Adidas x Lotta Volkova

I’m not an Adidas guy. But I love Lotta Volkova, the Vladivostok-raised stylist, who helped Demna Gvasalia shape Vetements and Balenciaga, has clients like The Marc Jacobs and Vogue Italia, and is one of the most sought after fashion editor of today. “Adidas approached me around two years ago with an idea to work on an undefined project together,” she tells Vogue, noting of her suprisingly mainstream collaborator: “I find it interesting to exercise your ideas in the broader audience spectrum.” In an interview, she continues: “I feel Adidas has always been around. What I mean is it has been such a reference in Eastern European culture, as well as Western subcultures, interpreted in so many ways. And its influence has gone way further outside of sports or even the fashion milieu. For example, I love those kids in Russia who tattoo Adidas stripes on themselves, or shave them out on their heads, or make those stripes into massive stickers, branding their cars.” That subcultural element is present in collaboration pieces that toe the knockoff-real line. Stretch skater dresses appear worn over triple-stripe stay-ups, tracksuits are reimagined as boilersuits, and the brand’s omnipresent slide sandals are pumped up with a wedge heel (super cute). A swimsuit and matching swim cap, both in a wave graphic, are sort of camp, sort of ironic, and totally ideal for the Olympics, if only the event hadn’t been postponed to 2021. These pieces might seem almost like a fashion parody at first, but each is fundamentally grounded in the brand’s extensive archive. And they feel quintessentially Lotta. The stylist names “the earliest pieces of clothing Adidas ever produced” as references for her designs. “For example, the green tracksuit was inspired by the first tracksuit Adidas ever made,” she explains. “Regarding footwear, I was interested to see if Adidas has ever made a heeled shoe, and we discovered the trefoil mules that gave inspiration for the Adilette. Also, I like a very hands-on, DIY approach, which inspired the windbreaker pieces with hardware zips applications.” The important question: How will the stylist of a generation be styling her own collection? “Depending on your style, the items can be mixed with your dailywear or worn head to toe and still maintain a chic, relaxed look inspired by sportswear,” she begins. “For example, I like to wear the zipped jumpsuit with my Chanel flats or any high heels. The super-high-rise swimsuit can be a great top worn with skirts, pants, or any bottoms as well as functioning swimwear.” The pieces are on sale from August 13!

Collage by Edward Kanarecki, look-book photos by Johnny Dufort.

At Home. Chloé Pre-Fall 2018

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If you ask Natacha Ramsay-Levi to define her own style, the answer won’t be as straightforward as you would expect from a designer.  “I admire people who have a uniform, but I’ve never found mine and I probably never will because I love fashion’s diversity,” she explained. Pre-fall 2018 is Natacha’s second collection for Chloé, a female-loving French maison, and it already feels that even if she doesn’t have an arbitrary ‘look’ that has to end up in the stores, she feels here like at home. And that’s good – thanks to that, the creative director’s work has a sense of easiness. What we discovered about Ramsay-Levi in her debut is that she has a soft point for jaw-dropping boots and whimsical jewellery (those pieces smoothly transit into the autumn days). Here, it’s a strong game of cognac leather coats, shirt-dresses and 70s blouses. Also, the designer wisely does the horse-rider style that’s distinctly Chloé, whether we’re speaking of the tiny horse prints on bags or wool capes. Although white socks tend to get on my nerves after 2017’s Vetements obsession, the way Natacha pulls them off in her refined pre-fall makes you wonder, whether luxe-y athleisure is back.

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Collage by Edward Kanarecki.

Leisure and Athleisure. Emilio Pucci AW16

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Milan is in the spotlight for the last, few seasons – it’s the refreshing time, when the big houses are revisited by younger, talented designers who are likely to make the brands more commerce-wise, and contemporary. Although this can’t be fully said in case of Alessandro Michele at Gucci, who looks back at the 16th century art and 70’s legacy, Massimo Giorgetti at Emilio Pucci totally matches this description. His runway debut in September was slammed by the critics, as it felt too busy with confusing embroideries and senseless layers. However, the autumn-winter 2016 outing is much better, and not only because the designer listened to his own, creative instincts – it reflects the Pucci soul, but in today’s world. Originally, Emilio Pucci focused on lounge-wear, rather than on athleisure – but Massimo smartly touched the topic of skiing. A score in the bull’s eye, if speaking of all the zip-neck velvet pullovers and colorful après-ski pieces. Really, the skiing market is a sad place in the fashion industry, and by showing a collection filled with lovely winter wear, Pucci surely gains a clientele for the next season in this field. This collection also proves that Giorgetti feels more freedom, when using the signature, Pucci kaleidoscope prints – they are playfully exposed on his experimental silhouettes we know from his namesake label, MSGM.

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