When in Alyscamps. Gucci Resort 2019

June 7, 2018June 7, 2018 | Design & Culture by Ed

It was Gucci and the ancient necropolis of Alyscamps, a stone throw from the French city of Arles, that followed the Louis Vuitton cruise show in the Cote d’Azur. The lightness and sun-drenched mood of French Riviera got erased by a massive dose of historical weight and a sense of mysticism that Alessandro Michele adores to implement into his clothes, and the Italian brand. It’s not a surprise that the collection was heavy in details and focused on a beautiful chaos, typical for the escapist universe of the creative director. The line-up was like a moving closet for women and men, or rather for anyone who feels free to wear the clothes. That’s Alessandro’s way of pushing Gucci into no-gender-boundaries label. So there it all was on that, literally, ‘on fire’ runway: a gown with a skeleton thorax embroidered on the bodice (disturbingly magnificent), bridal dresses embellished with Christian crosses, leggings with memento mori written all over, richly embroidered toga dresses, punk-ish boots, opulent robes, jaw-dropping faux fur coats and lots of flowers (that replaced real accessories). I no longer look at Michele’s collection in terms of clothes only. That just doesn’t make sense. His creations are like a theatre, where everything matters: the styling, the models, the setting, the music.

Collage by Edward Kanarecki.

Art and Riviera. Louis Vuitton Resort 2019

June 6, 2018June 6, 2018 | Design & Culture by Ed

I know, I know. It seems that Louis Vuitton‘s resort 2019 collection took place ages ago. But I’ve been holidaying for a while in the Algarve region of Portugal, and hey – shouldn’t we all slow down the pace in the industry? Shall we make make reflection, not the instantness, a priority?

Nicolas Ghesquiere‘s take on French Riviera’s artistic aura was brilliantly executed at the Fondation Maeght in St. Paul-de-Vence. The runway, filled with Giacometti sculptures, was a perfect backdrop for the season’s flowing dresses, evening tops with feathers and deconstructed vests. The collection is full of contrasts. Leather over-the-knee sneaker-boots clashed with feminine flou of some of the outing’s most refined looks, while 80s volumes and prints were put next to boudoir-esque pink satin and lace. Shortly, Nicolas celebrates diversity in dressing, that used to be rich among the artists who settled across the Riviera.

“What is it today to be an original, [someone] who has her own way of dressing? This bricolage . . . you can start a real movement. I love those people who are eccentric.” Possibly, Ghesquiere had Grace Coddington on his mind, who collaborated on the Vuitton bags the season. The mega-stylist and former creative director of Vogue worked on a collection of bags based on the sketches she does of her beloved cats and Nicolas’ dog. Maybe it’s the sea breeze that’s doing the work, but that was one of the best collections coming from the designer in a while.

Collage by Edward Kanarecki.

So Luxe. Givenchy Resort 2019

May 19, 2018May 18, 2018 | Design & Culture by Ed

It took me a while to fall in love with Clare Waight Keller‘s refined vision at Givenchy, true. But her resort 2019 collection is fire in terms of both, womenswear and menswear. That luxe feeling behind the faux fur coat, slouched boots and kimono-inspired varsity jackets is nothing ground-breaking, yes, but the effect is sublime. Clare delivers classical elegance, which feels both contemporary (satin hoodies there, slouch pants there) and true to the house’s heritage simultaneously. That black & white mini-dress is quintessentially Hubert De Givenchy. Shortly, that’s a delightful set of looks, styled by the greatest Suzanne Koller. I actually can’t wait what Waight Keller plans for the main collection – a tribute to the late founder of the house is probably in progress.

Collage by Edward Kanarecki.

Consolidated. Balenciaga Pre-Fall 2018

May 18, 2018 | Design & Culture by Ed

Looking at Demna Gvasalia‘ pre-fall 2018 collection for Balenciaga, it’s quite clear that the designer has fully consolidated his persona into the maison. To such extent, that within his five seasons at the brand he has established cult pieces and cult vibe (like the spandex pantashoes, the Knife mule, the tea-dress, THAT “messy” look). Also, wherever you look, Balenciaga is an international top-seller. But once you take a peek at Gvasalia’s past approach towards fashion (that made everyone feel obsessed with him and his Vetements pals), and see what’s at Balenciaga now, I guess the ‘bad guy’ of fashion dramatically became a success story of the big luxury corporation, Kering. I know a pre-collection should sell, but right now it’s just about flipping prints and switching one neon colour for another. The spark that used to be there with every Balenciaga collection by Gvasalia, even the commercial ones, has gone. Let’s hope it’s a temporary phase…

Collage by Edward Kanarecki.

New York. Prada Resort 2019

May 5, 2018May 5, 2018 | Design & Culture by Ed

So, resort 2019 season has started. After a very tedious show Chanel staged in Paris a few days ago (that ship standing in the middle…), Prada‘s collection in New York makes a bit more sense. The MET is just around the corner; the company tries to re-enter the U.S. market with a boom – all of that is quite understandable. Miuccia Prada went for her archives (again), giving us some 90s feels. Her famous ‘ugly print’ from the time was all over the mini-skirts and dresses, while the ‘I don’t care much’ attitude of the decade was perceived. Even, if at some points it all felt forced. Other than the bucket hats and padded trappers, I just don’t understand the impact of this outing. Well, maybe seeing a bit more of Prada on Instagram was the entire point (plus the few-minutes long Times Square livestream that surely had all New York eyes watching).