AW19

Ultimate Minimalists. The Row AW19

| Design & Culture by Ed

It seems to me that Mary-Kate and Ashley Olsen are the ultimate owners of minimalism in New York. With their sensivity for top knotch quality and craftsmanship, it’s no surprise that The Row is globally renowned among the richiest women who, rather than drown in Gucci, have similar preference for clean lines, soft cashmere comfort and especially, well, have nowhere else to go since Phoebe Philo left Celine (ok, there’s Lemaire, Jil Sander and Peter Do, and soon Bottega Veneta, but… still, they buy The Row). For autumn-winter 2019, Olsens delivered a collection that didn’t surprise, but as well didn’t dissapoint. Fur, beige coats? Checked. An over-sized ecru turtleneck-dress? Checked. Masculine tailoring? Checked – it got a bit more sculpted at the waist, which is a plus. You don’t really expect newness with The Row, except for some unexpected lining detail or an antique embellishment on a bag – basically details you will notice only when the clothes arrive on the rack.

Collage by Edward Kanarecki.

Journey Goes On. The Elder Statesman AW19

| Design & Culture by Ed

Greg Chait continues to evolve creatively with The Elder Statesman, expanding the brand with new additions. While the softest cashmere sweater is a forever signature of this L.A. brand, Chait lets in even more of eclectic, charming craftsmanship. Adam Shrewsbury’s talismanic doodles illustrate the jackets and knits, while North Carolinian denim is washed in tie-dye (just like all the robes that are made from, yes, silk and cashmere). The collection is distinctly laid-back: the styling feels intuitive , while the model’s ecstatically comforted look says it all. I’m always in awe of The Elder Statesman and it’s impressive attention to quality. And it’s even more exciting to see Chait taking his brand even further, for a journey that isn’t over any time soon.

Collage by Edward Kanarecki.

City. Proenza Schouler AW19

| Design & Culture by Ed

Proenza Schouler’s autumn-winter 2019 is one of those collection that need a second look. At first I thought that Lazaro Hernandez and Jack McCollough’s line-up felt repetitive. But then, I realised how strong this collection is. It’s all about construction, whether we’re speaking of a dress’ hem or a coat’s lapel. Tailoring was definitely the best part, as it looked ready for the big, urban New York life. Just look at the wool, over-sized suits! Up to now it’s the only power dressing that matters this NYFW. The slouchy, black knits with scarves attached to collars softened the mannish proportions. Let’s move on to outerwear. Veronika Kunz looked just fire in a garment that looked like a denim vest patched over a classical trench coat. I also adored the deconstructed leather coat on Julia Nobis, inspired by Sol LeWitt’s incomplete cubes. It’s the second season since Proenza Schouler came back home from Paris, and it’s clear where the New York boys feel best…

Collage by Edward Kanarecki.

Last. A Détacher AW19

| Design & Culture by Ed

New York loses one of its most under-the-radar, but beloved, independent brands – A Détacher. After 21 years of existence, Mona Kowalska closes the brand she created and gifted to the New Yorkers. A Détacher was it: comfortable, well-made, slightly quirky, but easy-in-approach fashion that doesn’t know trends or influencers. It was a rather quiet brand that always delivered heartfelt collections during buzzy, sometimes lost in itself, NYFW. The designer of Polish origins also had (well, still has, as the brand will close in the end of the season) her own boutique on Mulberry street, that sold not only A Détacher, but as well hand-picked vintage, arty candles and everything that’s in Kowalska’s taste. Her last collection is quite dark and is mostly based on the brand’s signature styles: a parachute dress, a turtleneck with highlighted shoulders, fluffy cardigans. The loosely fitted t-shirt dress with a slip dress trompe-l’oeil in the front seems to be a nod to Martin Margiela’s early design. It’s a beautiful, farewell line-up dedicated to A Détacher’s loyal clients. But there are no reasons to cry – we will definitely see Mona back soon, and wherever she takes us, we follow.

Collage by Edward Kanarecki.

About Falling In Love. Sies Marjan AW19

| Design & Culture by Ed

Seven seasons in, and Sies Marjan is one of New York fashion week’s most anticipated brands. The autumn-winter 2019 show was a moment, mainly because of the venue that looked like some sort of cosmic, or rather magical, space. The darkened setting brought a mysterious aura, while the floor, covered with millions of Swarovski crystals, was quite something. Are we on a crystal moon? A witch tent? The clothes were equally appealing with their gorgeous colour palette (Sander Lak‘s specialty) and charming allure. This season,  the designer wondered about falling in love and having a relationship – with his brand. Relationships tend to fluctuate, and Lak realised that through working with colours and materials he usually tries to avoid. “I really challenged myself,” he said. “I was totally over neon, but I wanted this season to grab it again and see if I could make myself fall in love with it again. We used a lot of lace too, and I hate lace, I never liked lace. But I really liked the idea of how can I make myself fall in love with this thing that’s not something I organically go toward.” The result? A line-up of gorgeous eveningwear that’s feminine, yet not banal. The black dress – a first ever from Sies Marjan – was another unprecedented highlight. “Black is something I’m not comfortable with at all in clothes,” said Lak. “That was the hardest dress to make.” The pleated lamé number looked outstanding, even if the way to it was a struggle. But then, every relationship has its ups and downs.

Collage by Edward Kanarecki.