Reviews

Handsome. Haider Ackermann AW19

| Design & Culture by Ed

There’s no way you can go wrong with Haider Ackermann. “They’re handsome people—handsome girls and handsome boys,” the designer said after his show. The new collection is  the designer’s second attempt at combining women’s and men’s on one runway, and he succeeded with a smooth, beautifully synchronised line-up. “It’s not unisex; it’s about borrowing” – Ackermann summed up. He used the same materials for women and men, which gives the clothes a sense of fluidity. But also, while the models walked in pairs – girl and boy, boy and boy, girl and girl – you just couldn’t stop thinking about how good a couple would look wearing matching Ackermann bomber jackets, kimono coats, super slim pants and hot or studded leather boots. And when you note that the soundtrack was Jane and Serge’s “Je T’aime . . . Moi Non Plus”… it all made sense right away. Not only clothes were important in this show. There was love in the air. As pretty much always, I’m giving high marks to Haider.

Collage by Edward Kanarecki.

Light. Nina Ricci AW19

| Design & Culture by Ed

Paris saw two debuts at historic maisons that were originally found by women. The first was a proper, but mild restart at Lanvin by Bruno Sialelli. The second appeared to be at Nina Ricci, where Rushemy Botter and Lisi Herrebrugh took the role of creative directors. The couple have a menswear label, Botter, whose oversize tailoring and energetic humor caught the attention of the fashion world last year, made them LVMH Prize finalists and scored a top design award at the Festival d’Hyères. They’ve never designed womenswear, but LVMH gave them a blank page. So you could actually expect anything. The designers decided to play rather safe and referred to Ricci herself, whose fashion was roamntic, airy and light. Rushemy and Lisi cleared the garments of any unneeded details, like lace or embroideries, and delived a line-up of minimalist, yet feminine silhhouettes. There were organza tops and flowing gowns, but we’ve also had beautifully constructed suits and over-sized shirting. For me, this collection lacked the intrigue that Guillaume Henry (Botter and Herrebrugh’s precedessor that parted ways with the brand quite abruptly) delivered to the brand. But I’m paying attention to what’s coming from the new creative directors in the near future.

Collage by Edward Kanarecki.

The Favourite. Loewe AW19

| Design & Culture by Ed

Jonathan Anderson‘s Loewe is never straightforward. While the designer loved Yorgos Lanthimos’ incredible The Favourite film, he didn’t just knock off historic costume-wear. How genius is the pearl-beaded sweatshirt? It’s a soft nod to Queen Anne’s fixation with gorgeous jewels, and pearls of course. The white lace and black silk finale dress was also quite close to the film’s aesthetic, but transformed into something very contemporary looking. I’m always in awe with the unparalleled levels of creativity and craftsmanship that underpin Anderson’s collections – but his real genius is found in how he elevates easy, wearable fashion. Big coats with fur inserts; a dress that looks like a knit with sheer skirt; feather boas that don’t look ridiculous; crotchet jackets and tasselled skirts… oh, and of course the ‘elephant’ hat that might make absolutely no sense, but looks right in this collection. Jonathan is the king of curation. The accessory that wins the season? The new Lantern handbag that isn’t actually that new – it comes from Loewe’s archives. It’s classy shape with a lady-like clasp is so elegant. I bet if Queen Anne lived today, she would order one (or two).

Collage by Edward Kanarecki.

Dark Glamour. Rick Owens AW19

| Design & Culture by Ed

Designers seem to reconsider glamour this season in subverted, new ways. While this term seems to be far, far from Rick Owens‘ well-known aesthetic, the designer took a try with it and what came out is the brilliant autumn-winter 2019 collection. Who else can pull off a reference crossover of such names as Charles James (the only American couturier), Larry LeGaspi (the person who designed costumes for Labelle, Kiss, Grace Jones, and Divine) and Mariano Fortuny (the Spanish-born, Italy-based designer who was famous for pleats and prints)? Only Rick. All of those people did glamour in their own, idiosyncratic way, and Owens was interested in doing garments that have a bit of each of them in the seems, cuts and drapes. Wait, but it’s never a Rick Owens collection without a bit of darkness. The designer hired 18-year-old Salvia (see her Instagram! It’s disturbing, but you won’t stop scrolling) to consult on the show makeup. The models looked like alien princesses with all the face implants and prothesis. That’s post-apocalyptic chic.

Collage by Edward Kanarecki.

Reworked Glamour. Y/Project AW19

| Design & Culture by Ed

Similarly to this season’s Paco Rabanne, Y/Project was ‘overfilled’ – but in a good way (even if this sounds strange). Glenn Martens took the old school glamour archetypes, reworked them, and delivered something pretty much madly fashion. He jumped from a superchic tweed coat with faux fur and Turkish rug inserts to a long black satin skirt draped up from a pair of deconstructed pants. A pistacchio kimono coat-dress? Yes. A voluminous jacket with an A-shaped skirt that reminded you of weaved chairs that are all over the Parisian caffes? YES. The closing, XXL gown was so extravagantly billowy that you really wish to see it on the red carpet (Rihanna, take a look!). Martens likes to take risks. Also, he seems to be one of the few designers in Paris who really dare.

Collage by Edward Kanarecki.