That Woman. Loewe SS17

October 3, 2016 | Design & Culture by Ed

Loewe by Jonathan Anderson isn’t another episode about an up-and-coming designer taking a big, heritage brand under his wings. It’s already the fifth season delivered by this fascinating, Irish designer, and it seems that with every collection, Anderson makes the house feel like his own universe. Jonathan doesn’t only focus on the accessory range, which continuously expands with new additions; he makes the ready-to-wear part an obsession of every fashion editor, and you will surely find the industry insiders storm Loewe’s store (along with Balenciaga) this season, and the next season.

What really makes Anderson’s Loewe so desirable, but at the same time far from mainstream, is the mood. Whenever I see a Loewe model on the runway, I have in mind a picture of middle-aged, Mediterranean raised woman, who lives in a modernist villa filled with contemporary art and biscuit-beige floor-covering. However, it’s not a film still, but rather a realistic vision of Loewe client. That’s why Loewe isn’t a pattern for Zara and H&M – it’s just too sophisticated and too multi-faceted to be copied by someone who doesn’t understand it.

At his namesake brand, Jonathan is known for precision in everything he does. At Loewe, he’s a creative director who, in comparison to other creative directors, actually has control over everything, from the stores’ furniture to perfume package. Thanks to that, Anderson focuses on every single thing, even the tiniest detail like a bag’s texture. “It’s a textured carpet, so we put it on suede, then we flocked it and then we washed it so you get it flat, yet it still feels soft to the hand,” is how he described the leather he decided to use for a new bag silhouette. The collection itself also took a thorough look at extreme workmanship and a sense of craft. “Torn” seams, loosely fitted collars and intriguing closures, among other details, were telling a story of highly sensual, super-organic clothes. Eclectic jewellery, featuring bat necklaces or ikebana-inspired flower bracelets, reassembled souvenirs from luxurious, oriental voyages. There are no themes in Anderson’s collections for Loewe. You can love it, or not.

Freud’s Office. Loewe AW16

March 7, 2016March 7, 2016 | Design & Culture by Ed

“You are completely relaxed, completely at ease . . . .”

Jonathan Anderson‘s brilliant collection for Loewe felt like a Sigmund Freud’s psychotherapy, which entered your mind. The waiting-room beige shade of Maison de l’UNESCO and the designer chairs from mid-20th century made all the guests relaxed, and feel calmer, even though the Paris Fashion Week’s stir and fuss continues. And, it was a great occasion to see Anderson’s latest vision for the brand, with his artisan touches, eclectic accessories and fabulous bags, which are Loewe’s signature. The clientele of the Spanish label, who supposedly is a base of middle-aged women with an interest in collecting contemporary art and rare furniture, will surely fall in love with these arty mesh skirts and dark tan leathers. “Curated” is as important in this collection, as in the live of these women. The resin cat necklaces came out of the blue, giving an edgy twist to the collection. The minimal corsets were covered with pleats of gold, just like the Arizona totes. Some of the handbags were worn in doubles, while other were made from fringed, oriental textiles. In comparison to last season’s overload of plastic pants and senseless silhouettes, this time Anderson delivered a strong collection, keeping Loewe on the season’s “highlight” list.

A Lady with A Twist. Creatures of The Wind AW16

February 11, 2016 | Design & Culture by Ed

Shane Gabier and Christopher Peters kick off the New York Fashion Week on Design & Culture by Ed with one of their most mature collections to date. Not only because it feels like the Creatures of The Wind girl has changed into a woman – but also, the identity of the eponymous label seems to be much more recognizable. For the autumn-winter 2016 season, the designer duo staged a feminine, yet quirky outing of V-neck dresses made from lace and textile patches, mink coats and to die for slip-tops with autumnal leave prints. The collection blurs between playful Couregges-like polished leather mini-dresses and much more toned, mature pencil skirts and turtlenecks – meanwhile the geometrical jackets, as the brands’ Instagram feed suggests, are all about Ettore Sottsass graphic, visual vision. Good to see that the boys behind Creatures of The Wind show off their other, much more lady-like side – and present something infinitely New York. Both eclectic, and individual.

Kaleidoscopic Florence. Emilio Pucci Pre-Fall’16

January 14, 2016January 14, 2016 | Design & Culture by Ed

Massimo Giorgetti’s playful vision at Emilio Pucci keeps getting better and better with each season. The pre-fall 2016 collection is his third for the Florence-based, heritage brand, and it already feels like he has been at the house for a prolific period of time – this young, Italian designer mixes the signature Emilio prints in such a care-free, yet vibrant way. Massimo focused on reinterpreting the Pucci codes in a contemporary, slightly humorous way. The silk pants and shirts in blue-feather prints; bold lips pattern, which made the pleated skirts look, oh yes, bellissimo. The skiwear roots were revamped this season and hopefully, it will again be a game-stopper on the Courchevel route – modern V-neck knits, “kaleidoscope” jackets and boldly coloured fur coats looked luxurious, but not too excessive. Forget the image of a fancy lady with a freezing dog on the slopes. One thing’s sure – Giorgetti and his team at Emilio Pucci are moving in the right direction, making the brand’s season-to-season outings feel unexpected, lifey and beautifully eclectic.

Parisian Update. Celine Resort’16

October 24, 2015 | Design & Culture by Ed

It’s a kind of fashion tradition, that we see Celine‘s pre-collection just few weeks before they hit the stores. When Phoebe Philo introduced this rule, the fashion system shifted. No wonder why – when we see the pre-collections six months before they are really available, there is a kind of deja vu feeling later on. There is a lack of excitement. When Philo drops her pre-collection, there is this surprise effect that certainly moves the brand’s customers when they walk into the stores. The resort 2016 is a true pleasure, both for the eye and the desire sense. The collection is a modern version of a French wardrobe – here, you will surely find a striped shirt, high-waisted pants and a raffia tote from the Basque summer adventures. Also, the wardrobe contains an essence of minimal, French glamour, which was strong in the 60’s & 70’s Paris – take the green, Pierre Cardin-like vest or Yves Saint Laurent safari trench-coat, revisited with some arty patterns. There is the feeling of a “woman who travels” in this collection, too – the Babouche slippers convey the oriental mood and the eclectic jewellery brought from Milan’s most edgy flea-markets and antiquaries. In brief, Phoebe wins my heart, as usual. Is this something new?