Raise The Glass. Maryam Nassir Zadeh SS17

October 16, 2016October 14, 2016 | Design & Culture by Ed

After a month of fashion, fashion and once again, fashion, the days after the last shows in Paris feel like the most idyllic moment for the fashion industry. Also, it’s the time to reflect on the season, and review much quieter, yet equally brilliant collections from off-the-radar designers. Maryam Nassir Zadeh‘s spring-summer 2017 was presented at the beginning of warm September in a West Village gallery, and it was rather a downtown brunch with friends (including Ana Kraš, Mari Giudicelli, Oroma Elewa and other MNZ girls) than a fashion show. Zadeh’s women sat at a table piled with fruits and Mediterranean ceramics, and later on started to smash the plates and vases on the floor. No, it wasn’t an art performance; metaphorically, the designer was raising a glass to the success of her brand, her boutique, and creative women, who surround her on daily basis.

The collection is a dream wardrobe for summer. Loosely fit silhouettes and on-the-go styling tricks; sensual, sheer skirts and leather bras; gorgeous denim skirts and lovely beige palette. Maryam is the designer who proudly represents eponymous New York style. It results in the designer’s origins, and maybe the city’s melting-pot culture. Or, it’s just about the idea of making affordable, yet high quality clothes for women in any age. The presentation also celebrated the brand’s debut bag. It’s a hand-woven tote in mint-green. One thing is guaranteed – it will sell fast, in this and any other colour.

Timeless. The Row Resort’17

October 14, 2016 | Design & Culture by Ed

There’re no other American brand like The Row. The New York-based label is far from ‘contemporary’ or ‘casual’. It’s a luxurious of reflection of Mary-Kate and Ashley Olsen‘s aesthetic, which rather targets mature, intelligent individuals, rather than Insta-models. When the designers started The Row (named after London’s Savile Row, not by coincidence), the sisters didn’t look to any brand for inspiration. It’s has always been about quality and fit for them. The Row is a pretty young brand, though – but thanks to its philosophy and minute attention to detail in anything, it quickly appeared in the league of such minimal-luxury brands like Céline, Lemaire, or even Hermès.

No wonder why – just have a glance at The Row’s resort 2017 collection, and you will understand why the label has become fashion industry’s obsession. The look-book of just 13 images features (un)usual models: nearly 50-year-old Frederique Van Der Wal, iconic Audra Avizienis, intriquing Olga Sherer and a newcomer, Jada Joyce. Those four women represent different ages, and that’s the silent message behind the collection. The coats and other outerwear pieces are timeless, just like black cashmere turtlenecks or fur-lined suede loafers. Sensual lingerie isn’t an intepretation of the slip-dress trend, but a new addition to the brand’s range. Impossible not to love it.

Posh Pool-Side Party. Miu Miu SS17

October 13, 2016 | Design & Culture by Ed

It’s not that hard to distinguish a Miu Miu collection. Saccharine pastel colours? Checked. 60’s prints your grandma wouldn’t mind? Checked. Fur for summer? Of course, CHECKED. In other words, Miuccia Prada‘s spring-summer 2017 collection is a pure definition of Miu Miu girl. Just like at her main-line this season, Miuccia cheers you up with naïve optymism. Imagining a fairy-tale of sun-drenched, Mediterranean vacations, the designer re-invents a wardrobe of pin-up bikinis, embellished swimming caps and beach-perfect retro dresses. The models, spanning from newcomers to runway favourites, wore wedge sandals and patterned (mink) robes. At first glance, most of the girls resembled Slim Aarons’ posh characters of his dreamy photographs of surreal pool-side parties in the early 70’s. He made his career out of what he called “photographing attractive people doing attractive things in attractive places.” Basically, this is quite similar to Prada’s latest Parisian outing: layers, and layers, of attraction.

Soigné. Louis Vuitton SS17

October 12, 2016October 12, 2016 | Design & Culture by Ed

Nicolas Ghesquiere chose to show his spring-summer 2017 collection for Louis Vuitton not at the usual location (Fondation Louis Vuitton), but in the brand’s future boutique. Place Vendome store is opening in 2017, but the decision to stage the collection in this raw, yet beautiful space, was a prove that even though Louis Vuitton might go to far-fetched destinations (like Palm Springs or Rio), its spirit stays in Paris.

When Ghesquiere worked at Balenciaga, his connection to the city was reflected in flirty dresses, unconventional elegance and intriguing layers – in other words, his aesthetic was the soigné embodiment of ‘Parisian chic’ myth. Throughout his Louis Vuitton tenure, Nicolas went global, slightly forgetting about his old, good affair with the city of love. However, the newest collection is just it: an elevated wardrobe of timeless pieces with the right dose of French borgeois. Drenched-in-gold jewellery; masculine blazers; Parisian model “off-duty” look feauturing grunge (or not so, with all those embroideries) t-shirts. How good can it be?

The 80’s are continously embraced by editors and stylists of such local magazines as Vogue Paris or Self Service. While the creative director is friends with them, the mood of this decade has been present in every single detail, from the ‘night-out’ make-up to crystal-embellished slit gowns. For a moment I thought that this is what Lanvin should look like now with Bouchra Jarrar – but then, you can perceive Ghesquiere’s hand in those tailored pants and desirable biker jackets. Magnifique!

Pierpaolo’s Delights. Valentino SS17

October 11, 2016October 11, 2016 | Design & Culture by Ed

After Maria Grazia Chiuri’s departure to Dior, Pierpaolo Piccioli is solo at Valentino. One thing’s sure – it’s not the same Valentino we used to know during the couple’s creative co-operation. With Chiuri, Valentino was darker, and heavier in embroidery; seeing Piccioli’s first “all by myself” collection embeds a lighter vision of the brand. Although spring-summer 2017’s mood-board is covered with Hieronymus Bosch artworks and Reneissance-era obsessions, Pierpaolo’s woman is thinking about grunge and 70s West-London love affair. To prove the latter, the creative director collaborated on prints with one-and-only Zandra Rhodes (whose influence was coined by Luella Bartley of Hillier Bartley this season, too). The effect? I can’t remind myself a Valentino show, which was filled with so much joy. Just look at those jackets! Of course, old clients will find a range of beautifully embellished dresses and skirts. But Pierpaolo also introduced a kind of à la Céline softness to the brand, which will surely appeal to the young. I nearly forgot about the colour palette – from killer fuchsia-pink to refreshing lime-green, there are many reasons to fall in love with the (not so) new Valentino.