Ridiculous. Maison Margiela SS16

October 3, 2015 | Design & Culture by Ed

After few collections presented by John Galliano for Maison Margiela, I have a clear opinion on him – he is not the same Galliano we knew at Dior. The spirit of that Galliano seems to be tamed by the idea of conceptualism that is constantly imposed by Margiela’s codes. It’s visible he tries hard to make Maison Margiela an enigmatic and elusive brand – but his other side of a show-man just doesn’t let it go. Drama queen dresses, transparent baggy dresses, bee-hive hairstyles… even the artisanal textiles he uses don’t look high-end, but rather like from one of London’s fashion student graduation collection. Also, the whole idea of gender-fusing seems to be not that fresh as Galliano and Margiela’s studio thought when the did the show’s casting. Men wearing fish-net tops and high-waisted skirts? So Eckhaus Latta. And, of course, the most ridiculous thing about the entire collection – the bags tied with obi knots to the model’s back. When you don’t have any other idea how to make a show amusing, you do this type of thing. And call it pret-a-couture or something alike.

Humour Chic. Maison Margiela AW15

March 10, 2015 | Design & Culture by Ed

So, here we are. The second collection by John Galliano for Maison Margiela. Without explanation – John matches the spirit of Maison Martin Margiela PERFECTLY. Now with explanation. The collection was a more than fun – it had a melancholic humour in it. A bit childish, a bit grumpy. But bold and full of colour. The vinyl coat with green lilac attached to it talked bad witches; the Mary-Jane shoes were over-sized, so they made us think little children trying to look mature in their mum’s footwear; the orange gloves and voluminous caftans appeared to be inspired with aristocratic ladies who always have this magical aura around them… whatever they say, good that Galliano is back after a traumatic breaks and again brings fashion back to fashion.

Drama at it’s Best. Giles AW15

February 25, 2015 | Design & Culture by Ed

Drama is the thing this season, that’s sure. After Marc Jacobs (the heavy Diana Vreeland boheme), Thomas Tait (elusive horror mood) and Thom Browne (a 19th century hospital vs. mafioso funeral), Giles Deacon shows us that a fashion show is not only a stiff presentation of clothes – it’s a performance. It’s a stage for actors – models – showing emotions through their walk and clothes. And in this statement, I would like to highlight Giles drama the most. The show was just extraordinary – Edie Campbell wore a latex Victorian blazer; Stella Lucia had a pink ribbon tied around her chiffon turtleneck – dress; Anna Cleveland, the star of this show, simply danced in a twirling organza gown. All girls had black lips and something ultra-vivid about them – maybe it’s Katie Grand’s styling? Or the old-fashioned beauty of British fashion shows? I can’t explain. But I am truly seduced by Giles for fall.

Murder, She Wrote. Thom Bronwe AW15

February 18, 2015 | Design & Culture by Ed

If talking of good drama, Thom Browne knows how to amuse the viewer. For AW15 venue, the enfant terrible of New York’s fashion scene presented his extraordinary show in Victoria era seminary, where “doctors” gave life to the patients. Also, the guests had a chance to be present on the funeral of a mafioso – every model was dressed head to toe in black, with veils on their faces. And, no, he said, he did not see the new all-black exhibition at the Met, where his partner, Andrew Bolton, is a curator; he purposely avoided it, so as not to be overly influenced. The sadness brought by Thom Browne in black colour was meaningful – opposite to Alexander Wang’s recent retail-friendly collection, the darkness felt emotional, beautiful and ironic at the same time. Each outfit offered something for the eye – a swingy jacket edged in thick beaver fur worn over a tweed mini and cardigan; an overcoat of black wool bouclé edged all around with frayed silk; warm and sublime wool dresses; coats horsehair fringe, and a jacket in a wool woven to resemble astrakhan and then embroidered with tiny black beads and deep green feathers. The veils were impressive, too – they all told a story.

Thom Browne’s AW15 was a totally different experience than his SS15 – the season before, full of green and flowers, brought cheer. AW15 is utterly different – it’s dull and gloomy. But both of them are ultra-couture if talking of craftsmanship and represent fashion as art. Thom Browne owns that.

Brutal Love. Rick Owens SS15

September 27, 2014September 27, 2014 | Design & Culture by Ed

Mid-century Polish composer Wojciech Kilar was a distinct departure from Owens’ usual visceral electronic noise. Still, he anchored his models to earth with clogs that clacked noisily around the catwalk. Ghost-models, fauns, normal women- all of them clashed in this romantic, but brutal collection. It was a mix of everything Owens did up to date- Luigi Murenu hair-bushed, panel tafetas, black leather, sculptural silhouettes… although there were many cuts and legs to be seen, it all felt attractive through a dark prism. The ortopedic geisha clogs felt also very dramatic. The Ballets Russes, the early 20th century’s most spectacular rejection of the cultural status quo, was his starting point. Owens gave his own spin to a dancer’s tulle.