Monumental Lightness. The Row AW20

February 11, 2020 | Design & Culture by Ed

In the sea of meaningless or overly sophisticated (which, in the end, means the same as meaningless…) collections in New York this season, The Row stuns with confidence and actual sense of real desire put upon us, the viewers. As the models skimmed quickly by in flat slippers and boots, the thrill behind Ashley and Mary-Kate Olsen’s line-up was in the finesse of the cuts, precise but relaxed, especially with the addition of turtlenecks layered under silk button-downs or worn solo under jackets. The tailoring is refined and subtle in shilhouette, and the outerwear is a sure winner of the season. It’s quite clear that the designers looked at Martin Margiela’s Hermès for inspiration – especially the layered knits and long, grey gloves that seemed to blur with the clothes. But I’m fine with that. An installation of sculptures by Beverly Pepper, an American artist who worked in stone, corten steel, and iron until she was 97, was the centerpiece at The Row’s show. Pepper died just last week, and the New York Times’s obituary described her as a “sculptor of monumental lightness.” The Olsens’ work definitely identifies with that description.

Collage by Edward Kanarecki.

Boundary Free Globalism. Area AW20

February 10, 2020 | Design & Culture by Ed

Finally, somebody brought life back to the sleepy first days of New York fashion week. You can always count on Area’s Beckett Fogg and Piotrek Panszczyk to deliver something unexpected, fun and bold. And intelligent. The duo’s The autumn-winter 2020 line-up was one of their most intensive yet, exploring fabrics, history, new technologies, collaboration, and cultural impact through garments that truly do not look like anything else on the market. Fogg and Panszczyk began their research this season with their venue, The Africa Center. The nonprofit cultural hub and museum was moved to the Upper East Side’s Museum Mile almost 10 years ago, but development stalled when funding fell out. The brand has inked a partnership with the center in the hopes of spotlighting African culture and craft in the USA. Weaving techniques native to Africa helped inform the show’s opening looks, too, but an Area collection is never just about one thing. There was plenty of other references: Japanese tropical postcards, the pleating and draping of Madame Grès, leather costumes by Eiko Ishioka for Francis Ford Coppola’s Dracula, interior design by the New York–based duo Myreality (the chair bags!) and Romeo Gigli’s heart motifs. Most important is the idea of boundary-free globalism. As designers, the pair pull inspiration from wherever they please, but what makes their clothing so interesting is the way they melt these ideas together in a spectacular alchemy. It’s reflective of the way they see the world, and how they see New York in particular: a borderless community of free spirits. Clothes-wise, those are garments for the daring ones who love being extra 24/7, that’s for sure. But then, some of the pieces put separate – like knitwear, tailoring and coats, all pimped up with rhinestones – are great for everyday style. I wish some big musician finally discovered Area and wore their extraordinary garments on tours and the red carpet.

Collage by Edward Kanarecki.

Fondation Maeght / Côte d’Azur

February 7, 2020 | Design & Culture by Ed

Visiting this place has always been my dream. Fondation Maeght is France’s most important private art foundation and among the world-leading cultural institutions. It was created by Aimé and Marguerite Maeght, a visionary couple of publishers and art dealers, who represented and were friends with some of the most important artists of the 20th century, including Joan Miró, Alexander Calder, Georges Braque, Alberto Giacometti, Marc Chagall and many others. The Maeght Foundation was inaugurated back in 1964 and instantly became the new art mecca. Located near the famous village of Saint-Paul de Vence the foundation is situated in the incredible architectural complex designed by Josep Lluís Sert. Painters and sculptors worked in collaboration with the Catalan architect to create a place where art, nature and architecture blend in perfect harmony. The Foundation’s highlights include the Giacometti courtyard (remember Louis Vuitton’s resort 2019 collection? It was staged right here!), featuring an exceptional ensemble of sculptures by the Swiss artist, the Miró labyrinth, a whimsical sculpture garden by the Catalan artist, monumental mural mosaics by Marc Chagall and Pierre Tal Coat, a pool designed by Georges Braque as well as a mechanical fountain designed by Pol Bury. Visitors can also enjoy the sculpture garden, with a rotating selection of works by Calder, Takis, Miro, Arp and other, two rooftop terraces with spectacular views, exhibition galleries hosting temporary exhibition as well as selected works from the permanent collection, a consecrated chapel and a library. Looking back at the photos I took there, I still can feel this unique combination of nature and silence meeting some of my all time favourite artists (that created the appealing aura of Côte d’Azur).

All photos by Edward Kanarecki.

Fluffy Clouds. Cecilie Bahnsen AW20

February 2, 2020 | Design & Culture by Ed

The music began, and once the lights came on, Cecilie Bahnsen‘s signature romance was illuminated. Of course there were all the beautiful, fluffy ball skirts and big sleeves, sculpted with delicate silk organza. Still, this season the Copenhagen-based designer slightly stepped away from her saccharine dreaminess. There was a fresh edge to Bahnsen’s new work, thanks to the mix of metallic materials and to more form-fitting, corseted silhouettes that added a sensual and bewitching quality to her designs. Crisp, fitted blazers were styled with cloudlike dresses and sheer A-line skirts, and Bahnsen also expanded into knitwear with ribbon- and ruffle-bedecked sweaters that could be worn as easily with jeans as they could be layered over one of her voluminous dresses. Outerwear was crucial to the collection. Bahnsen collaborated with British luxury heritage brand Mackintosh and showed minimal anoraks alongside cocooning quilted coats with floral embroidery. That’s a great lesson in layering. Bahnsen is one of the most skilled designers in the city and this season she really pushed herself and her talents to the next level.i

Collage by Edward Kanarecki.

Kid At Heart. Helmstedt AW20

February 1, 2020 | Design & Culture by Ed

In Copenhagen, in the sea of one-dimensional minimalism, there is a chance to find a true gem. Helmstedt is the best example of a Danish label that doesn’t follow the local aesthetic. Emilie Helmstedt builds her own sets every season, finding inspiration in her dreams and her childhood. Flanked by her bright paper sculptures, the designer is like Alice in a wonderland of her own making. For autumn-winter 2020, the label brought the guests to the city’s French Embassy, where she juxtaposed the ornate tapestries and gilded trimmings with giant papier-mâché teacups and teapots, even a golden spoon. She is a kid at heart, and though this collection stayed true to that aspect of her brand, her fall 2020 clothes represented a bit of a maturation. Take the fitted knit dresses with wavy, Pucci-like patterns and a covetable quilted pink velvet coat in a brushstroke pattern. Helmstedt also introduced crochet vests and sacks, which make sense in the context of her DIY sensibility. Those are clothes to have fun in.