References. Calvin Klein SS19

September 15, 2018September 15, 2018 | Design & Culture by Ed

To my very own surprise, I’m on fence with a Calvin Klein collection by Raf Simons. Specifically, with his most recent, so spring-summer 2019 collection. Not that I don’t like it. I love it. I want one of those The Jaws t-shirts with a CK logo on, even if that’s just a branding masterpiece triggered by the right moment to take an old, good blockbuster out of the shelf. But other than the affordable, approachable ‘merch’, I’m quite saddened that Simons doesn’t let his clothes do the talking, but needs a list of references to justify them. Jaws as first, and not just on the t-shirts. The rubber scuba-diving material was used for subversive outerwear, underscoring a sexy, S&M-like silhouette; the chomped-out, shark-attacked tears at the hems of pleated skirts were for the more observant ones. It’s all good so far. But then, another ‘inspiration’ – Mike Nichols’ classic of post-adolescent indecision, The Graduate. Most people, who haven’t seen the film, thought that the mortarboards and graduation gowns thrown over models’ shoulders were taken out of this 1967 film. Ironically, there wasn’t even a brief still of these two throughout the entire film. The film’s soundtrack was played at the end of the show, instead. And some of the prints (like leopard spots) resembled those that Mrs. Robinson liked to wear, while seducing Benjamin. The high-school gear felt unconvincing and, to be honest, I was completely confused what the designer tried to say with it. Moral: let’s not take film titles too literally. And then another reference. American couture from the 50s and 60s. Worn with plastic harnesses (so, so Helmut Lang), the floral dresses that were a nod to that conservative fashion era had been re-stitched to create this ‘crushed’ effect. I know this wasn’t meant to look flattering, but… well, I just can’t say I like the look of these garments. The show had its visible ups (like the venue’s look, the fun styling, and the apparel that is a sure bestseller) and downs. Simons continues to discover American culture (by now we had Andy Warhol, horror films, cowboys, universities, Hollywood…) and recycle different ideas from it in his collections, but I think it’s time to let go and take another step. Or at least, go for something more metaphorical, not based on the collective brain of finding direct associations and parallels in pop culture (as if they were Instagram tags).

Collage by Edward Kanarecki.

Real. Proenza Schouler SS19

September 14, 2018September 14, 2018 | Design & Culture by Ed

Similar to Rodarte, Proenza Schouler returned to New York fashion week after a stint in Paris. Jack McCollough and Lazaro Hernandez immediately switched everything, from sensibility to the production of the new season clothing. No more feathers, meticulous embroideries and laborious craftsmanship. The feeling is New York, not Paris. Real, laid back. And that’s something that works for Proenza Schouler best. Even though I loved their last two collections they did in Europe, it was quite perceivable that the ‘prestige’ surrounding the French capital might not entirely be their cup of tea.

Their collection happens to be one of my favourites from what we’ve seen up to date in New York. First, the simplicity: most of the pieces were made in either cotton or denim. This also means that the price point will be much lower than the current collection that’s in stores. Military-style jacket with a high collar looked so good with wide-leg trousers, and a drop-waist dress in bleached denim is exactly what every summer wardrobe needs. The over-sized, tie-dyed shirts with random snapshot of New York had that art gallery feeling I always adored in Proenza Schouler, New Yorker mode. Oh, the bags. The bags! So big and comfortable. Perfect. I bet that from all the brands that show in New York this season, Proenza Schouler might expect the biggest success in retail. And not because of some shallow ‘fashion’, but well-made, contemporary-looking clothes women will wear everyday, for different occasions. That’s actually the core of the brand since it’s first days – to deliver remarkable, sort of edgy styles to intelligent, self-aware females.

Collage by Edward Kanarecki.

Heavenly. The Row SS19

September 14, 2018 | Design & Culture by Ed

No fashion show this time, but a peaceful, tranquil showroom presentation accompanied with a look-book starring Saskia De Brauw. That’s how Ashley and Mary-Kate Olsen reply to New York’s fashion week fuss. Oh, the clothes. The Row is heavenly. Majestic. Angelic. But don’t think of any opulent embroideries or ornamental details, no. Rather, a voluminous dove-gray silk dress. Tweedy coat with the frayed edges. Robe-like gowns with regally upturned collars. All hand-made, kept in the highest possible quality of craftsmanship. Those garments don’t look still and statuesque, but flowing. I’m absolutely in love with this one look where a huge bag works as layer of clothing worn over a minimal, sleeveless dress. Editors tend to say that clients who adored Phoebe Philo’s Céline should go to The Row. Well, I wouldn’t go that path of logic. The Olsen twins gradually create their own vocabulary, that is less and less Philo-esque. They finally create distinct clothing that speaks for itself; it says ‘The Row’, not ‘Philo appreciation sample’. Also, a big shoutout to The Row’s new menswear line that launches in October. Mostly with a Made in Japan tag, the men’s garments (just a few preview images were released) will be as exquisite as the women’s. The price range, that starts from $4,000, speaks for itself as well.

Collages by Edward Kanarecki.

Day Dream. Rodarte SS19

September 13, 2018 | Design & Culture by Ed

Kate and Laura Mulleavy are back on the New York fashion week schedule for good (after a stint in Paris and look-book presentation). And for their comeback show, the Rodarte designers chose the New York City Marble Cemetery, which appeared to be a perfect backdrop for the ethereal, fairy-tale, yet somehow supernatural collection. No mourning widows here, but a line-up of dramatic, eye-popping ball gowns made of tulle, crotchet, ruffled leather and lace. To be precise, this was a classic Rodarte collection, over-the-top and completely uncommercial. Some of the ‘bridal’ gowns were even too much, with all the floral embroideries and heavy shoulder meringues. ‘Romance’, ‘decadence’ and ‘daydreaming’ are easily coined while browsing the collection. Yes, those are alien terms that are growingly uncommon in New York, but alive for Rodarte (and the pack of actresses who fancy their dresses for the red carpet events). But, in a way, this season’s excess felt exhausting and unfocused. Noting the amount of work needed to make at least one of those dresses, I can’t help but have this sense of unneeded… exaggeration. Still, I’m glad to see the sisters supporting the NYFW calendar again.

Collage by Edward Kanarecki.

Family Affair. Sies Marjan SS19

September 13, 2018 | Design & Culture by Ed

As in Mary J. Blige’s song, it was a family affair at the Sies Marjan spring-summer 2019 runway. “This one was emotionally intense . . . my mother was in the show, as were friends from college, new friends, old friends, people I work with, and models that we love”, Sander Lak noted backstage of his show. Model castings that consist of model veterans (Małgosia Bela, Sasha Pivovarova), runway regulars (Aymeline Valade, Kiki Willems and let’s add Kaia Gerber to that list too) and real life people of different ages, sizes and skin colour are the best, as they present the clothes in the most universal way. You can really observe how the designer envisions his fashion for women (and men, as in case of Sies Marjan), not just on a rack, but in the daily life. But this wasn’t a typical Sies Marjan collection due to another reason. While the last seasons of this relatively young, New York-based label blasted with colour and surprised with the most unlikely pastel combinations, this line-up was calmer and more structured. White, khaki, ecru, navy, burgundy: the overall impression was more down-to-earth, grounded. There was the marine theme that was a nod to Sander’s father (“That was a lot about my dad, who passed away when I was young. He was living in Saudi Arabia, and I would see him wear cargo shorts in this particular green and Ralph Lauren stripe-y polos.”), but as well many new silhouettes that seem to broaden the range of Lak’s ready-to-wear. Loose blazers, maxi-dressses, short-sleeved shirts and PVC coats are the new additions, which signal the designer’s gradual confidence in creating his own ‘wardrobe essentials’. But aren’t we having too many essentials coming from too many labels? In a way, I felt that the distinctive ‘codes’ of Sies Marjan kind of got lost in this season’s huge offering. I missed Sander’s consistence that made his previous collections so fluent. There were too many layers, making the collection’s core no longer clear. The skyscrapers illustration print popped out of nowhere on a dress; the last few looks in neon yellow and orange were unnecessary, as they disturbed the rest of the collection’s peaceful tone. The diverse casting is a right step, as it demonstrates how a range of people can easily resonate with the brand. But then, going the path of pleasing everybody isn’t a good idea for a brand like Sies Marjan