Quite obsessed with this green moment coming from Pierpaolo Piccioli‘s autumn-winter 2018 Valentino runway.
Collage by Edward Kanarecki.
The Look – Valentino AW18
Paris
Men’s / The Big Debuts SS19
Kate Moss, Lenny Kravitz and Naomi Campbell at Dior.
Just imagine how happy the people at LVMH are now. Both of the maisons they own, Louis Vuitton and Dior, earned such spotlight throughout the last few days that it’s unbelievable how much profit the luxury conglomerate gets in the upcoming months. Two names were on the lips of entire Paris this week: Virgil Abloh and Kim Jones. The first debuted at Vuitton with a more grown-up version of his Off-White, while the latter entered the house with a relevant ode to the founder of the house, Chritian Dior.
Readers of this site know that I’m on fence with Virgil Abloh and his brand, Off-White. To me, it’s a streetwear label that effortlessly hits the luxury shelf (just like Vetements) and is quite deprived of genuine creativity (at least, speaking of the ready-to-wear stuff seen on the runways). Once it’s all about 90s Helmut Lang covered in prints, then it goes for such ‘of the moment’ trends like tulle. Still, kids love it, adults as well. Maybe it’s the question of aesthetics? I would surely love an Off-White hoodie few years ago, but now I’m into something completely else.
Now, straight to the topic. The Louis Vuitton show had a front row with a capital F: there was Kanye West, the Kardashians, Naomi Campbell, Rihanna, just to name a few. The clothes were essentially Virgil, but more de luxe than usually. Neon harness, hoodies under blazers, sporty shorts, lots of new sneakers that will be ‘it’ sooner or later, a bunch of classical LV bags with chain handles. Basically, it’s all the stuff that brands like Louis Vuitton need right now: bold, not-to-deep-in-meaning pieces that the rich, young clientele will want in their lives. The only thing I truly appreciated about the collection was the model casting, that was beautifully, beautifully diverse. Still, in terms of Louis Vuitton fashion, I will cling to Nicolas Ghesquiere’s womenswear.
In fact, Virgil Abloh is Kim Jones’ successor at Vuitton. Also, in private, they’re friends, so what really surprised me during this Paris fashion week was the lack of striking competition (both of the designers went to each other’s show, how cute!). Kim Jones had similar ways of luring everyone to take a look at his debut: celebrity-filled f-row (from Naomi Campbell, Kate Moss and Lenny Kravitz to Lily Allen and The xx), a fancy venue (this huge KAWS statue made of real flowers stood in the middle), famous models (like Prince Nikolai of Denmark, who opened the show). But actually, I want to thank Kim for making me look at a Dior show for longer than one minute (I mean, Maria Grazia Chiuri’s womenswear…). And you know what? There was lots to look at. In his collection, the designer paid tribute to Christian Dior, and such Dior predecessors as John Galliano, but in a smart, innovative way.
The dominant colours were signature pale Dior pink and porcelain blue. The toile de jouy created by Victor Grandpierre for Christian’s original boutique in 1947 appeared as the leading fabric for the shirts. Jones as well experimented with suits, nodding to Tailleur Oblique, Dior’s famous, diagonally wrapped ensemble from 1950. And then, my favourite part, there’s the iconic Dior Saddle Bag, now in more safe colours than the ones Galliano did, or converted into wallets (how commerce-wise!). Kim Jones wisely spent the time at the maison‘s archives, coming out with brilliant ideas. It’s also worth noting that he invited Yoon Ahn from Ambush to do the very cool jewellery, as well as Matthew Williams from Alyx to work on the buckles. Jones masterfully blended the past with contemporary, which I like. Maybe it wasn’t my favourite show of the season (even though it had some major highlights), but the newly appointed designer is on a very good path (just as Virgil, who will definitely rule with his LV, whether you love it or loathe it).
All collages by Edward Kanarecki.
Men’s / Ghostly Dreams. Ann Demeulemeester SS19
Sébastien Meunier’s spring-summer 2019 collection for Ann Demeulemeester could have been a stylishly executed ghost story. With sheer veils flowing down the hats of each model, whether in black or white, the collection had a mysterious, elusive, yet even romantic aura. And, in the end, once you take off the hats and lace gloves, there were clothes to wear everyday. Take that pale pink robe coat or one of those lovely, peasant shirts. Not speaking of the womenswear part, which was plenty of ethereal gowns that felt distinctly Demeulemeester. But then… do we really have to take off all that dramatic headwear? Meunier wanted to convey a sense of dreaminess in his line-up. Why not dress the way you dream? That’s a question to discuss.
Collage by Edward Kanarecki.
Men’s / Desires. Yohji Yamamoto SS19
What a collection! I always have a soft spot for Yohji Yamamoto, but his spring-summer 2019 collection is exceptional. And, in a way, very sensual. “I wanted to explain that fashion became so boring.” Yes, Yohji, some who as well feel exhausted with those ‘must-have’ sneakers that are all over the industry can come to the same conclusion. “Essentially, I feel that ordinary people and fashionable people are all tired of fashion because there’s nothing kind of strong, cute, sexy.” Maybe I wouldn’t call his latest line-up ‘cute’, but the two other terms describe the collection precisely. From flowing, all-black looks, Yamamoto’s sensual style poetry progressed into more erotic fields. Some of the robe-coats were covered with depictions of women in various states of pleasure. The designer summed up them as “modern ukiyo-e,” a famous genre of Japanese art. Loose pants and tank-tops/man-dresses came in sultry leopard and flames prints as well. Yamamoto releases his wilder side this season, but not directly; there’s just a notion that can be grasped when you actually wear these garments.
Collage by Edward Kanarecki.
Men’s / Verner Panton. Dries Van Noten SS19
When I was a kid, and wasn’t interested in fashion yet, I was obsessed with furniture design. And the truth is, Verner Panton was my favourite designer. I remember how I was drooling over his cult Panton chair or the memorable Heart armchair whenever I saw one of them in a magazine or some restaurant. So, believe me, Dries Van Noten‘s spring-summer 2019 collection is very special for me. My childhood love meets my current love! So, what triggered the idea? “I wanted a collection which was really fresh, and about color. So we looked to [his] estate, and asked for permission to use the prints digitally, rescale them and blow them up.” Moreover, each garment with a direct use of Panton’s work is to be co-labelled – expect this to be a very special edition line then. Colourful, bold stripes and geometrical patterns were used for velvet shorts, spring coats, loosely fit pants, moccasins, shirts… and all that beautifully balanced with Van Noten’s signature summer tuxedos and over-sized knits. What really surprises is that Panton’s contribution isn’t too ‘invasive’ or literal here, but subtly leaves a mark. Other designer would easily fall into a trap of being a slave to his or her reference. But Dries finds harmony. That’s how you do a tribute collection.
Collage by Edward Kanarecki.
