Never Enough. Loewe SS19

October 4, 2018October 4, 2018 | Design & Culture by Ed

“It’s free; it’s sensual; it’s satin; it’s a mass of textures. I feel this is what the brand is becoming—its DNA,” said Jonathan Anderson of his latest Loewe collection. “I had the idea about people walking through a gallery space who are individuals but connected by a common thread.” How complex that might sound, Anderson’s spring-summer 2019 looked much, much more spontaneous and relaxed. At some points, even too random. A hand-weaved ankle-length dress work with a leather harness necklace and combat, suede boots; peasant shirt in cotton over a voluminous skirt; loosely fitted tuxedo in beige (Philo fans, take a look at it); a thick-looking, knitted sweater in orange styled with cargo pants. There’s no specific direction in that collection and it actually looks seasonless. The designer always implements a lot of craftsmanship that makes Loewe’s clothes so incredible and beautiful in touch, and this season he kept his priorities untouched. I’m 100% sure that each of the new season pieces, from the fringed bags to asymmetrically cut gowns, looks stunning when viewed in person. But after browsing the entire show, each outfit one by one, something just didn’t entirely click for me. Maybe that intended ‘lack of edit’ makes the overall effect, simply speaking, too messy?

Collage by Edward Kanarecki.

Chic. Y/Project SS19

October 4, 2018 | Design & Culture by Ed

Glenn Martens took the word ‘chic’ and completely dissected it in his spring-summer 2019 line-up for Y/Project. The term can be understood (or rather misunderstood) in many ways. One of the most common is the ‘Parisian chic’ that became a catchy phrase for high street brands to sell stuff, and a magical spell for influencers (that very likely end up with writing a book on style). But Martens abandoned that sort of path and proposed a totally different sort of chic. It’s lady-like and eccentric, but smoothly relates to his love for silhouette distortion and streetwear. So, we had everything: from denim panties and the over-sized, tie-dyed denim ensemble to a very couture-ish tailored pinstripe dress and emerald-green gown styled with a glamorous feather-like boa. Martens’ chic isn’t neither casual-to-the-bone or conservative. It plays with those two stereotypical notions, shaping something a bit hilarious and totally relevant. Both, a young and elderly person will look equally good in those attention-catching garments. Glenn agrees: chic isn’t one thing. And I think that’s really, really… chic.

Collage by Edward Kanarecki.

Emotions. Rick Owens SS19

October 3, 2018October 3, 2018 | Design & Culture by Ed

Rick Owens’ spring-summer 2019 collection wasn’t just another Instagram-worthy fashion spectacle. True, the burning, wooden installation in the middle of Palais De Tokyo’s backyard was quite a visual attraction. But in fact, the designer himself did something that you very rarely see in the industry. Something that isn’t straightforward appealing or so-called ‘good for business’. Owens showed his anger and frustration with the current system of not just fashion, but… everything. “I’ve been frustrated with how straight the world can be, how petty,” Owens said, explaining his motives. “Just the process of getting permits to do this (the fire) was tedious”. The garments felt as well as a call for a riot, defiance. Some of the models carried torches and looked like cosmic witches wearing enormous sunglasses and cocoonish garments. Others had metallic head wears and stiff, XXL braces on their hands. There was something very dystopian about the nomadic, floor sweeping coats made of mesh-like leather. Where are those women marching? Or are they heading for the fight? You could also have an impression of a witch coven that is about to start a world-shaking sabbath. Whatever it is, Owens seems to be raging, and so, he directs all those emotions into his deep, multi-faceted work.

Collage by Edward Kanarecki.

Lose Yourself. Paco Rabanne SS19

October 3, 2018October 3, 2018 | Design & Culture by Ed

Julien Dossena and Paco Rabanne are a match made in heaven. The spring-summer 2019 collection is, simply speaking, superb. And, what’s most surprising for a designer who works at such historically distinct brand like Paco Rabanne, the collection wasn’t a literal archive revisit. Dossena focused mainly on Rabanne’s signature chain-mail, but refreshed it completely, so it looked incredibly light and perfect for summer. Similar to Natacha Ramsay-Levi’s Chloé this season, Julien also went for the nomadic theme. Just like her, he didn’t deliver anything overly direct or vague. No boho trends here. Rather think coin necklaces and belts, embellished bras worn under chain-mail dresses and refined sarongs. All that worn in a carefree, not too over-styled manner (Marie Amelie Sauve, love you). It’s bohème, but finally done the good way in 2018. The question is: was Julien travelling somewhere far this summer? The answer is: nope. “I didn’t really get enough time away,” he said, “so I thought more about inner travel—in the mind. About a wardrobe of someone’s souvenirs mixed with her own classics.” Spiritual, diverse, but resonating with a contemporary wearer. The last is something Paco always intended to highlight in his collections.

Collage by Edward Kanarecki.

Woman. Chloé SS19

October 2, 2018 | Design & Culture by Ed

Natacha Ramsay-Levi’s third runway season for Chloé was a lot different from the first two, but felt distinctly like her. That’s already a sign – this woman has her own, complex style that she develops and develops, without losing some sort of personal idiosyncrasy. For spring-summer 2019, the designer investigated her more eclectic aesthetic. Think breezy, summery feel with 70s prints, amulet jewels and flowy dresses. The collection had something nomadic about it, but Natacha escaped the clichés of boho style. Tie-dye t-shirts worn with fringed mini skirts looked festival-ready, while the scarf tops, pants and dresses looked light and easy. There were also rope belts; paisley patterns all over silk pantaloons; knitted pullovers worn over loosely fit, crotchet blousons. Ramsay-Levi respects Gaby Aghion’s (Chloé’s founder) liberated femininity that was never based on regular ‘prettiness’ or specific beauty canon. The current Chloé designer’s femininity is equally strong and multi-faceted. While others do princess dresses for the closing look, Natacha sent down a pleated, maxi-length gown suited for a Goddess (note that gorgeous collar and the Grecian bracelets). To sum up: the ready-to-wear is completely desirable, the accessories are on point. With this collection, Ramsay-Levi proves once again that she’s a skilled designer, who’s capable of creating a consistent, yet simultaneously exciting vision of the brand. This seems to be shockingly rare in the industry, especially when you browse the majority of this season’s line-ups. Bravo, Natacha!