Wild Mustang. Jan F. Chodorowicz SS24

Jan F. Chodorowicz is one of the most exciting, emerging Polish designers right now. With every season, he evolves and expands his visual language, creating collections that orbit around the idea of functionality and utility. The sprig-summer 2024 collection is a further exploration of the codes of workwear, but through a Wild West lens. Chodorowicz focused on the analysis of the cowboy wardrobe, mining it both for its aesthetic and timelessness. Well, is there anything as timeless as the style and clothes we know from all the cowboy films? Think “Midnight Cowboy“, “Brokeback Mountain“, or the recent Almodóvar Western, “Strange Way of Life“. Chodorowicz’s vision of the contemporary cowgirl introduces several new categories for his brand like denim, printed silk and silver finishes. With the heart shape as a central motif, this collection plays with the codes of Americana in a cool, unforced way, delivering sharp clothes for a modern-day woman (who might really love riding a wild mustang).

Collage by Edward Kanarecki.
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Call For Peace. Imitation Of Christ SS24

Imitation Of Christ‘s Tara Subkoff created the term “up cycling” in 2000. 23 years later, it is a prevalent – and relevant – phenomenon in the fashion industry. The designer is more than fine with this; she wants others to “imitate” that sustainability-forward practice. With fashion’s ever-returning obsession with grunge and the 90’s, Imitation Of Christ’s spring-summer 2024 collection – which opened this Los Angeles Fashion Week with a dance performance including a blessing in every major world religion – convinces with gorgeous slip-dresses, DIY details and gender-blurring silhouettes. The hand-painted dove on billow-y gowns and utilitarian boiler suits is a fitting call for global peace. The symbol circles back to the spiritual side of Subkoff’s fashion performance, where the harmony of prayers and pujas created a peaceful celebration of all religions practiced alongside one another with respect and tolerance. One of the white dresses bore a quote from Ralph Waldo Emerson that read “Peace cannot be achieved through violence, it can only be attained through understanding”. As simple as that yet so hard to comprehend for the politics of this world.

Collage by Edward Kanarecki.
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Attitude. Celine SS24

Some things don’t change, like Hedi Slimane‘s Celine. Not many designers keep on pushing their (very skinny) agenda so stubbornly. The spring-summer 2024 collection, presented off-schedule as a short film, showcases the Tomboy line-up at La Bibliothèque Nationale in Paris. One of the city’s oldest cultural institutions, it serves as a library that houses the French royal collections since the end of the Middle Ages. But the Celine girls aren’t here to study – rather, they are on their way to another indie sleaze-coded party. Set to Too Much Love by LCD Soundsystem, the collection opens with a model reading a leatherbound book stamped with the gold Celine logo. Clad in a skinny black suit, the ensemble is a reminder of what Slimane does best – sharp androgynous tailoring. Then, a matching leopard print jacket and mini anchored segue to cutoffs and a leather jacket, both paired with tough boots are prime examples of this as is a pair of plaid boxers, worn with fuzzy-lined suede boots. It’s California by way of Paris, especially when you factor in the track suits and caps. The combination has proved to be irresistible to the brand’s clients (I know, I’m shocked too…). For evening, Slimane offers long dresses worn with blazers and knee high boots, as well as mini dresses in sparkly gold and liquid-y silver. It’s hard to seek any fashion novelty at Hedi’s Celine. This designer’s force of persuasion lies in attitude, styling, and his endless glorification – even fetishization – of youth.

Collage by Edward Kanarecki.
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From Osaka to Milano. Loro Piana SS24

Loro Piana‘s spring-summer 2024 collection presentation happened in Milan, but it totally transported one’s mind and senses to Japan – and the served wagashi kasutera weren’t the only reason. Japan’s adoration and celebration of exquisite craftsmanship, understated taste, and timeless style were elegantly woven into the Italian brand’s latest offering. The collection also paid homage to the avant-garde fashion of the Rising Sun, in a modern key of posture and volume. Take the belted, high necked shirt suit for women in gray-flecked tweed was topped with a wide-brimmed woven hat. A striped-neutrals silk-linen shirt dress with a high unturned collar featured an attractive leather fastening to fix and drape the skirt up and across the body. A four-buttoned collarless jacket in an off-white nubbly silky fabric above a pleated pale skirt and light green polo neck looked snug and chic. The sleeves of a wide-armed, navy, petal-paneled silk overcoat were turned up to reveal the multicolored stitch work inside. A skirt and blouse in orange and blue florals was adjacent to last season‘s “flower ceremony” dress. Pure beauty – and please, don’t even try calling it quiet luxury.

Collage by Edward Kanarecki.
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Bodies, Bodies, Bodies. Duran Lantink SS24

Duran Lantink’s namesake label is built around radical sustainability, and in July he won the ANDAM Special Prize for it. But for his recent fashion show in Paris, the Dutch designer somehow managed to draw attention away from the now-expected deadstock-upcycled-repurposed talking points to make a new, confident statement. “At the moment I’m really experimenting, trying to find my handwriting,” he said backstage before the show. “I started with combining clothes and pieces, and now I am really thinking about shape.” For spring-summer 2024, he sent out pneumatic, bulbous silhouettes, from a curvaceous, artificially puffed-up sheath dress (a nod to Comme Des Garçons’ legendary “Lumps and Bumps” collection from 1997) to floating necklines, itsy-bitsy teeny-weeny “bubble jeans” bottoms, and tops resembling floating devices known in France as “frites”, though the show notes called them “tubular objects d’art.” A lifejacket was cleverly worked into a forest green bomber. A 19th century silk veil was paired with a traditional Dutch bonnet to become a sundress; a vintage macramé tablecloth got a similar treatment. Both were charming. Other hybrids included a cage dress made of a sliced black T-shirt, knit deadstock and a piece of a skirt worn over a white bubble top; an experiment in three-dimensionality, the designer explained. “Speedo-jeans” were another attempt at something new. Those starred the classic men’s swim briefs spliced with vintage jeans and hand-knitted leg warmers. Lantink’s focus is solidly on questioning our relationship to traditional clothing. The final number, a black hourglass cut-out dress with hook-like shoulders, was a case in point. Even before the designer revealed, post-show, that the Met Costume Institute, the V&A and the Stedelijk museum have all acquired his work for their permanent collections, this outing gave its audience plenty to think about.

Collage by Edward Kanarecki.
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