Mind Shifting. Balenciaga SS19

October 7, 2018October 7, 2018 | Design & Culture by Ed

Before mentioning the clothes, lets talk about Balenciaga‘s spring-summer 2019 venue that was, simply speaking, groundbreaking. Demna Gvasalia wanted to transport his guests into a sort of brain flow, a digital mind. The project – a tunnel filled with constantly changing, sci-fi animations – wouldn’t come together if the Georgian designer didn’t meet Jon Rafman, digital artist, at Art Basel. This collaboration resulted in the audience so stunned, that many couldn’t leave their seats minutes after the show ended. “My work explores new technologies and how our society, our consciousness, our interrelationships have changed,” Rafman told Vogue. He and Gvasalia collaborated at a distance, with full creative freedom given to the artist. The collection itself was as multi-faceted as Rafman’s art installation. It was the perfect balance between Gvasalia’s understanding of contemporary wardrobe and Cristobal Balenciaga’s design heritage. “I wanted to take a lot of things that are in our vocabulary, but give it this new dimension of elegance,” Demna said backstage. No sneakers this season, but a line-up of extraordinary dress-shaping (see the closing looks) and incredible tailoring. All kept in bold, even eye-scratching colours. “We challenged ourselves to make tailoring for today’s generation. How can they wear a suit—which they never do?” he explained. Get ready for shirt-jackets with matching trousers, fit for all genders. “It’s like a jogging suit, but it looks super-elegant in shape. There’s no obligation to wear a shirt and tie, because the jacket has become the shirt. Somehow, this is what I want to wear myself.” Innovative, intelligent, a bit hilarious, yet wearable, that’s what Balenciaga is this season. And, to be honest, that’s Gvasalia’s best collection in a while.

Collage by Edward Kanarecki.

Moving. Comme Des Garçons SS19

October 6, 2018October 6, 2018 | Design & Culture by Ed

Rei Kawakubo’s spring-summer 2019 seemed to be opening a new chapter, but then it appeared to be much more intimate and internal than one might have thought. The Comme Des Garçons designer stopped her short (but one of the most memorable during Paris fashion week), abstract, ‘no clothes’ shows after ten seasons, and returned to bigger line-ups that consist of ready-to-wear (or rather hints of ready-to-wear). But as usual with Kawakubo, nothing is that simple. “I felt this approach was no longer new, and I looked for what is new, what is new. But I could not find it,” went the pre-show statement. “What I thought of in the end was a profoundly internal approach… about what’s deep inside.” This was the season’s most deep and profound collection. It was about a woman, and women in general. Especially, about women today, about all the limitations, pains and struggles. Few models had heavy chains strapped beneath their tattoo-like, second-skin dresses. Others wore tailored jackets with ‘cut out’ shoulders, as if somehow violently dissected their bodies.

Comme Des Garçons, ‘Lumps and Bumbs’, autumn-winter 1997.

Remember the ‘Lumps and Bumps’ collection? Kawakubo seemed to refer to it. But this time, the shapes were more gentle, natural. Pregnancy bellies-like protrusions stack out from tweedy blazers and fluffy, black dresses. Some were printed with Comme Des Garçons logo, suggesting Kawakubo’s perception of her huge brand, which consists of a number of divisions and all the Dover Street Market Store, as of her child she has to nurture and protect. The grey hair, supplied by Julien d’Ys, spark conversations on age and self-acceptance. To create, and then publicly present, something so personal, disturbing, yet darkly beautiful, requires true power from the inside. It’s more than impressive to see how Kawakubo pushes her limits every season and sends out so many emotions through the medium of fashion (I mean her multi-faceted idea of fashion, not fashion that’s repeated by the rest). Truly moving.

Collage by Edward Kanarecki.

Mad. Andreas Kronthaler Vivienne Westwood SS19

October 6, 2018 | Design & Culture by Ed

Andreas Kronthaler has gone fashion mad this season, in a good way. There’s no wonder why his life partner, Vivienne Westwood, looked so enchanted by this line-up. The models had fun, too. Some, instead of walking, chose to ride on scooters and skateboards. Dree Hemingway wore a red Thonet chair hat. Other models, muscular and all, wore tight underwear made in collaboration with Yasmine Eslami. Draped dresses made out of tapestry-like textile looked especially fantastic. The more approachable pieces – printed t-shirts and sporty jumpsuits – were visibly there to back up all that playful rhapsody, but looked matching.

Collage by Edward Kanarecki.

True. Haider Ackermann SS19

October 5, 2018 | Design & Culture by Ed

While other fashion designers and brands struggle with identity this season, Haider Ackermann doesn’t have that problem. He’s true to himself and his style. And his spring-summer 2019 collection, that consisted of both womenswear and menswear, proved that in the most sublime way. “It’s a love affair, and I’m your man,” said Haider Ackermann after his double-gender show. “You love the thing about him and her, and how they might intertwine. It’s just a borrowing.” With Leonard Cohen on the soundtrack, the models looked confident, sensual and integrated in those clothes. Whether it’s a houndstooth print blazer, a yellow leather jacket with hand-done cut-outs or a kimono-like coat in a toned, abstract pattern, every single piece in this collection is quintessentially Haider. The finale earned a standing ovation from Tilda Swinton, the long-time friend of the designer. If she approves, I approve. Brilliant.

Collage by Edward Kanarecki.

Frustrating. Celine SS19

October 5, 2018October 5, 2018 | Design & Culture by Ed

I really tried not to be too negative about Hedi Slimane’s debut at Celine. I knew that it would never be as perfect as Phoebe Philo’s Céline. With her impact, her vision and her understanding of women, she’s irreplaceable at this maison. But to my own regret, I had a silly thought that maybe, maybe, two years of fashion hiatus lets a designer… develop? Progress? But no. Hedi Slimane stubbornly thinks that his aesthetic is it, wherever he designs, whether at Dior Homme, at Saint Laurent or at Celine. The debut collection had been called Paris La Nuit and was intended to be all about youth and late night party-ing. How predictable. The former Céline woman / client / fan dropped a tear the minute the first look walked down the runway – a polka-dot mini-dress with puffy sleeves. What’s worse, it seems to me that Hedi still considers today’s youth to dream about looking pale, unhealthily skinny and, mhh, dull? The model selection triggers another question: what about the diversity the model industry fights for lately? Slimane seems not to bother. Also, please note that in a pre-show interview, he clearly stated he’s solely interested in the young, and he will design for the young. He kept the promise. So we’ve got ageism, too! And yes, I know that elder models are still a rarity on the catwalks, but at least most brands don’t narrow down their target age in such a rude, discriminatory way. Let everyone dress the way they want and feel like – don’t exclude.

Slimane’s collection isn’t thought-provoking in a good way at all. I find it shallow and monotonous. Just clothes that literally look like his YSL bits: slim and grungy. To be honest, I even don’t find any sense in listing the women’s clothes he presented. The menswear part – completely new to Celine – is said to be unisex. We’re talking about very tightly fitted tuxedos, that yes, might be very well-tailored, but hardly empower anyone. Also, I smell some vague talk about gender fluidity, that desperately tries to make this collection even slightly relevant. It’s truly painful that LVMH, who is reportedly so assured of financial success coming from Hedi’s dictatorship (it’s not a typo), wants to ‘improve’ Celine this way. One word: frustrating. Conclusions: please, give Slimane his own namesake label, where his followers can go, and stay. Phoebe, I know it was you who left, but please consider coming back to us as soon as possible. There are French houses that need your help. There are people, who need you and love you!