September – my favourite month – is coming with big steps, so I’m gradually looking forward to the warmth of autumn clothes – knits, trench coats, earthy tones… This sort of exhaustion with summer-wear made me dive into Vogue Runway’s archives, and just like that I’ve rediscovered a designer-and-brand tandem that would feel so relevant today. Hannah McGibbon was Phoebe Philo’s right hand during the latter’s creative directorship of Chloé between 2001 and 2006 – a period when the label helped to redefine the way women wanted to dress with a mixture of free-spirited, sun-kissed levity and feminine tailoring. Then from 2008 to 2011, Hannah herself took control, ramping up the label’s 1970s savoir faire. I can remember how slammed by the press she was with every season. Looking at her collections from that time – especially her autumn-winter 2010 collection – I’ve got no idea why her collections were met with such harsh reviews. They were beautiful – elegant, refined and super chic. And oh, how timeless! Just look at the below images. Pretty much the entire autumn-winter 2020 season has that take on soft minimalism, which might have been misunderstood a decade ago. As far as I know, McGibbon is now consulting different labels. If she ever forgives the press that once gave her a hard time, I can really see her taking on some houses that need a good creative direction. How about Rochas (which still hasn’t named it’s new designer)?
Collage by Edward Kanarecki.
The calmness and beauty of Musée Rodin instantly made it one of my favourite places in Paris. The historical link between the collection and the Hôtel Biron where it’s located is the essence of the museum’s soul. Visitors will find many pieces created by the sculptor that have never been shown before in a display that affords a more comprehensive, coherent and accessible view of Auguste Rodin’s production. After a chronological presentation on the ground floor (including a room with a reproduction of the Hôtel Biron as it was in Rodin’s day), the first floor explores the aesthetic and historic dimensions (the Symbolist room, the Pavillon de l’Alma in 1900) and the creative process (Assemblage, Fragmentation, Enlargement) of the artist. One of the oval rooms, designed in the spirit of a cabinet de curiosités, presents Rodin’s sculptural practice alongside his activity as a passionate collector of antiquities. Although it was raining non-stop for a week, we were lucky with the weather the moment we went outside to the museum’s garden. Stretching over three hectares, the grounds are divided into a rose garden and a large ornamental garden, while a terrace and hornbeam hedge backing onto a trellis conceal a relaxation area. The glassed pavillon presents more Rodin goodness, this time in the context of nature. Some sculptures are unfinished, while others bear traces of the non-finito technique of which Rodin was so fond. For all the Rodin – and sculpture in general – lovers, this place is a must-see!
All photos by Edward Kanarecki.
(P.S. If you are inspired by my Parisian coverage, I’m really happy about, but please have in mind that now isn’t a safe time for any sorts of travelling. Stay at home!)