Reviews

Lost Plot. Khaite SS25

| Design & Culture by Ed

One good thing about Khaite‘s latest collection: it wasn’t shown in some dimmed, cavernous space like in the past couple of seasons. You could finally see the clothes on the runway. But you also saw how Catherine Holstein‘s brand is dangerously losing its plot. There’s just too much of ideas coming from The Row (high-necked collars, voluminous organza dresses) and Lucie and Luke Meier’s Jil Sander (macrame dresses, the overall “soft minimalism” styling). It’s very difficult to distinguish what’s distinctly Khaite about this line-up, even if it seemed to be one of Holstein’s most daring, experimental concepts to date. However at this price-point, one wants to see authentic ideas from a brand.

Collage by Edward Kanarecki.
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América. Willy Chavarria SS25

| Design & Culture by Ed

In New York, brands either do clothes for the sake of clothes or create fashion that has a meaning (but then the “clothes-making” part often stumbles). Willy Chavarria is a rare example of a designer who does both seamlessly, creating garments that are amazingly tailored but also give you real food for thought. In his spring-summer 2025 fashion show, the models walked out, in a single file, with the American flag as the monumental backdrop. What came across was a voluminous yet exact silhouette that was a callback to the uniforms of the American working class – hotel workers, concierges, construction people, foremen. And so there were balloon sleeves on classic zip-up jackets, tonal shirt and tie combos, cotton duck work fabric turned into tailored Victorian jackets with princess sleeves or baggy cargo skirts, and really good denim pieces . Many of the looks were accessorized with a set of keys – and a little crucifix – dangling from a belt loop. Within the context of the show it seemed like a plea for America – or rather “América“, as the collection was titled – to be more like the promised land everyone imagines it to be. “This [season] is all about power to the people,” Chavarría said. “It’s this country through the voice of the immigrants, and the people who make this motherfucker run.”

Collage by Edward Kanarecki.
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Apparent Ease. Alaïa SS25

| Design & Culture by Ed

Alaïa was another show in New York that left me somewhat hungry for more. Pieter Mulier‘s took the Parisian maison to Guggenheim, as a contemporary (and very high-gloss) hommage to Azzedine Alaïa’s 1982 show at the Palladium nightclub. The spring-summer 2025 collection referenced a couple of the master’s knock-out designs: think 2001 couture asymmetric draped number hanging on one strap or the cut-out bustiers that became the brand’s signature (Mulier was evidently inspired by the forms of Frank Lloyd Wright-designed building). The Belgian creative director also invited some ideas that were born in New York: bandeaus and haute “sweatpants” were riffs on Halston’s 1970s jerseys, sculpted puffer jackets were obviously inspired by Charles James, one of Alaïa’s favorite designers. There was lightness and apparent ease about this collection that was absolutely luxe in its execution. And it was an experiment for Mulier, who has created a sort of well-tested comfort-zone in Paris when it comes to his sublime shows there. I just wish he dared to push it a bit more than just referencing familiar and pretty well-known codes of both Alaïa and New York fashion.

Here are some Alaïa goodies you just don’t want to miss.

ED’s SELECTION:

“Peter Lindbergh. Azzedine Alaïa” book


Alaïa Balloon-Leg Pleated Trousers


Alaïa Dome 32 Top-Handle Bag in Leather


Alaïa Leopard Jacquard Boxy Bodysuit


Alaïa Goldtone Layered Leaf Necklace



Alaïa Perforated Leather Ballerina Flats

 

Collage by Edward Kanarecki.
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Proper. Proenza Schouler SS25

| Design & Culture by Ed

Proenza Schouler pre-opened New York Fashion Week. This was a smart move: the spring-summer 2025 collection would have a really hard time fighting for attention in the midst of all other shows and presentations that are coming up in New York this week. Lazaro Hernandez and Jack McCollough don’t play around with gimmicks, and they are in a continuous process of stripping down anything superfluous about their brand. But the problem is the minimalism they are pursuing for spring feels so generic and safe it could easily be a COS or Arket runway. The clothes looked good – especially the over-sized shirt-dresses and slouchy tailoring – but they were bare of feelings a high fashion brand like PS should spark. Also, I’m not sure who the Proenza Schouler woman is, especially when she’s wearing all these 2015-ish stripes and fringes.

Collage by Edward Kanarecki.
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Off Grind. Phipps AW24

| Design & Culture by Ed

Spencer Phipps knows that there’s no better person than him to promote his own brand. If you follow him on Instagram, then you’re guided daily by him on how to wear and style his very versatile clothes. You might be even subscribing to his YouTube channel, where he candidly discusses what’s like being a designer and owner of an independent business in our modern age (not easy, that’s for sure). So to appear in his brand’s autumn-winter 2024 lookbook was quite a natural step. These very persuasive and authentic, self-styled self-portraits are actually brilliant. Phipps doesn’t build his garments around far-fetched inspirations, but around people, “characters“, that exist in the collective imagination of the roads less traveled in America. Except that these people and their stories are not made up, but very much real. “Fringe characters” is how Phipps describes them. “It’s all very American Midwest-oriented,” he explained. “We have people living off grid, bikers, the weird old man; basically everyone I’m charmed by,” the designer said. Here and there, the designer is holding a Phipps branded ax, a chainsaw, animal crackers, and even a Phipps branded newspaper. All the props work perfectly with his signature, luxe fleeces, cargo pants and vintage-induced tailoring. And of course, the shearling chaps.

Collage by Edward Kanarecki.
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NET-A-PORTER Limited