While a less sophisticated collection from Eckhaus Latta feels right once in a while, Proenza Schouler’s new season offering again misses something that used to make the label so in-demand. Lazaro Hernandez and Jack McCollough are very good at tailoring, and even better at cutting a fluid-y, silk dress (the printed one worn by Adut Akech is the biggest highlight of the collection). But in the sea of great blazers and dresses we’ve seen last season and again this season in New York, this doesn’t make Proenza stand out. It seems to me that the Proenza Schouler identity is gradually getting blurrier and less distinctive. Not that the spring-summer 2020 collection is bad: it has lots of classics, like an over-sized coat or an XXL shoulder bag. However, those clothes don’t spark any feelings in me. Where’s the bolder, art-ier Proenza Schouler? Hope it will come back soon.
Collage by Edward Kanarecki.
Marc Jacobs closed New York fashion week with one of his best collections in the last years – or even, career. While the past few seasons were brilliant, they slightly worried with being too exaggerated, too show-y. The autumn-winter 2019 collection is just the perfect balance of Jacobs, and what his brand stands for. New York edginess combined with this cool, ‘off’ glamour. There was drama, of course: the yellow gown worn by Adut Akech looked insanely gorgeous, just as the dresses covered in feathers, as seen on Christy Turlington (by the way, it’s her major runway return after 20 years and let me tell you – she is so, so beautiful). But there was something calm about this collection. Even sober. The venue was dark and absolutely minimal. Classical, live music played throughout the show. No killer platform boots or crazy hair – most of the models looked make-up free and wore beanies topped with a feather (that’s how Stephen Jones does ‘casual’). There was stuff that will sell, like the voluminous, lady-like coats in leopard print, stripes or checks, and hopefully this brings the brand back to the buyers. You might say that the collection is inconsistent: how does Sara Grace Wallerstedt’s minimal pistachio dress works with Guinevere Van Seenus’ ruffled, retro ensemble? They shouldn’t. And Jacobs is fine with that. “They’re all very beautiful, but they’re all different. We have 40 girls and each one is slightly different… our vision of who each of these women are,” is what the designer said about both, the collection’s diverse model casting, and the aim behind the entire line-up. A ‘wardrobe’ would be a bad term to describe this, as this is something much more broader. It’s rather a set of personalities, in the fashion aspect, but not only. Shortly: big, big bravo, Marc.
Collage by Edward Kanarecki, feauturing Richard Avedon’s photographs.
Pierpaolo Piccioli’s couture for Valentino is the only couture that matters. No crazy venues that attempt to distract you from noticing how plain the collection is (I see you, Dior and Chanel). Just pure, joyous, glorious haute couture that enchants and truly impresses. And makes Celine Dion cry. This spring-summer 2019 collection, reserved for the richest and most extravagant women on our planet, was a triumph of audacious colour, beauty and glamour. But also, it was a major model casting breakthrough, with completely diverse models that made the garments even more exquisite. The designer embraced black beauty, having Adut Akech open the show (in a brilliant, pink ensemble) and Naomi Campbell close (in a gown made out of translucent organza in the shade of Chocolate Dahlia). There was Liya Kebede, there was Lineisy Montero, there was Ugbad Abdi. Runway icons, veterans, and newcomers. The entire scene looked like a fairy-tale… that really took place. This couture collection again proved that colour is crucial for Pierpaolo, especially in terms of couture. “You don’t invent beauty, but you can invent new harmonies for colour”, the maestro said backstage. Just read the following: a coral coat worn with a chocolate crepe blouse and emerald gabardine pants. Lilac serape topped a pair of orange pants. Turquoise lace and tangerine silk faille. Green sequins. Pale mauve. Matisse blue. All that worked with voluminous ball gowns that took hundreds of hours to create at Valentino atelier in Rome. Unquestionably, Piccioli is a couturier of Garavani’s heights. And it’s a blessing for today’s fashion to experience his genius.
All collages by Edward Kanarecki.
“A gesture of couture, but not in a retro way—the way she stands, holds her bag, all these things,” is how Dries Van Noten explained the modern elegance he presented in his spring-summer 2019 collection. A sheer top with yellow sequins that from distance looked like canary feathers; impressive, beaded mesh work that topped white, crisp shirts; evening-wear that looked like patched out of silk foulards. The Belgian designer as well played with draping, ending up with a grown-up offer of chic business-wear. Some sort of street attitude was delivered in form of colourful, PVC coats. This was Van Noten’s best collection since his much celebrated 100th show – all the garments, playful and all, looked like they are absolutely ready to be worn on the daily basis. Well, maybe the colourful feather headdresses would be a hard bit to repeat at home. But on the runway, it looked sublime.
Collage by Edward Kanarecki.
Imagine you could be the one to change it all.
Publication: i-D Magazine Fall 2018 Model: Anok Yai, Adut Akech, Eniola Abioro Photographer: Ethan James Green Fashion Editor: Alastair McKimm Hair: Cyndia Harvey Make Up: Kanako Takase