Birds of Paradise

February 2, 2017 | Design & Culture by Ed

Helmut Lang spring-summer 1998

In her twisted elegance for spring-summer 2017, Miuccia Prada sent down a line of feather-trimmed jackets, bras and skirts. The dresses by Prada, with ostrich-feathers on the sleeves, were pure lightness, blurring the silhouttes’ minimal cut and old-fashioned opulence. “No other material stirs the imagination quite like the feather“, said the intro to Antwerp’s MoMU exhibition dedicated to plumes and feathers back in 2014. That’s quite true – for centuries, feathers were symbol of sophistication and refinement in women’s wardrobe. Valued by designers, like Sarah Burton at Alexander McQueen (and the late designer himself) or even Phoebe Philo of Céline, feathers are the quintessence of preciousness. Whether traditionally crafted by skilled artisans called plumassiers, detailed with the help of Maison Lemarié in Paris or simply turned into ethereal headpieces (Maria Grazia Chiuri’s debut haute couture collection for Dior; Helmut Lang‘s all-white feather crowns from the 90s).

Céline Pre-Fall 2010

Christopher Kane autumn-winter 2016

Prada spring-summer 2017

Hillier Bartley spring-summer 2017

Prada spring-summer 2017

Hillier Bartley spring-summer 2017

Prada spring-summer 2017 by Willy Vanderperre

Prada spring-summer 2017

Prada spring-summer 2017 by Willy Vanderperr

Helmut Lang spring-summer 1999

Céline Pre-Fall 2010

Givenchy spring-summer 2014

Givenchy haute couture SS17

Alexander McQueen spring-summer 2014

Dior haute couture SS17

Some designers choose to use feathers spontaneously, one-time, like London-based Christopher Kane. But others, like Ann Demeulemeester, feel strong affection towards feathers since childhood. The queen of Belgian fashion especially favoured dove feathers and transformed them into timeless pendants. For her first fashion show in Paris in 1992, she placed on each chair a leather string holding dove feathers. In 2000, a priest called her and asked whether she can ‘dress’ the Madonna in Saint Andrew’s church in Antwerp. The effect was a feather bustier, which ideally matched the holliness and spirituality of this place. Although Demeulemeester stepped down from her role at the brand, Sébastien Meunier succesfully continues her feather legacy. Just see his poetic autumn-winter 2017 collection for men (note the hats and shawls).

Ann Demeulemeester AW17

Ann Demeulemeester SS92

Ann Demeulemeester AW11

Ann Demeulemeester AW09

Ann Demeulemeester SS08

One of the biggest fashion moments connected to feathers that always hits my mind is Peter Lindbergh’s cult editorial for Harper’s Bazaar in 1993. Amber Valletta, looking like a fallen angel, wanders around New York in her white wings and white suit. Beautiful and melancholic simultaneously. Light as a feather.

Peter Lindbergh

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Shop the look: Ann Demeulemeester bead and feather necklace.

Men’s – Poetry. Ann Demeulemeester AW17

January 25, 2017January 25, 2017 | Design & Culture by Ed

When Ann Demeulemeester stepped down from the role at her namesake brand in 2013, I wondered – how difficult will it be for any successor to continue her legacy, yet not fall into biting the archives? Sébastien Meunier had his ups and falls since he became the creative director at Demeulemeester. But his men’s autumn-winter 2017 is unconditionally the best to date.

Perhaps it’s the season, where he found the balance between his personal creative language and Ann’s style codes. It was one of the most sensual and beautiful collections I have ever seen for men – pure poesy, where everything flows and works together, from the textures to the colours. From delicate white shirting with lace to all-black equivalents, Meunier re-invented, consciously or not, the way we perceive a poet: eccentric, romantic, on the boundary between ‘masculine’ and ‘feminine’. Even the fur-lined parka jackets would dress a modern-day Edgar Allan Poe or William Blake. Eventually, it was Ann who said those words about both, poets and her favourite colour: “Black is not sad. Bright colors are what depresses me. They’re so… empty. Black is poetic. How do you imagine a poet? In a bright yellow jacket? Probably not.”

In her work, Demeulemeester often used feathers and plume, whether in jewellery or vest-making. Meunier did nonchalant, big feather shawls and breath-taking hats, which looked so elegantly decadent that I’m just… speechless.

What’s Hot (19.1.17)

January 19, 2017January 13, 2017 | Design & Culture by Ed

slide7-kopia

Jacquemus pants, Balenciaga bodysuit & Ann Demeulemeester necklace.

What’s Hot (14.1.17)

January 14, 2017January 12, 2017 | Design & Culture by Ed

Olympia Le-Tan skirt, Ann Demeulemeester necklace & Tom Ford lipstick.

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Men’s – Poetic Artistry. Ann Demeulemeester SS17

June 30, 2016June 30, 2016 | Design & Culture by Ed

I AM RED WITH LOVE was the statement that perfectly captured the mood of Sébastien Meunier‘s spring-summer 2017 offering at Ann Demeulemeester. We’ve seen romantic guys at Haider Ackermann and Pigalle earlier in Paris, and Demeulemeester man is also utterly into poetic love. “Rebel in love,” the designer mused backstage. “Love is a colorful emotion for me. And we can say also I am black with love. But we blush and we become a bit red when we are in love, so there is all of that. I wanted to give something that was a bit shy—emotion, charming emotion.” Meunier feels like at home after a few seasons spent at Demeulemeester, and he uses Ann’s signatures with grace – light, satin shirts covered with layers of feather pendants and charms, military jackets in black, and sheer tank-tops with stitched, red-thread slogans. The chunky knits looked impressive, too, oozing with hearty-arty slouchiness.