature look, not even mentioning her already cult moon crest print that is a street style classic. Under today’s grey, Parisian sky and in the misty rain, Marine sent down a fierce line-up of models at all ages, races and genders, some pregnant or with their dogs. This was another post-apocalyptic vision of chic according to Serre, which was much more defined and not so over-styled as last season: utilitarian jumpsuits with buckles, over-sized coats in PVC, hour-glass-shaped blazers and jackets, scuba-diving dresses with up-cycled silk scarf inserts (Marine Serre’s another ground-breaking signature, which is all about sustainability). Some of the models looked angry, while the collection’s main accessory – black rubber gloves – bring on some affiliations (serial killers, for instance?). But there was also light in Marine’s dystopian world (well, ours, if things keep on going the way they do now). A number of looks were all about white crotchet knits, there were even floral prints popping on maxi-skirts. Some girls wore towel turbans on their heads, while few skirts and dresses were actual towels as well, but couture-draped (this might be next season’s trend, just take a look at Prada) Maybe these women just took a bath in the previously mentioned, intoxicated, black water? The designer leaves you wondering, which is a rarity in today’s fashion. This was one of the strongest line-ups coming from Marine, consistent and intriguing. That’s a very good start of Paris fashion week.

Collage by Edward Kanarecki.

Ethereal. Mame Kurogouchi SS20

September 24, 2019September 24, 2019 | Design & Culture by Ed

Hello Paris! First up is Maiko Kurogouchi‘s name-sake label, Mame Kurogouchi, which I really think you should note down and remember for the future. Kurogouchi draws from the technical skills she honed at Issey Miyake and her passion to preserve Japan’s long history of handcraft. There’s a transcendental romanticism and spiritualism to her work, which feels uniquely Japanese in its ties both to nature and centuries-old craft traditions. For spring-summer 2020, the designer based her line-up on a beautiful shade of emerald green, and created floating, multi-layered garments that are couture-level when seen up-close. Floral embroideries were worn with over-sized mesh frocks, skirts were hand knitted and pants had these little, adorable fluffy details. It’s visible that Kurogouchi makes extraordinary fabrics her priority. Just take a glance at the closing look’s jacket, which remind you of some ethereal, jelly-fish-like creature. Can’t wait to see how what’s next for Maiko.