La Canopée. Koché SS17

September 28, 2016 | Design & Culture by Ed

Seeing Lindsey Wixson walk down the crowdy alley in Parisian La Canopée isn’t a usual, everyday sight. And it’s even stranger, when you wonder whether it’s really her, or an interestingly dressed passer-by. Christelle Kocher, the designer behind Koché, is obsessed with elevating street wear, and she’s the only designer who literally takes her clothes to the streets. Last season, she invited the fashion crowd to Passage du Prado, a home of cheap phone stores and cheesy hair-dressers; yesterday, her spring-summer 2017 was seen by the anyone who was running their errands in this gigantic, commercial passage.

Kocher’s latest outing was filled with her quite well recognisable signatures. She works at Maison Lemarié, a couture atelier specialising in feathers, so that’s why her off-the-street (or not) parkas and sweatshirts were all about excessive layers of ostrich plume. Velour sweatpants with a multi-coloured, zipped track jackets (my middle-school P.E. memories go posh) – a thing for dressing in anti-fashion way is intense here, too. Adwoa Aboah sported a not-your-average-cross-fit bra-top, while meticulously embroidered slip-dresses never looked so… effortless. I know this sounds cliché, but admit – Koché is a brand, which fuses the idea of “on-the-go” with minute attention to detail, close to haute couture level. The styling of the show felt absolutely spontaneous, and both the street-cast, and professional agency models seemed to enjoy the nature of this show. First days of Paris Fashion Week are always my favourite – it’s the moment, when niche, French designers present their intriguing, not-business-wise attitude to style.

Big Return. Olivier Theyskens SS17

September 27, 2016September 28, 2016 | Design & Culture by Ed

Paris Fashion Week is the time of big debuts: Anthony Vaccarello at Saint Laurent and Maria Grazia Chiuri at Dior to name the most significant ones. But also, it kicks off with a big return. Olivier Theyskens. The designer who placed little canaries on stilettos back in 2002; the man behind iconic heel-less shoes at Nina Ricci. Prince of avant-garde, who has been sorely missed, surprised everyone when he reappeared in the season’s schedule. However, his spring-summer 2017 collection is far from fuss: intimately presented to a group of 80 editors and fashion industry friends, there were 25 looks. Both numbers seem to be unrealistically small for a fashion show in 2016 – but sometimes, it’s the quality, not quantity, that matters.

Theyskens had an occasion to refresh everybody’s memory with his cult signatures. Python leather leggings and very high heels are still his favourites; blazers with sleekly corseted waists are pure romance; elusive transparency revealed a thing or two. And the all-black colour palette (with minor splashed of red and white). Leave sultry to Olivier, as his love for women’s body is reflected in those sharp mini-dresses and intriguingly cut skirts. To a certain extend, I see some similarities between Theyskens’ latest outing of noir ready-to-wear, and Azzedine Alaia’s chic-defining fashion shows. The mood of privacy, and a kind of luxurious modesty, radiates in work of these two legendary designers. Even though they come from totally different decades, their sophisticated, and somewhat dramatic elegance never goes out of ~~fashion~~ style.

Bye, Sonia

August 25, 2016August 25, 2016 | Design & Culture by Ed

Sonia Rykiel has passed away today in the morning, leaving the world of fashion cry.

Throughout her career, Rykiel was called ‘The Undisputed Queen of Knitwear‘, while her fashion – the quintessence of Parisian chic. Her thin jumpers left the neck uncluttered, giving French women comfort of ready-to-wear and a sense of freedom. Sonia’s timeless designs were expressed in every possible version of knitwear, from the warmest mohair to the softest jersey. During her first successes in the 60s, her brand’s tricot pieces absolutely differed from old, heavy silhouettes. Also, she created the myth of St. Germain girl – a Parisian femme, who lives on the Left Bank (very likely next to her first flagship store on Boulevard du St. Germain, opened back in 1968) and lives her effortless, care-free life. But most of all, Sonia Rykiel’s fashion was frivolous, feminine and relaxed, and it brought happiness to the clients and the industry. Her legacy still does.

Current creative director of the house is Julie de Libran, who succeeds in continuing Sonia’s legacy. As for a little cheer-up – Libran’s furry tote from her recent autumn-winter 2016 collection. At least, we are sure that Rykiel’s label is in good hands.

But still, Sonia will be sorely missed.

You Need a Loewe Cat

August 21, 2016August 21, 2016 | Design & Culture by Ed

Jonathan Anderson‘s autumn winter 2016 collection for Loewe was full of surprises – but one of the pieces was exceptionally outstanding. THE most edgy and somewhat useless accessory of the season you and I need. A cat face necklace, made of leather. Hand-painted. If you have a spare 590 euros, take a look here.

Becoming a Woman

August 8, 2016August 8, 2016 | Design & Culture by Ed

Guillaume Henry raised Carven, a fellow couture house of the past, into a commercial success. For the past six seasons, he’s at Nina Ricci, another Parisian maison, doing what he’s best at – reviving the spirit of a brand, and making it alive in contemporary times. But first, lets look at the history of Ricci’s legacy. Origing from Turin, Maria Nielli literally became Nina Ricci upon arrival in Paris, when she combined her nickname with her husband’s last name. Her haute couture house was founded in 1932, at 20 Rue de Capucines, complete with the design atelier and salons for client fittings. Her technique, cuts, balance and intriguing use of materials defined the Nina Ricci woman – elegant simplicity.

After years of slight oblivion, the house welcomed extremely talented Olivier Theyskens. However, his designs weren’t that sellable, and the next creative director was named: Peter Copping. His era at Nina Ricci was, well, unremarkable, filled with plain collections of boring clothes (I think the same of his few season tenure at Oscar de la Renta…). And then, Ricci named Guillaume its creative designer, and that was a right choice.

Robe coats made of rich fabrics scent with luxury, and the sequined dresses that are Henry’s signature at Ricci look feminine and powerful. The clothes for autumn-winter 2016 are versatile to a great extend – a pinstripe suit worn with a pastel pink turtleneck can switch with grace from daywear to eveningwear, while the sheer midi-dresses are both assertive and… romantic. Nina Ricci’s recent wardrobe revamp is mature and lady-like, proudly targetting women in their 40s and up – for intellectual, individual personas, who know their style best.