Art

Still Searching. Lanvin SS20

| Design & Culture by Ed

It’s Bruno Sialelli‘s second season at Lanvin. And it’s really not the easiest maison to design for, especially after the so idiosyncratic Alber Elbaz era and the last couple of turbulent years related to the label’s ownership and direction. And add up to all this Jeanne Lanvin, the founder of the brand, who left behind a vast archive. Before Lanvin, Sialelli was one of the designers at Jonathan Anderson’s Loewe. His debut collection was mildly received (quite wrongly – the new arrivals coming to Lanvin’s e-shop are gorgeous, take a look!), because the designer still had the Loewe mentality, soft for artistically random, crafty details. This hasn’t changed for spring-summer 2020. Not only the weather wasn’t in favour of Sialelli’s line-up, but also the lack of edit. A bit of tailoring, a bit of flou. A print inspired by comic stories, multi-coloured checks, more comics. Some unflattering leather-works that were put over frocks and skirts. The mini-dresses in the finale were absolutely whatever. The strongest point of the collection was the pleated, fluoroscent blue gown that felt every, very Jeanne Lanvin. This is a good path to follow. I bet the details of this collection were great as well, but they are just too small to catch for a runway show. While an eclectic, “curated” look works at Loewe, Lanvin needs something different. Big hopes Bruno finds it sooner or later.

Collage by Edward Kanarecki.

Marée Noire. Marine Serre SS20

| Design & Culture by Ed

Marine Serre‘s spring-summer 2020 collection, entitled Marée Noire (‘black water’, ‘dark tide’ in French), was unapologetically… Marine Serre. It’s really incredible that Serre, whose label is still relatively young and small as for Parisian standards, has such a distinct, signature look, not even mentioning her already cult moon crest print that is a street style classic. Under today’s grey, Parisian sky and in the misty rain, Marine sent down a fierce line-up of models at all ages, races and genders, some pregnant or with their dogs. This was another post-apocalyptic vision of chic according to Serre, which was much more defined and not so over-styled as last season: utilitarian jumpsuits with buckles, over-sized coats in PVC, hour-glass-shaped blazers and jackets, scuba-diving dresses with up-cycled silk scarf inserts (Marine Serre’s another ground-breaking signature, which is all about sustainability). Some of the models looked angry, while the collection’s main accessory – black rubber gloves – bring on some affiliations (serial killers, for instance?). But there was also light in Marine’s dystopian world (well, ours, if things keep on going the way they do now). A number of looks were all about white crotchet knits, there were even floral prints popping on maxi-skirts. Some girls wore towel turbans on their heads, while few skirts and dresses were actual towels as well, but couture-draped (this might be next season’s trend, just take a look at Prada) Maybe these women just took a bath in the previously mentioned, intoxicated, black water? The designer leaves you wondering, which is a rarity in today’s fashion. This was one of the strongest line-ups coming from Marine, consistent and intriguing. That’s a very good start of Paris fashion week.

Collage by Edward Kanarecki.

Ethereal. Mame Kurogouchi SS20

| Design & Culture by Ed

Hello Paris! First up is Maiko Kurogouchi‘s name-sake label, Mame Kurogouchi, which I really think you should note down and remember for the future. Kurogouchi draws from the technical skills she honed at Issey Miyake and her passion to preserve Japan’s long history of handcraft. There’s a transcendental romanticism and spiritualism to her work, which feels uniquely Japanese in its ties both to nature and centuries-old craft traditions. For spring-summer 2020, the designer based her line-up on a beautiful shade of emerald green, and created floating, multi-layered garments that are couture-level when seen up-close. Floral embroideries were worn with over-sized mesh frocks, skirts were hand knitted and pants had these little, adorable fluffy details. It’s visible that Kurogouchi makes extraordinary fabrics her priority. Just take a glance at the closing look’s jacket, which remind you of some ethereal, jelly-fish-like creature. Can’t wait to see how what’s next for Maiko.

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Collage by Edward Kanarecki.

Controversy and Sex, Still Possible in 2019. Gucci SS20

| Design & Culture by Ed

Alessandro Michele‘s spring-summer 2020 collection for Gucci had to provoke one’s mind, but in the result it was confusing and sparked an unintended controversy. The first dozen of looks was the exact opposite of today’s Gucci: all-white, unadorned baggy clothes, and some of them were straightjackets that don’t affiliate with anything but psychiatric hospitals from the past. Pale, solemn models moved down the tape in these garments, and one of them – Ayesha Tan Jones – put her palms up so that the world could see: mental health is not fashion. Which I think was a brave thing to do, even after Michele and Gucci instantly published a statement explaining their action: uniforms, utilitarian clothes, normative dress, including straightjackets, were included in the show as the most extreme version of uniform dictated by society and those who control it. It’s hard to tell who’s right now, but in the end, the brand could exclude some of those looks from the entire collection, being aware of how it may be perceived (the statement also mentioned, that the brand won’t be sellingt these garments). The rest of the collection was surprisingly much less Gucci-fied than usual, which I liked. While in the five years of his tenure, Michele’s splendour-bordering-with-kitsch aesthetic seemed to win everything in the universe, the spring-summer line-up was cleaner, even minimal. It kind of felt like a nod to Tom Ford’s sex era at Gucci, but much more exaggerated. To the tune of Madonna’s super sensual Justify My Love, some of the models carried Gucci whips, some wore latex gloves and and sheer nightgowns, there were skirts with skin-revealing slits and dresses that had black and red lace inserts. Part of the collection was heavily inspired by 1970s – big flares, big glasses, satin suits – and it felt the least interesting. Still haven’t made up my mind about the line-up, but there’s one thing I wish to see Michele expand in his fashion: experiment with his personal opposites, style-wise.

Collage by Edward Kanarecki.

Summer Escape. Salvatore Ferragamo SS20

| Design & Culture by Ed

Presented in the beautiful grounds of Rotonda della Besana in Milan, Paul Andrew‘s spring-summer 2020 collection for Salvatore Ferragamo saw timelessly wearable pieces in tonal colour-block pastels, forest greens, piercing blues and burnt oranges. It was Andrew’s vision of a summer escape wardrobe, especially perfect for Italy. The best takeaways from the collection? Kirsten Owen wearing a hooded kaftan and Małgosia Bela appearing twice, in two different over-sized, masculine blazers. How to style them? Well, say bye to biking shorts (hated you anyway) and say hello to over-sized, belted pantalons.

Collage by Edward Kanarecki.