In the light of the extremely sad and disturbing events that have happened in the past few days – and not only – I would like to state that my site, my work and my outlook always stand with the black community. Racism is alive in America, and in the world, and we must be vocal about it (the way you personally choose to). I believe that educating yourself, having conversations (private and public) and spreading actual awareness is much more meaningful than just reposting a slogan on your social media feed (even though doing this little is better than nothing). I also think that in the creative industries – the one I can speak for – reflecting personal beliefs should be more than welcomed. Other than this, donate (click here and here), share links (here, here and here), support! You can even buy the dress Rihanna wore by Asai, and the entire 300 pounds it costs will be donated to three charities – just DM the designer with your order or send him an e-mail. In the domain I’m most active in – fashion – I feel like the situation should be highlighted as well, and more designers and brands should join that dialogue. On my side, I want to introduce you to the most exciting, emerging, independent black designers out there, who are often overlooked during fashion weeks or simply underrated. Their stories and visions shape and inspire today’s industry, we should all acknowledge that!
Starting with Mowalola. The Lagos-born designer Mowalola Ogunlesi arrived to London when she was a kid. At first she planned medicine as her life path, but in the end she went to Central Saint Martins. Three years ago, she presented her diploma collection dedicated to contemporary Africa. She made waves – fashion insiders and international magazines were obsessed. Mawolola’s vision was completely one-of-a-kind: through sexy, at points kinky garments she managed to convey the power of erotic tension in the times of social uncertainty. “In my country, I grew up with sexuality being very judged. So I wanted to transform people’s ideas of what sexy is. That it’s okay to show skin”, she told Vogue Runway. To embrace her origins, the designer chose psychodelic rock from Nigeria as her main reference, and her music inspirations lead to creating the new romantic menswear. Mowalola models wore sultry leather jackets, low-waisted super-slim pants and skin-baring crop tops with assymetrical cuts. All that kept in bold colours, reminding her of the Nigerian landscapes and streets. For her spring-summer 2020 collection, presented with Fashion East, Mowalola expanded her unique take on men’s fashion. Her signatures were styled with belts buckled with sacred and profane symbols: a cross, a religious icon, the Stars and Stripes, the words “sexy” and “mother fucker”. “I base it on what I’m going through – I’ve just fallen in love for the first time; I feel as if no one talks about the horrific side, the dangers of love, of losing control of your emotions and feeling like you’re crazy. It’s like how I see a horror movie!” she related. “So this is as if I’m in a black Woodstock Festival, and someone has been murdered.” See selected looks from her collections below, I can’t wait to see what she’s up to in the upcoming seasons. Make sure to follow her on Instagram and take a look at some of the pieces available from her on ssese.com!
Collage by Edward Kanarecki
Marc Jacobs‘ phenomenal autumn-winter 2020 collection is probably one of my favourite moments of the entire season. The runway featured a dance performance choreographed by Karole Armitage, New York’s „punk ballerina”, with the catwalk staged like a bistro. At some point it was hard to tell who’s the model and who’s the dancer (everybody was dressed in Jacobs), and that was the intention: beauty in chaos, told through powerful movement. Infinitely inspired by his heroes of the past and present, it is style, in which different people dress at the various stages, ages and times in their lives, that provokes Marc’s love for fashion and possibilities of what it can be. The designer especially had the fading image of disappearing New York in his mind – forever mythical and chic, with its „beauty, promise, sparkle and grit”. The simple, yet unbelievably elegant look Sara Grace Wallerstedt wore – black bra worn underneath a cable-knit cardigan, black pencil skirt, kitten heels with socks and a head-band – is the style refinement level that equals to Holly Golightly’s Breakfast at Tiffany’s wardrobe. When I rewatched this film a few days ago, I just couldn’t not think about Jacobs’ recent line-up.
Collage by Edward Kanarecki featuring Steven Meisel‘s photo for Vogue Italia‘s April 1999 issue.