Power-Sensuality. Chloé SS24

September 30, 2023 | Design & Culture by Ed

For her finale collection for Chloé, Gabriela Hearst at last showed her sexier side of the Parisian maison. Maybe if she indulged a bit more in these smooth leathers and shorter lengths, she would thrive at the brand? The spring-sumer 2024 collection didn’t reinvent Parisian chic, but it had some much-needed sensuality that lacked throughout Hearst’s tenure. But it seemed the New York-based designer wasn’t in a sorrowful mood, as the show’s ambience was lively and bright, set outside against the Seine on a warm, sunny Parisian afternoon. Hearst leaves behind a legacy of championing socially responsible designs, and her last collection continues that theme. Per the press release, consciousness is the fourth and final ingredient to achieving climate success, which continues the ideas on clean energy, regeneration and female leadership that the designer set forth in her prior collections. For Hearst, this is best symbolized by the flower and that motif was evident from the opening look, a ruffled one shoulder dress that looked like layers of petals. Other dresses reinforced the idea, with gauzy rosette swirls adorning the hips or jutting shoulders that featured undersides stuffed with blooms. For her final look, Hearst opted for a black and white leather dress, a rather serious note given that the runway shortly segued into an all out dance party, featuring a samba band. As the models danced, it seemed that while this chapter at Chloé may have ended, Hearst was leaving it with plenty of joy.

Collage by Edward Kanarecki.
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Out Of Town. Burberry Resort 2024

June 30, 2023 | Design & Culture by Ed

Daniel Lee‘s era at Burberry is taking shape. In his debut, Britishness and the emphasis on the outdoor-wear were the biggest take-aways. In his second collection – resort 2024 – these ideas are further developed. I’m stuck with the same impression as back in February: the offering is good, but… I’m not shook. It seems that Lee’s Burberry will be much safer in fashion-wise terms, comparing to his time at Bottega Veneta. The latest line-up is a mix of “proper” looking clothes with a touch of Philo-isms (Lee worked under Phoebe at Céline; the silk foulard look in swan print is a clear signifier of that) and accessory tricks he mastered to perfection at Bottega (the big, chunky boots are back). The faux-fur trapper hat is still hot, even though we’ve seen it on the runway debut. Probably the most interesting thing about the collection is what the designer did with Prince of Wales check. He morphed it into something sophisticated but just a little weird: traditional at the top, but warping downwards into digital-age waves. Below that, tights that take up the same pattern. And on the feet, a slew of the kind of footwear that engendered fanatical enthusiasm from Lee’s followers at Bottega. The designer talked about establishing “an outdoor and outerwear” feel for this collection. That’s Burberry-central, of course – windswept moors, rain coats, quilted jackets, and all that. Playing around with Burberry checks comes with the territory. The landscape and culture are first nature to this Yorkshire-born designer, meaning he’s no need to ladle on the references with a heavy hand. One of his English country-walk tropes turned into a delightful lattice-work of yellow dandelion flowers printed on dresses in a pattern mimicking a traditional argyle.

Bailey’s Pride. Burberry SS18

February 20, 2018February 20, 2018 | Design & Culture by Ed

So, what to expect from a designer’s final collection, especially after a 17 year-long tenure as a creative director and the person in charge for the brand’s business side? Well, pretty much anything. Christopher Bailey‘s last collection at Burberry was meant to be a blast. And there really are the reasons to praise the designer this season. “My final collection here at Burberry is dedicated to – and in support of – some of the best and brightest organisations supporting LGBTQ+ youth around the world. There has never been a more important time to say that in our diversity lies our strength, and our creativity.” Pride and optimism was reflected in everything, from the puffas to sweatshirts covered in raibow. The Rainbow check, the latest iteration of Burberry’s most iconic symbol and designed as part of Christopher’s dedication of his last collection to LGBTQ+ communities, featured throughout the show. It was nice seeing that a brand like Burberry, so established and all, goes for an important matter!

Still, I’m on fence with this collection. The capsule of reissued archive pieces from the 1980s and 1990s rereleased felt new to Burberry, but the idea is quite pinched from Gucci’s current bootleg obsession. In overall, the collection was more Alessandro Michele, than Christopher Bailey. There were some clear signs of Demna Gvasalia and Phoebe Philo inspired tricks there and there – like over-sized, Vetements-y hoodies or Céline-ish lace dresses and plastic bags. In other words, I think the label tried hard this season to be relevant and look 2018. Nevertheless, Bailey had his big, last word to say with the collection. Where will we see him next? The time will tell.

Collage by Edward Kanarecki.

Female Power. Dilara Findikoglu SS17

November 29, 2016 | Design & Culture by Ed

Although fashion tends to misinterpret the term feminism, it’s good to know that in London, there are designers who can pull off the topic in the right way. Born and raised in Turkey, Dilara Findikoglu knows what it’s like to live in a place, where political and social stability is constantly on its verge of collapse. The frequently ignored problem of women’s rights, and how they are treated back in her homeland threatens Dilara, and intensely affects her creativity. As a teenager, the to-be designer discovered young John Galliano’s work in one of the glossy magazines – for her, that was the dream. Although the plan of studying at Central Saint Martins wasn’t appreciated by her relatives, Findikoglu already decided what’s good for her. So here she’s today – on everybody lip’s, yet far from mainstream (she dressed Lady Gaga and FKA twigs, yes, however she isn’t into going the easy path).

Findikoglu presented a mind-blowing presentation for her spring-summer 2017 collection back in September. In a very naughtily appropriate place I might say – a neon-lit Soho strip-club. Dilara’s model-friends (like the women’s rights activist, Adwoa Aboah) wore clothes that overlapped different decades and eras of both restraining and liberating womenswear: from Tudor sleeves and terribly tight corsets to very Vivienne Westwood SEX punk garments, this collection isn’t even a bit close to other brands’ outings that we’ve seen before. But the goal behind Findikoglu’s latest line-up wasn’t making a collage-like mix of historically significant clothes. “It’s about how women’s bodies have been treated in different societies – what they were wearing and what they were doing, what the limitations on them were.” While the models wore Victorian collars and PVC boots, it’s quite visible – the set, the one-of-a-kind pieces and the dominant colour of pink (all good girls wear pink, right?) weren’t all here by coincidence. Dilara enjoys messing up with stereotypes, and this brilliant collection suggests it’s the time of women. Make space for female power. These girls don’t care what you think of them, or whether you’re appealed by their feminine / perverse looks. If I would to choose a collection that colloquially ‘slays’, then Findikoglu’s gang tops the list.

Photographs by Frederico Ferrari and Lillie Eiger.

#InstaLOVE – August 2016

August 17, 2016 | Design & Culture by Ed

@agnesvita

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!

@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.

@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.

@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.

@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.

@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?