Sleek. Tom Ford AW19

Hello, NYFW. New season is on, again. There’s no rest from fashion. But then, Tom Ford isn’t here for the newness. For autumn-winter 2019, the designer delivered what he does best: the 90s sleek we all know and used to love at his Gucci. Two specific looks – worn by Maria Carla Boscono and Gigi Hadid – were a straightforward reference to his iconic 1996 collection for the Italian house. The deep, cherry red velvet suit. The jersey column eveningwear from the 2019 outing was a remiscent of the gowns that closed the same collection back then (all-white, worn by Kate Moss and Amber Valletta). Other than that, Tom returned to his tailoring roots, reworking the codes he famously established. The grey horse-rider blazer was sublime, while the version in satin black looked more than relevant with a de luxe hoodie. Some looks were complemented with groovy faux fur hats, while others were styled with sparkgling stilettos. At the very same time, the Tom Ford man should own two looks: a velvet suit, kept in the most alluring shade of burgundy, and a suit in dove grey leather. That’s it.

Collage by Edward Kanarecki.

Power Dressing. Tom Ford SS19

After his over-the-top, kitschy-chic fashion show back in spring, Tom Ford’s spring-summer 2019 collection felt like a colour detox mixed with self-reflection. Black, white, beiges and pale lilac were the leading shades, while the entire line-up took us down the memory lane of Ford’s career. For a moment, we all experienced again his 90s momentum at Gucci, that was all about refined sexiness and confidence – words that match the designer’s current work with the same precision. To a surprise of many, there were as well references to the few year tenure at Yves Saint Laurent, the period that shaped Tom’s aesthetic into a more sublime, after-dark vision of women.

But back to 2018. Draped skirts with lace inserts; jackets and blazers made of fake crocodile leather; satin cocktail dresses and evening gowns with pony-hair details. Some of the looks are fit for goddesses of seduction, other for cosmopolitan bosses. This one all-leather look seemed to be taken straight out of Roxy Music’s cover that featured Amanda Lear. But no, in the end this collection wasn’t created with a dominatrix in mind, but for powerful women who want garments that look equally powerful. The menswear part can be described with one word: handsome. Conclusion: when the evening comes, you want to meet both, the Ford woman and Ford man.

Collage by Edward Kanarecki.

New York. Prada Resort 2019

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So, resort 2019 season has started. After a very tedious show Chanel staged in Paris a few days ago (that ship standing in the middle…), Prada‘s collection in New York makes a bit more sense. The MET is just around the corner; the company tries to re-enter the U.S. market with a boom – all of that is quite understandable. Miuccia Prada went for her archives (again), giving us some 90s feels. Her famous ‘ugly print’ from the time was all over the mini-skirts and dresses, while the ‘I don’t care much’ attitude of the decade was perceived. Even, if at some points it all felt forced. Other than the bucket hats and padded trappers, I just don’t understand the impact of this outing. Well, maybe seeing a bit more of Prada on Instagram was the entire point (plus the few-minutes long Times Square livestream that surely had all New York eyes watching).

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Collage by Edward Kanarecki.

You Do You. Tom Ford SS18

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Wherever I look, I see a long feature about the importance and potential of Tom Ford. Business of Fashion did one recently. New York Mag had it in August, exclusively sharing bits on the designer’s work behind the spring-summer 2018 collection. All of the magazines praise Tom Ford for his work at Gucci and Yves Saint Laurent, for his venture in the film industry (like Nocturnal Animals) and most of all, his own brand with commercially succesful beauty line, men’s ready-to-wear and growing womenswear. Is Tom Ford’s PR working night and day, lately? Or maybe just in the year of 2017 the fashion industry decided to agree on one thing – Tom Ford is boss. And his fashion, season-to-season, wherever he designs, says you do you. Really, no else does Tom Ford as well as, gasp, Tom Ford.

There were rumours that Ford is planning to do a loud 90s revival – and that was certainly true. Backless jumpsuits, shoulder pads in denim, killer puchsia and lots of bling-bling were present, giving New York fashion week a glamorous kick-off. Don’t think it was nostalgic, as nostalgia in fashion often ends looking dusty and pretentious. That was a sleek line-up of ultra-glossy and great-body-demanding clothes, with no deeper meanings. That’s a collection that you look at with a relaxed, optimist eye at the beginning of the fashion month triathlon. Surely not like at a show of the last few days that you would confuse with Balmain and rather skip. But still, Ford is in a very, very good form, and what’s more, on his own terms.

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Collage by Edward Kanarecki.

TBT: Margiela’s Hermès Years

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It’s funny that Martin Margiela‘s tenure at Hermès suddenly appeared on everybody’s lips after this year’s exhibition at Antwerp’s MoMu It took nearly two decades for the fashion industry to wholeheartedly appreciate the Belgian visionary’s contribution at the maison, that’s probably most associated with very-rich-women kind of ‘luxury’. At his eponymous label, Maison Martin Margiela, the famously anonymous designer used to redefine such terms as ‘avant-garde’ and ‘minimalist’ in one single garment – meanwhile at Hermès, it was a different philosophy. Tranquil, understated and low-key – that’s how the guests of his shows at Rue Saint-Honoré flagship store (12 in overall, between 1998 and 2002) described the atmosphere. So were the clothes, kept mostly in black, beige or navy. Fashion tends to forget its references, and as you can clearly see in images below, it wasn’t Phoebe Philo at Céline, Christophe Lemaire (he designed for Hermès before the current creative director, Nadège Vanhée-Cybulski) or The Row who were first to decide on making a perfectly tailored camel coat the focus of their collections.

For Margiela, ready-to-wear with a Hermès tag had to be of the best quality materials, made with the biggest attention to details (no flashy embroideries meant here) and with the aim to be worn for the next 20 years. This is what actual ‘luxury’ in fashion meant to Martin, even though he would never use that stabby and deprived of its meaning word. For a brief moment, Hermès was more than fancy foulards and bags (note: for spring-summer 2000, Margiela casted Jane Birkin as the show’s model, making a nod to, guess what, the Birkin bag). It was about the clothes, too, and very well constructed clothes: warm cashmere sweaters, crisp white shirts, masculine blazers, eternally chic black gowns. And sneakers – remember, we’re speaking of 90s / beginning of 00s, when only stilettos mattered on Parisian catwalks. There’s no surprise his shows weren’t received that well. Many thought that Hermès was just ‘boring’ with Martin’s conservative approach: those were the 90s, after all, and fashion loved FASHION. The time has shown, however, that those who bought Margiela’s Hèrmes were the smart ones. Finding pieces from that era is quite a struggle, and when you find anything, the prices are killer. Martin Margiela is an acclaimed designer for more than one reason, but his underrated creative direction and aesthetic at Hermès is… timeless.

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Collage by Edward Kanarecki.

#InstaLOVE – August 2016

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I am an Instagram maniac and I openly confess that I spend too much time on filtering my feed. But it’s irresistible, when you have so many great accounts to follow! If you are ready for a dose of beautifully curated walls, inspiring photos and delightful shots – see my August recommendations!

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@ninetiesmoments / A well-curated feed featuring some of the most inspiring and cult editorials photographed between 1990 and 2000. From a rare shot of Angela Lindvall in British Vogue to Paolo Roversi’s iconic Vogue Italia spread starring Stella Tennant, this account is a must-follow for anyone, who’s obsessed with fashion’s 90s archives.

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@buttonfuit / Gill Button is one of the leading artists, who became widely-acclaimed through Instagram. She creates dreamy, smokey-eyed characters in her portraits, full of feelings and emotions. Whether using paint or watercolours, Button enjoys implementing fashion to her work, inspired by Simone Rocha’s or Prada’s runways. Her definite break-through moment? Contributing to Dries Van Noten’s AW16 show invitations (with illustrations like the above, creating around 1200, one-of-a-kind pieces), and directing the designer’s autumn-winter window displays for his flagship boutique. Expect a truly beautiful feed.

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@pacorabanne / Social media is significant for a fashion brand – and the appearance is even more important. Paco Rabanne’s management knows that, and that’s why their Instagram is so appealing. Filled with Coco Capitán’s moody, backstage snaps of  models (Heather Kemesky pictured above), Rabanne’s feed precisely reflects Julien Dossena’s contemporary aesthetic.

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@adwoaaboah / Badass model and founder of Gurls Talk. Represented by The Lions and Tess Management, Adwoa defines the IT-girl in 2016. She’s a bold personality, who’s aware of global matters, and women’s empowerment. Also, Aboah is the latest cover girl of i-D ‘Female Gaze’ issue, photographed by Inez & Vinoodh. No chance that you’re NOT following her.

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@agnesvita / Her latest editorial for W Mag is an energy splash. No wonder why – Agnes Lloyd-Platt “focuses on colour and positivity on every spectrum“, as she tends to say, looking forward to diversity in her work. The London-based photographer had her first, big spotlight in fashion world… so just wait to see her signature photography around every corner soon.

AND, if you want to follow one more account on Instagram… why don’t you follow, ta-da, @designandculturebyed?

Freedom. Chloe SS16

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Freedom! 90’s! – these are the ideas behind Clare Waight Keller‘s best and most succesful collection at Chloe. This collection made me suddenly love the #ChloeGirl! It’s so beautiful and carefree… and comfortable! Inspired with women who defined the 90’s, Chloe for SS16 is a powerful nod to the decade. The show-notes consisted of a list of first names: Kate, Courtney, Corinne. Kate Moss, Courtney Love, Corinne Day. These names whisper of cool Britannia: where, away from Spice Girls glam, fashion was falling in love with the imperfection of a new style of fashion photography, and an unconventional way of wearing clothes. These three women that have their influence up to now, were imagined by Waight Keller wearing silk tracksuits, boho dresses and multi-coloured sweaters.

Taking a look at the details of these very feminine clothes, you can spot sensual lace elements, light sheer textiles and lovely tassels which appeared to be drifting in the air when the models gracefully walked the runway. Also, denim’s reign is continuing. Last season, everybody was obsessed with Chloe’s denim jackets – now, the ultimately chic shorts become the most coveted item of Paris Fashion Week. Just like colourful tops. Or the slip-tops that again make us all miss favourite summer evenings. well-done, Clare.

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Power Suit. DKNY SS16

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Dao-Yi Chow and Maxwell Osborne are the two names that appeared twice this week as the hot topic. Firstly, their Public School collection, which kept in sporty and elegant. And now, their debutant SS16 collection for DKNY, Donna Karan New York’s sister line. I must admit, I was quite happy when I discovered that these lads will take-over this line, that lately got infamous for cheap looking collections and Cara Delevigne overdose. And, as I supposed, their first collection for the New York-based brand was just as eponymous as their own. Even though it didn’t have much of a sparkle, it had few good looks – greatly tailored blazers; business-perfect, pin-striped dresses; desirable white sneakers worn with socks. The mesh dress with a tank-top under looked sexy and smart at the same time. Although the colour palette was “very Public School” (black & white), the collection had one major reference to the past of DKNY, which has unfortunately fallen into oblivion – the casual, power suit that stormed New York in the 90’s. Hopefully, Dao-Yi and Maxwell will make their DKNY language broader next season.

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Perry Ellis Era

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The 90’s. Aah. The free spirit. And grunge. These are the keywords that really make me think about this amazing era of creativity, defiance and a kind of “I don’t give a F word” attitude. Perry Ellis from 1994 is the perfect example. It was the collection that got Marc Jacobs fired from this American fashion house, which is currently slowly dying and becoming a forgotten brand. It was the show, idea, that made his career. With Kurt Cobain and Courtney Love in the newspapers and their music dominating both the radio and MTV, a 29-year-old Jacobs sent flannel shirts, printed granny dresses, Dr. Martens and knitted beanies down the runway. “Grunge is ghastly,” Suzy Menkes declared later in her fashion show report, and Jacobs indeed lost his job, but this was one show that the critics and the Perry Ellis company definitely got wrong. In other words, to those who think Hedi Slimane at Saint Laurent is innovative – as you, he is not.

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Baby Naomi.

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Baby Kristen.

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Baby Kate.

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