Art

Kinky Things. Christopher Kane AW19

| Design & Culture by Ed

Christopher Kane loves the topic of sex in fashion. If you think of some of his previous seasons’ sex-related hits – like the lace, C-string details or the illustrations from ‘Joy of Sex’ book placed all over the dresses – it’s clear that Kane understands sexuality quite differently than majority of other designers. It’s nothing shallow or obvious, that’s for sure. The autumn-winter 2019 collection was about kinky fetishes, of all sorts. Latex, chainmail elements, leather, lace, even fantasies on food and balloons (conveyed in cheeky prints), were intriguingly incorporated into brilliant garments, like a lady-like coat or an evening gown. The fluid-filled plastic details, that appeared on Kane’s runway a couple of years ago, had something slinky about them, but they were far from tacky. However, if you’re not crazy for kink, feel free to pull the theme apart, and here we are with a collection filled with gorgeous daywear (see the cardigans, knee-length skirts and shirting) and equally good eveningwear. But then… why not go a bit down the risky path?

Collage by Edward Kanarecki.

Too Much Content. Burberry AW19

| Design & Culture by Ed

Riccardo Tisci’s second collection for Burberry left me with the same impression I had after his debut. Too much of content. Again, we’ve got an exhausting line-up of more than 100 looks and some sort of separated themes that relate to British culture. Guests sat in two spaces: one very formal with a 90s rave soundtrack, the other an urban jungle set to the sounds of classical piano. The collection was a matching game of contrasts between street and elegance. While Tisci wants to get as democratic and inclusive with his fashion as possible, it seems like the huge scope of Britishness is just too much for one collection. The second part of the collection, the formal one, was the strongest: we’ve had sharp tailoring, gorgeous, distinctly Burberry trench coats, refined eveningwear. The oyster print was properly posh, while the colour palette – Burb beige and pistachio – looked insanely good. Stella Tennant in a camel total look and a matching beanie was just it. The first part of the collection, the one that’s targeted for younger audience, was like a deja vu from Riccardo’s later Givenchy years, when he went full throttle with printed T-shirts and sweatshirts. Yes, those were bestsellers, but… we’re in 2019. That mould of tartan plaid, Burberry checks, puffers and logos wasn’t neither clubbing fashion, punk or anything close to that. Rather, millennials-minded mumble jumble of references.

Collage by Edward Kanarecki.

It’s Fashion. Matty Bovan AW19

| Design & Culture by Ed

London fashion week has fashion, written with a capital letter. Basically it’s something New York fashion week rarely has anything to do with (even though this season wasn’t that bad, as we had bold Tomo Koizumi and Area). But back to London. Matty Bovan is the person who seems to be out of the serious, commercial fashion cycle. That’s why everybody loves him, from Love Magazine’s Katie Grand to Coach’s Stuart Vevers, who collaborates with Bovan on accessories. Matty’s autumn-winter 2019 collection was a fabulous madhouse. The garments felt like three-dimensional collages, even like assamblage art. The colourful knits were beautifully destructed, while the closing gowns were layered and layered with patches, tassels, leftover fabrics and who knows what else. It’s fun, bad in a good away, a middle finger to the established system of what a ready-to-wear collection should look (and be) like. It’s good to know somebody does it. It’s a very rare thing nowadays – sadly.

Collage by Edward Kanarecki.

She Had A Flower in Her Mouth. Marta Jakubowski AW19

| Design & Culture by Ed

Marta Jakubowski is a London-based designer who was born in Poland and raised in Germany. She graduated with MA Womenswear from the Royal College of Art London and was selected to showcase her collections during London Fashion Week as part of the British Fashion Council’s NEWGEN initiative since. Marta Jakubowski has worked with brands including Hussein Chalayan, Alexander Wang and Jonathan Saunders, and has developed an unmistakable minimalist signature – sharp tailoring. She was shortlisted for the LVMH prize and Woolmark prize 2018 and continues to showcase her seasonal collections in London. Her minimalist, distinctive aesthetic envisions a mysterious woman, never obvious. Jakubowski’s autumn-winter 2019 highlights are: the deconstructed, masculine coat in brown and the equally dissected red knit that seems to connect with the person wearing it, like some sort of alien organism. Models  who walked the designer’s runway had an anthurium in their mouth, which you might read solely as a visual treat, or maybe, as a hidden message. In many cultures, this flower symbolizes hospitality. Does it relate to Marta’s collection in any way? Interpret it the way you really want to…

Collage by Edward Kanarecki.

Joyful Calmness. Rosie Assoulin AW19

| Design & Culture by Ed

What surprised me the most about Rosie Assoulin’s autumn-winter 2019 collection was the colour palette the designer resorted to this time. While we all got used to see Rosie’s unpretentious, fantastically big eveningwear and glamorously-on-the-go daywear in bold, strong colours, this season she kept it more earthy, I would even say: calm. Of course, there was a bit of vibrant yellow and orange, a pop of electric blue and bright purple (I specifically mean this sleeveless gown with a pulled bow on the back – so beautiful), but they were all in the details. The black, mid-length dress with a corset-like detailing was a standout, just like the beige suite styled with a sheer shirt covered in big mirror sequins and the delicious look that featured a cropped, pearl-beaded turtleneck and a floor-sweeping, ball skirt. Assoulin’s collection rarely rotate around specific references or moodboards. She rather designs wardrobes, featuring clothes for different kinds of women (they share common love for joyful artiness in style, something Assoulin embodies in her fashion) and different occasions. Some are here to make an entrance, and some are designed for running everyday errands, in style. While other New York-based designers seem to give away uncertainty, Rosie stays on her track.

Collage by Edward Kanarecki.