Men’s / Adored Fits. Lemaire AW18

January 18, 2018January 18, 2018 | Design & Culture by Ed

Christophe Lemaire and Sarah Linh Tran, season after season, find a way to make their truly timeless clothes feel exciting. Maybe this season it’s all thanks to the pink turtleneck the models wore under russet-brown cardigans and coats? That was a glimpse of colour that doesn’t affiliate with Lemaire, but surprisingly looked great. The brand is known for its sense (and love) for artistry. A designers’ friend contributed the muted paisley and feather-overlay marble prints used in outerwear, shirting, mohair knits and pants. Of course, for more classical Lemaire devotees, there are the signature, relaxed fits and silhouettes in ecru, black or grey (can I ask for that loosely fitted suit, please?). As always, Lemaire wins my heart.

Collage by Edward Kanarecki.

Modern Dark Age. GmbH AW18

January 17, 2018 | Design & Culture by Ed

“We started thinking that the time we’re living in feels like ‘the modern dark ages,‘” said Benjamin Alexander Huseby, one part of the GmbH‘s duo. “How do we protect ourselves?” Together with Serhat Isik, the label that originates from Berlin asks important questions regarding global issues, and answers them with clothes. There was something very ‘protective’ about the autumn-winter 2018 garments the couple presented at an industrial, graffitied overhang in Paris. Chainmail tank-tops; dirt-bike gloves; motocross silhouettes; structural biker jackets. Some of the pieces were ornamented with meticulous thread-work. “We developed these embroideries as a coat of arms, in a way. We took this plant, a stinging nettle, which is kind of unruly and unwanted and slightly aggressive—it grows everywhere that you don’t want it to,” said Isik, with Huseby adding: “Which relates to this otherness that we can feel. The others, the immigrants, not wanted.” Although there was a glimpse of bold yellow (in form of a loosely fit sweatshirt), the collection was kept in greys, navy and melancholic, dark green.

Collage by Edward Kanarecki.

At Home. Chloé Pre-Fall 2018

January 10, 2018 | Design & Culture by Ed

If you ask Natacha Ramsay-Levi to define her own style, the answer won’t be as straightforward as you would expect from a designer. “I admire people who have a uniform, but I’ve never found mine and I probably never will because I love fashion’s diversity,” she explained. Pre-fall 2018 is Natacha’s second collection for Chloé, a female-loving French maison, and it already feels that even if she doesn’t have an arbitrary ‘look’ that has to end up in the stores, she feels here like at home. And that’s good – thanks to that, the creative director’s work has a sense of easiness. What we discovered about Ramsay-Levi in her debut is that she has a soft point for jaw-dropping boots and whimsical jewellery (those pieces smoothly transit into the autumn days). Here, it’s a strong game of cognac leather coats, shirt-dresses and 70s blouses. Also, the designer wisely does the horse-rider style that’s distinctly Chloé, whether we’re speaking of the tiny horse prints on bags or wool capes. Although white socks tend to get on my nerves after 2017’s Vetements obsession, the way Natacha pulls them off in her refined pre-fall makes you wonder, whether luxe-y athleisure is back.

Collage by Edward Kanarecki.

Laid Back. Saint Laurent Resort 2018

January 2, 2018March 2, 2018 | Design & Culture by Ed

With empty champagne bottles already in the bin and batteries (hopefully) recharged, here we are in 2018! And the first post of the year goes to Anthony Vaccarello‘s resort 2018 collection for Saint Laurent. The look-book, starring Lexi Boling and Hiandra Martinez, is a mix of all those New Year feels. From one side, it’s about glamorous, party dresses and boots covered with feathers. But from the other, it’s just the right amount of laid-back chic: denim, suede and over-sized fur coats. Vaccarello, who does contemporary Yves Saint Laurent with grace, knows that every great party demands a day, or two, of naps and looking ‘casual’.

Collage by Edward Kanarecki.

Phoebe Philo Forever

December 28, 2017December 28, 2017 | Design & Culture by Ed

Ten years – a decade – means really something in fashion industry. Phoebe Philo’s era at Céline didn’t only change the course of fashion (minimal-slash-arty aesthetic; raw, Juergen Teller-like advertising; presenting pre-collections just before they hit the stores – many other labels follow Philo’s ‘rules’ like a prophet), but the way women approach clothing. Once the Céline woman goes for masculine, XXL coats that continue to sell like hot buns since Philo’s collections in 2010; then, the other time she takes a delicate slip-dress with lace inserts or a clingy, knitted sweater in olive-green. In her feature on Philo’s power, Cathy Horyn stated in the following way: Philo’s clothes were not just simply for women; they were also about women — their distractions, their routines, the way they stuff a bag under an arm or concoct an outfit out of a dress and trousers, their sideways longing for red-lipped glamour, their disdain for basics, their love of uniforms, their wisdom and maturity. Unlike other designers who do ready-to-wear, Phoebe didn’t bother with ‘telling stories’ – she just wanted the clothes to become a woman’s close friend.

For me, her collections were the most anticipated moments during Paris fashion weeks, while the look-books were always like a sweet treat. Whether we’re speaking of Philo’s spring-summer 2013 fur-lined Birkenstock sandals, autumn-winter 2017 green blankets, autumn-winter 2015 white sneakers or spring-summer 2017 mega-big tote bag, it’s undisputable: she is the master of desirable, yet unconventional accessories. My heart bleeds, when I think of all the beautiful things Philo gave us while at helm of the maison. The rumour has it that the designer isn’t planning to lead a label anytime soon. Although that sounds devastating, it makes sense: Phoebe Philo frequently highlighted her urge for ‘slowing down’. Today’s fashion is at a insanely pointless, fast pace. I hope that 2018 will become some kind of ‘breaking’ year for all that.

Below, I’m looking back at some of my favourite Phoebe-at-Céline wonders.