Extraordinary – that’s how one might describe Noir Kei Ninomiya’s garments. Most of them are sew-free constructions – he prefers rivets, snaps, or grommets – and for spring-summer 2021, we’ve got a series of handmade hyper-extravagant dresses, all of which would be perfect for a Björk album cover or a Nick Knight shoot. While Ninomiya usually stays close to his favourite palette of black, here we’ve got a deslightful splash of bubble-gum pink. Is this a sign of hope for a troubled world? The designer leaves it to your interpretation. Grandiosely modern silhouettes were delineated in materials that included wire, pearls, PVC, chain, a symphony of polyester fabrications, ribbon, satin, cotton, wool, three types of leather, and taffeta, with which the amazing aura-haze of the last look was constructed. Note the four varieties of this-season’s collaboration with the Prada-owned English shoemaker Church’s. These florally studded footwear options are the most straightforward way, along with his biker jackets, to buy into the Ninomiya aesthetic. Love!
Collage by Edward Kanarecki.
John Galliano feels like at home at Maison Margiela, and that’s visible – his collections start to look-alike. The textiles are chaotically layered up, the circus opulence from the Dior era is present, and Margiela’s codes seem to sink in this musty trunk of an Old Hollywood star. I’m not saying that Galliano is burnt out – but I perceive his presence at Margiela as appalling. The aristocratic capes, exhausted pussy-bow shirts made from a fluorescent, green mesh and college jackets seem to look so pretentious and, sadly, outdated. Others say that Galliano’ collections for Margiela are innovative – but I constantly see dusty clothes that look as if they escaped out of a granny-wardrobe, filled with souvenirs from her 20s.
Simon Porte Jacquemus is one of the most daring designers in Paris. His collection trigger controversy, even though they reminisce childish, naive and even primitive way of being. The brand’s recent autumn-winter collection is deeply rooted in the period of dadaism – the shirts are printed with surreal, black hands, while voluminous trousers and skirts have those red, plastic circles through which stripes of textiles overlap. Take note of the abstract crop-tops – even though they look like pieces of a fancy, 60’s rug, they are made of wool patches, made fully in France (just like the rest of the pieces sold by Jacquemus). For the full effect of the very arty and avant-garde femme Simon creates this season, there are those paper masks – nobody is sure how practical are they, but surely they will update every possible look you think of this autumn.
The full AW15 look-book on jacquemus.com
I can’t believe myself – it’s the last post about the SS16 fashion month! And even though I am kind of sad that the spring-summer 2016 season came to an end, it feels like a perfect time to chill and look back at all the fashion moments that took place in September and at the beginning of October. The marathon of New York, London, Milan and Paris delivered so many gorgeous, amusing, shocking and effy collections, that it’s the perfect time to take a short break and reflect. However, there is never too much of Miu Miu – Miuccia Prada absolutely astonished me this time. The new collection is a bit confusing, but very appealing. The ugliness of the ballerina shoes with Comme des Garcons-like belt buckles and vichy checks are a loud nod to the beauty of ballet and its bad sides. Miuccia gave as some tulle skirts, too, keeping Miu Miu’s spirit girlie, but with a twist. The ruffled, organza aprons in courgette purple, mint green and cherry red looked provoking, when worn with the loosely fit pencil skirts. A Miu Miu collection is not a Miu Miu collection without eclectic wallpaper prints and fur stoles, which appeared to be worn extravagantly around the chest. I also loved the fur “tails” which dangled under the leather jackets and layered shirts. Feminine edginess wins the label this season, saying sweetly “I wear what I want, so don’t bother me“. A great collection that ends another nutritious season!
Rei Kawakubo is bored with “fashion”. That’s why her Comme des Garçons collection for spring-summer 2016 is so different. “Blue Witches” (the title of the collection) was created out of shapes that resembled coats and dresses – however, the silhouettes covered with metres of synthetic velvet, thousands of feathers and prickly fabric that resembled the back of a hedgehog looked peculiar. The cloudy, red wigs styled by Julien D’ys gave me goosebumps, as they had a horror-film vibe about them. If talking of Comme des Garçons and Rei, you can’t say whether you liked or disliked the collection. These clothes (if you even dare to call them “clothes”) are so out of the standards that it’s to some extend pointless to even review them. The only thing left is to a) interpret them and b) wear them, with attitude and understanding.