Stella Tennant in Balenciaga, photographed by Juergen Teller for Puple Magazine.
Collage by Edward Kanarecki.
Don’t Bug Me!
Art
Creative Process. Marni SS19
Marni by Francesco Risso is playful, that’s one thing. Second thing is that Risso lets his clothing talk for themselves – and that’s a rarity in Milan (except for Miuccia Prada, who’s been Francesco’s boss for a few years when he worked at Prada). Those aren’t just dresses, jackets and a bunch of accessories. Every single piece is a story. Whether we’re speaking of a bustier dress with an one-of-a-kind collage print or a necklace so eclectic that it reminds you of Iza Genzken artwork, Risso tells fashion tales that are neither minimal or opulent – two poles that seem to simplify today’s fashion in to two camps. For spring-summer 2019, the creative director as well developed this idea of creative process, and finding the right moment to stop working on something. He explained that in a further way backstage of his show. “It started with the process of the work in the studio, and thinking of it as a painter’s canvas, which keeps changing and modifying in the trials and mistakes – suddenly, that becomes the work itself”. His Marni seems to be experimental, but not over-pushed to look too arty. And simultaneously, each of the garment is wearable and suited for the daily life. Nothing proves that more than the diverse casting of models, of different shapes and life paths. I guess Marni is the collection from Milan I will surely look back at more than once this season.
Collage by Edward Kanarecki.
Drama. Richard Quinn SS19
Although the Queen didn’t attend Richard Quinn’s show this season, the front row at his spring-summer 2019 presentation sparked interest. Art students from Quinn’s high school in London and Central Saint Martins, where he earned his degree, were all here, absolutely stunned and impressed by the British designer’s creations. In recent years, arts programs have been dramatically underfunded in British schools, and this was Quinn’s admirable way of drawing attention to that problem (cutting out art programs is a short-sighted action – it’s the fashion industry, for example, that plays as a very profitable export for Great Britain). Speaking of Quinn’s collection. ‘Dramatic’ is the word that fits it perfectly. Models in velvet ski masks opened the show in black tutus and heels, with a storm clouds projection in the background. Three looks in, and we’ve got 50s cocktail dresses in the boldest florals, gowns with feather trimmings and meticulously embroidered pyjamas. That major sequin work is just ‘wow’. The leopard print that appeared on the ladylike coats and drop-waisted frocks in the end brought the collection proper spice. Quinn conquers the evening-wear niche, that’s for sure. And proves he’s not a one-season wonder.
Collage by Edward Kanarecki.
Maximalism. Mary Katrantzou SS19
In London, it’s the season of anniversaries. It’s not only Victoria Beckham who celebrates her 10 years of business, but as well Mary Katrantzou, the Greek designer who exactly in 2008 stormed the industry with her kaleidoscopic, bold prints. One would expect to see a remix of her greatest hits, but Katrantzou pushed the envelope and didn’t go the ‘easy’ way. For this delightful collection (which I consider her best in a while), Mary took favourite prints she used throughout her career, and re-made them in the most couture way. Postcard stamps, butterflies, perfume bottles, jewellery, flowers and many other trademarks of her visual language were transformed into meticulous embroideries and embellishments that covered long-sleeved mini-dresses, tulle ball-gowns, romantic capes and elegant flares. Once you see the details, you will be instantly in awe with all that stunning, mind-blowing beauty. Maximalism has always been Katrantzou’s best friend, but this season it seems to be a grand love affair. In the end of the show, after the “collection of collections” was presented, the curtain in the middle of the venue went up and an army of mannequins appeared. The guests could revisit Mary’s most major moments, from her gorgeous MA collection to that memorable type-writer dress in red from 2012. Well, what else is left to say. Wishing the designer next, and next, and next decades of success in fashion!
Collage by Edward Kanarecki.
Real. Proenza Schouler SS19
Similar to Rodarte, Proenza Schouler returned to New York fashion week after a stint in Paris. Jack McCollough and Lazaro Hernandez immediately switched everything, from sensibility to the production of the new season clothing. No more feathers, meticulous embroideries and laborious craftsmanship. The feeling is New York, not Paris. Real, laid back. And that’s something that works for Proenza Schouler best. Even though I loved their last two collections they did in Europe, it was quite perceivable that the ‘prestige’ surrounding the French capital might not entirely be their cup of tea.
Their collection happens to be one of my favourites from what we’ve seen up to date in New York. First, the simplicity: most of the pieces were made in either cotton or denim. This also means that the price point will be much lower than the current collection that’s in stores. Military-style jacket with a high collar looked so good with wide-leg trousers, and a drop-waist dress in bleached denim is exactly what every summer wardrobe needs. The over-sized, tie-dyed shirts with random snapshot of New York had that art gallery feeling I always adored in Proenza Schouler, New Yorker mode. Oh, the bags. The bags! So big and comfortable. Perfect. I bet that from all the brands that show in New York this season, Proenza Schouler might expect the biggest success in retail. And not because of some shallow ‘fashion’, but well-made, contemporary-looking clothes women will wear everyday, for different occasions. That’s actually the core of the brand since it’s first days – to deliver remarkable, sort of edgy styles to intelligent, self-aware females.
Collage by Edward Kanarecki.
Design & Culture by Ed 