Everyday Sublime. Tory Burch AW24

February 14, 2024 | Design & Culture by Ed

This New York Fashion Week we hear about either designer farewells or big anniversaries. Tory Burch celebrates 20 years in business. But what’s absolutely surprising is that this designer found her design ground just in the last couple of years. For autumn-winter 2024, she aimed to make the “everyday sublime”. Lamp shades, old jackets and even shower caps served as inspiration for Burch, who put texture and silhouette at the center of the collection. It worked, truly sublimely. There were dresses and jackets with sharp silhouettes, metallic fringed coats which were all about texture, bright-colored skirts paired with tight-fitting hoodies, lots of leather and sheer dresses. It was all about “sharp edges, unusual textures, and technical sport details“, she explained. Some of these pieces had been engineered from the inside out, an approach which is usually used in handbag construction. She also left some seams raw-cut, heat-sealed, and bonded to add dimension without weight. “They’re almost like origami,” Burch said of the fabric. It looked sensational. It’s pure pleasure watching Tory bloom as an actual fashion designer.

Collage by Edward Kanarecki.
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Not Just A Lady. Puppets & Puppets AW24

February 14, 2024 | Design & Culture by Ed

It’s so sad to hear that this was Puppets & Puppets‘ final collection in New York. Carly Mark is moving to London, and plans to shape her business around accessories. Unfortunately, of all the fashion capitals, New York is the least merciful towards emerging brands. And it’s a double-pity, because the autumn-winter 2024 collection was one of the finest works by Mark to date. Reducing all things superfluous and focusing on garment-making, the line-up offered some of the most brilliant ideas of this fashion week. There were lots and lots of tights, and that’s what the artist-turned-designer likes to wear when she’s in an Little Edie mood, just as she dons a hoodie and T-shirt when she feels like a basement lord. There was something seemingly haphazard about the lineup, which featured lots of wrapping and twisting and things tied on, while models clutched at their get-ups. This wasn’t to keep the clothes on, explained Mark backstage, but a gesture borrowed from fittings. Clutching one’s heart is also an instinctual movement made when things go south. Many of the patterns took the form of spirals; perhaps a metaphor for unraveling. Veils suggested an element of religion, which, if you think about it, has a twisted logic. For the time being, Mark is, in effect, becoming a fashion nun, in the sense that she’s abstaining from clothes making. Along with the more revealing looks were those that were almost proper. “Lady is a word we’ve actually been using a lot in the office,” said Mark. “When anything feels a bit lady, we fuck it up a little bit. But I think swans are an interesting conversation because Capote, in a way, was the puppet master to these refined women – or at least tried to be. I am really interested in not letting that happen to me. I am the puppet master. I am in control of my life and myself and the decisions I make. So if anything, I’m both Capote and the swan.” Looking forward to see what this exciting designer does next.

Here are couple of Puppets & Puppets designs you can shop before they become holy grails!

ED’s SELECTION:

Dallas Floral Sequined Short Pannier Dress

Small Rose Leather Top-Handle Bag

Windblown Wide Button Front Coat

Caroline Sequined Twin Hip Mini Dress

Mini Cookie Leather Top-Handle Bag

Chow Printed Mesh Top

Spoon Moc-Croc Leather Hobo Bag

Collage by Edward Kanarecki.
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New York Chic. Altuzarra AW24

February 12, 2024 | Design & Culture by Ed

Altuzarra celebrates 15 years of business, quite a milestone for even the most thriving fashion brands in New York. Personally, I think this last year was a sensational moment in Joseph Altuzarra‘s career: collection after collection, he delivered line-ups that aren’t only chic, but very, very New York. His autumn-winter 2024 offering ranks very high in the shapeless blur of other collections we’ve seen this week. The designer brought together a group of about 100 guests at his Woolworth Building for a salon-style presentation. His daughter sat on his mother’s lap, and there were no celebrities or influencers in the room – rather editors, journalists and buyers. This already felt like a new direction. “I worked on this collection in a different way,” Altuzarra said at a preview. “It wasn’t as much about stories and much more about pieces that I felt interested in developing.” Like a sweeping mac with a storm flap back lifted directly from his own life. Altuzarra has started showjumping competitively out on Long Island, where he and his husband have a home; later on in the collection, a pair of silk twill sundresses featured abstract prints that looked equestrian in nature. Amidst the pictures of horse girls on the moodboard were Tamara de Lempicka paintings that may have inspired a crystal and lace flapper-ish slip dress. Illustrations of clowns in Pierrot ruffs definitely influenced the frilled collars and cuffs on knits and blouses, which were often topped by more masculine pieces, like a peacoat, or a neatly tailored blazer. This collection takes Altuzarra to a new territory, one he definitely should keep on exploring in the next seasons.

How about a couple of Altuzarra essentials?

ED’s SELECTION:

Sif Pleated Polka-dot Crepe De Chine Maxi Skirt

Booth Cable-knit Turtleneck Sweater

Karina Gathered Satin Midi Skirt

Kitriani Dyed Peplum Jacket with Smocked Waist

Fannie Midi Skirt with Ruffle Trim

Adams Tailored Wool Coat

Collage by Edward Kanarecki.
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In Her Feelings. Khaite AW24

February 12, 2024 | Design & Culture by Ed

Another season, another Khaite fashion show presented in total darkness. I understand Catherine Holstein likes a mysterious mood, but again, the clothes are barely visible, and the models looked, as Rachel Tashjian wrote in her on-point review, disempowered. The collection had two main running themes: the leathers and the billow-y silhouettes. The bulky shapes of Khaite coats and jackets, with their exaggerated Claude Montana-ish shoulders, generous cowl necklines, and full sleeves evoked the late ’80s and early ’90s, when Holstein would’ve been a young child playing in her mom’s closet. However it was the designer’s newly-found obsession of draping silk gazar the ultimate highlight of this collection. One sculptural top was originally meant to be a dress, but as the model slid into it at the fitting and lifted its hem to put on shoes, Holstein preferred the curving volumes of it bunched up at her hips, and it was reworked at the last minute. “I want women to feel exhilarated when they put on my clothes,” she said. If only that exhilaration was more perceivable in the dead-serious format the Khaite shows are taking.

Now here’s a couple of my Khaite favourites you can scoop…

ED’s SELECTION:

Marcy Crystal-embellished Satin Ballet Flats

Luphia Cashmere T-shirt

Maeve Weekender Large Textured-leather Tote

Romee Open-back Draped Merino Wool Maxi Dress

Maiden Crocheted Flats

Lago Cotton-poplin Shirt

Collage by Edward Kanarecki.
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True To Yourself. Eckhaus Latta AW24

February 11, 2024 | Design & Culture by Ed

“We’ve been doing this for 13 years now: what does an Eckhaus Latta show mean for us?” Mike Eckhaus and Zoe Latta wondered. “Quiet luxury is a term that’s used a lot – and that’s so not what we are – but I like this idea of paring things back towards an idea of minimalism, which for us was just more about, ‘How do we make clothes and work that are concise?’” For autumn-winter 2024, that meant a runway show inside an empty industrial office in Hudson Square, and a sparse musical performance by Loren Kramar, which began with a cover of Lana Del Rey’s “hope is a dangerous thing for a woman like me to have – but I have it.” The first look was a cropped jacket made from laminated felt with an oversized faux-fur collar and cuffs worn with a pencil skirt with spiral seams and cutouts that revealed a little bit of leg. A shaggy coat in a shade of cardboard beige was paired with an easy semi-sheer cotton ribbed tank, and straight leg slouchy jeans in an earthy acid wash. Really, that’s a distinct Eckhaus Latta look in a nutshell. The collection was also sexy without trying very hard – just look at all the sheer dresses and body-wrapping knits, for both women and men. The last three looks featured black organza embroidered with elastic and printed with vintage photos found on eBay, layered over simple white slip dresses. By now the singer had moved on from Lana Del Rey and into a cover of “New York, New York.” The choice of songs felt like a message. While so many people love to declare that New York fashion is over, Eckhaus Latta believe in the city and in the community that has nurtured them throughout the years.

Collage by Edward Kanarecki.
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