Flaws We Need. Balenciaga SS18

October 4, 2017 | Design & Culture by Ed

Demna Gvasalia and irony are two synonyms – and you know what I mean, if you’ve seen at least two Vetements collections in your life. This season, Gvasalia wanted to do more of ‘him’ (that we know from the Zurich-based fashion collective) than dig into the Balenciaga archive. Less Cristobal, more wit and edge, but still with a strong, technical side. Coats with attachable extra sleeves, that in fact can be called a two-in-one at same price; head-to-toe money bill motif all over tea-dresses; charm belts decorated with toruist-friednly Eiffel Tower figurines; peplum tops in pink camo, a combination that sounds and looks so devastating that it’s good. This hilarious collection is a pun topped on another pun. A tongue-in-cheek comment regarding the rush for the senseless, up-and-coming trends. The clash between bad and good taste, being a result of endless street observation of how today’s society dresses. That’s what Gvasalia does best. And it’s even more thrilling to see him doing that very anti-fashion thing at Balenciaga, a fully established brand with stores all over the world. But the list of pieces that catch your eye in this collection is much, much longer. The already cult ‘Knife’ boots kept in a 2000s desktop print (think cheesy sunset or a postcard view of mountains); platform crocs made in collaboration with, yes, Crocs, in the most killing shade of yellow; reversible ‘rain coats’ for handbags; high-heels covered with studs and lots of tartan checks were clear signs that the designer is having an obsession with the punk subculture.

Strangely, or not, but I’m a sucker for those Demna-ish flaws and oddities. I think it’s something the superficial world of fashion needs to be ‘wake’ and relate to today’s world.

Collage by Edward Kanarecki.

Basics. Givenchy SS18

October 3, 2017 | Design & Culture by Ed

I don’t want to spark a mood of competitiveness, but what Natascha Ramsay-Levi did at Chloé, replacing Clare Waight Keller, and what did the latter do at Givenchy, is just incomparable. I had big hopes that once landing at Givenchy, Waight Keller might leave her boho dresses era behind and go a new path. Well, she did. But her debut collection felt just… boring. Watching it, I felt nothing. Riccardo Tisci’s very printed, pro-millennial and Kardashian-y phase has been completely wiped out (for good), but the new Givenchy feels like Hedi Slimane’s Saint Laurent, just a bit more ‘proper’ – a bit glam, a bit rock, a bit of ‘French chic’. In overall, you can forget majority of the looks on the next day.

According to Clare, she dived into Hubert de Givenchy’s archives to catch up with the brand’s original roots. There were references to dress silhouettes from 1961 and shades of famous pastel-blue ‘Bettina’ blouse (the ruffle-trimmed piece from 1952 that launched Hubert’s career); the iconic Little Black Dress, worn with a Givenchy tag first in ‘Breakfast at Tiffany’s’, was rejuvenated with some pussy-bows and transparent sleeves; the lip motif, that covered mini-skirts, appeared to be also an archive find. But what’s the sense of moulding a collection out of archive codes, if in the end it looks like a line-up of very basic, commercially forward clothes (that don’t differ from many other brands, in fact)? There should be at least a bit the designer’s stamp. Oh, Clare. That was a mild debut. Big hopes for something more ‘authentic’ the next time.

Collage by Edward Kanarecki.

Enigmatic. Comme Des Garçons SS18

October 2, 2017 | Design & Culture by Ed

As usual, Rei Kawakubo‘s Comme des Garçons leaves it open to your very personal interpretation. Many questions arise, for which no answer will be given in terms of a simplistic ‘yes’ or ‘no’. Why was the collection presented at the Brutalist building of Russian embassy in Paris? Why were some of the model’s garments and headpieces featuring Hello Kitty and My Little Pony toys? What was the idea behind clashing Arcimboldo’s 16th century painting with manga? Patchwork, graffiti, accumulation. Childishness, anxiety, volumes. Does Rei even care, you critics and bloggers?

Collage by Edward Kanarecki.

Mature Seduction. Haider Ackermann SS18

October 2, 2017 | Design & Culture by Ed

It’s rare to see a designer, who throughout time is true to his or her style, and at the same time is keen on evolving. Haider Ackermann is the perfect example of such designer. Since designing for Berluti, a solely menswear luxury brand, its visible how Ackermann’s tailoring skills have improved and grown up. But still, his signature sensibility is as alive as a decade ago. The spring-summer 2018 isn’t only about breathtaking tailoring (although if every designer had at least one impressive suit in their collection, precisely in a deep shade of burgundy, I would be more than pleased), but also a long-lasting affair with modern-looking draping. I mean, how good are those evening dresses? Dreaming to see Tilda Swinton wearing one on the red carpet, oozing with some unconventional, anti-glamour seduction. In overall, the collection was very mature and minimal, but there were some charming remnants of the ‘old’, badass-pirate-style Haider. The jackets in precious gold (a striking contrast to soft lilac and light yellow) were made of a ‘cracked-up’ fabric, and if you scan it thoroughly, you will notice that it looks like a tattered wallpaper. Really, really good. Well, I should also add ‘as always’ in case of Ackermann.

Collage by Edward Kanarecki.

Show Girl. Nina Ricci SS18

October 1, 2017October 1, 2017 | Design & Culture by Ed

Honestly, I really can’t understand why other fashion critics heavily underrate or slam Guillaume Henry‘s work at Nina Ricci. I think what he does at the heritage French maison looks extremely exquisite and at the same time isn’t too obvious. Even if we’re talking about a military-inspired jacket that had a moment at the Les Invalides fashion show. The collection started calmly: there was an ecru coat with extra-large shoulders styled with, yes, biker shorts. To a surprise of many, it ended with a vivid splash of radiant pink and eye-catching yellow. The most remarkable looks were all about feathers – from head-pieces to mini-dresses – and had something of a chic, Belle Époque inspired show girl. If all the world’s a stage, fashion must be a circus (note that even the runway was under a festive tent). As for me, just let Guillaume have a blast.