Big Feelings. Danielle Frankel AW22

I’m not into bridewear, but there’s one designer in this field that I always pay attention to. It’s been a year since Danielle Frankel, a go-to designer for fashion-forward brides, unveiled a new collection. Not a long time in terms of creative productivity, but a considerable hiatus by the standards of the fashion calendar. “When you’re talking about an evergreen product, you don’t need a collection every six months,” Frankel says. “These collections take so much to produce, and because the business is growing at the same time, we have to wedge in when we’re doing the development.” There’s certainly no shortage of clientele. Though she designs ready-to-wear as well as bridal, the latter is her bread-and-butter. She developed many of her brand signatures this season, including corsetry, bubble hems, and silk-wool pleated gowns. But everything is a bit bigger than 2021 collection‘s streamlined and sculptural offerings. “There’s a lot of the same DNA that you see in our work, but I wanted something a little bit more grand this season,” Frankel says. “Before we were known for those effortless, simple, cool styles, but for me it’s important to go bigger and move it forward.” Inspired by 1950s Vogue fashion illustrations, mid-century elegance, and surrealism, her new collection is photographed in a deliberately hazy way. Though this method of photography obscures the fine details of the clothing, it underscores the feelings Danielle hopes to evoke. That said, her designs tend to reveal themselves on the human form. The Leith gown, for instance, has a showstopping corseted bust that projects off the body and open back, but the pleats at the waist may just be the special detail that convinces the customer that this is the one. Hirsch also introduced several styles with Watteau drapes at the back, offering a more low-key kind of drama than the Leith does, while still delivering mid-century glamour. Aside from the fact that the most classic ballgown silhouette is hand-painted and hand-fringed in shades of brown, many of the tops Hirsch designed feel like true ready-to-wear. Paired with wide-leg trousers, the two bandeaus made to look like flowers are festive and relaxed.

Collage by Edward Kanarecki.

NET-A-PORTER Limited

#TBT: Yohji Yamamoto’s 1999 Bridal

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The invitation was to a wedding, but Yohji Yamamoto’s Spring 1999 collection was bridal as bridal had never been before. “Behind the wedding dress, there must be many stories,” Yamamoto said, and as the ones he showed told theirs, literally changing before the audience’s eyes, many in the front row dissolved into tears. 

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HC: CHANEL SS14

Slide01Karl Lagerfeld again cleared it all straight away- he is the innovator of Couture as every season. The SS14 was so… Feminine. Soft. Girlie. Innoncent. There are hundreds of words that may describe this amazing collection. First of all- no more heels on couture. ONLY SNEAKERS now count. Just like at Dior, but in more cooler way. Cara Delevigne was a beautiful bride in a white wedding gown (that was unexpectly very modest and comfortable!), hands-to-hands with a small boy who looked cute in a tiny Chanel suite. The collection was inspired with sporty chic (that’s why the embroidered trainers and knee defenders) and the simplicity of beautiful dresses- forget long gowns. Now it’s time for mini-dresses and sheer bodysuits. That was a really lovely collection.
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