Child’s Sadness. Jacquemus SS16

October 2, 2015 | Design & Culture by Ed

Every collection is a new story for Simon Porte Jacquemus, the designer behind Paris’ favourite label – Jacquemus. This collection, however, is different from all. The Jacquemus girl used to be a cheerful Frenchie from Marseilles, wearing over-sized tops and striped pantaloons. This season, this girl is not that smiley anymore. In the dreamlike theatre that Simone prepared, the whole mood felt rather melancholic, and very poetic. The whole “performance” felt kind of psychodramatic, as a young child (the designer’s cousin, Jean) pushed a large, red ball of fabric across the stage, and Jacquemus himself appeared, leading a white horse. Then, the models came out, wearing signature, very-Jacquemus colour-block dresses and shape-deconstructing coats.

“We know me for my smile and my sunshine and my (love of the) seaside,” Jacquemus said, reflecting on his fashion that we know from the past seasons. Also, he admitted that the atmosphere of this season was different. “The girl was not dark, she was quite fresh – but you can see a little tiny bit, I tried to have this kind of sadness.” The name of the collection, Le Nez Rouge, means the red nose – but also, it reminded Simon about his childhood illness that caused his nose to be constantly red. Childhood memories and the whole idea of naive is from the very beginning present in Jacquemus’ career, and this show had it too. As the designer is just 25, won the second LVMH Prize Award and has more and more buyers in his Parisian showroom each season, it seems that the pressure is pretty high for him – but, Jacquemus just won’t entirely grow up. Even though this collection is much more mature than the humour accompanying the last season’s collection.

Parisian Woman. Anthony Vaccarello SS16

October 2, 2015 | Design & Culture by Ed

Anthont Vaccarello‘s spring-summer 2016 collection was not only the hottest of all, but also the most descriptive in terms of a Parisian woman, who parties at night-clubs and eats her all-time favourite steak at Hotel Costes. Femme fatale shirts played an important role in the collection – worn with black ties, they looked utterly chic. Just like the cut-out skirts that gave the guests some legs. The second part of the collection was devoted to the Polish top-model, Anja Rubik, who is Anthony’s muse and friend. Her bold, characteristic face appeared in form of pixeled prints on tank-tops and dresses, making the collection sharp and graphic. The looks that closed the show, however, were much more casual. Anthony experimented with denim (a quiet nod to his Versus Versace collaboration) and exposure. The mini-skirts made the models look fierce and with attitude. Although you might say that Vaccarello revisits the Parisian chic cliché (google Emmanuelle Alt), you must admit – he does that in a bon way!

Simple, Simple. Jil Sander SS16

October 1, 2015 | Design & Culture by Ed

Rodolfo Paglialunga and Jil Sander is still an unclear match for me. Jil Sander’s strict minimalism is missed since the debutant collection, while the designer’s signature is not entirely visible. Spring-summer 2016 was light and soft – the statement hats stole Instagram’s spotlight for few minutes after the show. But the collection was absolutely not amusing. It did not last in my mind for long. Beige coats, white pajama looks, black blazers and midi-skirts – really, no excitement at all.

Subverting Reality. Prada SS16

September 29, 2015 | Design & Culture by Ed

Miuccia Prada‘s subverted reality can be felt in the most “realistic” way at Fondazione Prada (soon, a post coming up on it!). This place serves as a museum of modern art and has a quaint, strongly elusive and a highly reflective aura around it. The complex of former-industrial factory exhibits the installations and paintings, and just like the SS16 fashion show venue, it’s all about raw concrete. And this minimal background is the best for a viewer to experience art. And fashion, as in case of Prada‘s latest collection. This collection was all about the eccentric side of Miuccia – disco ball earrings and Cuban heels; snake-skin coats in pastel green; gold lips by Pat McGrath. Also, it fused different decades – 40’s masculinity (the jackets), 60’s geometric patterns and 80’s modernism represented in silhouettes of the skirts. Although the collection was pretty built-up with layers and various textures, there was a place for more exposing and daring pieces. Take the bathrobe coats made out of transparent organza or net-like necklaces that delicately showed some flesh. This collection is deeply rooted in Prada’s signatures and it changes the classical wardrobe of the brand’s customer.

Massimo’s Revamp. Emilio Pucci SS16

September 28, 2015 | Design & Culture by Ed

Massimo Giorgetti is the creator of Milan’s most flat and, shockingly, playful brand – MSGM is the label that made Milan Fashion Week much more youthful place to come to. MSGM is also the commercial best-seller – so why not make its designer the new creative director of Emilio Pucci, an Italian house with a strong heritage and signature? Peter Dundas, the former designer of the house, moved to Roberto Cavalli (a perfect match – over-sexualised cocktail dresses at the most opulent brand I know) and now it is the time for a revamp. The “zero” collection for Resort 2016 was promising – the clothes were interesting and the codes of the house became more edgy. But what about the real, runway debut? Well, it is good. But just good. And that’s a pity because the anticipation was big. The sailor motive was reflected in various shades of blue and masculine silhouettes; the embroideries of fish and sea-shells did look precious. But it feels a bit like Jonathan Anderson’s Loewe, Nicolas Ghesquiere’s Louis Vuitton and Alessandro Dell AcQua’s No21. Modern, innovative and romantic at the same time. Even the accessories, which caught my eye instantly, didn’t help. Hopefully next season will be more clear for Massimo’s attitude towards Pucci. Now, it looks like an expensive, luxurious version of MSGM.