It’s one of those sober, darker Dries Van Noten collections, that still has a lot to say. It seems that the Belgian designer asked himself: at time when world politics is in its sad state, how should a civilised, well-cultured adult comport himself? The autumn-winter 2019 collection has the clear answer: dress well, think clearly, keep a sense of what’s important when all around are loosing their heads. You might say its just a bunch of (what seems to be perfectly tailored) blazers, coats and suits, but this outing was a wardrobe of a level-headed man who knows what’s really right. It’s refined, but unpretentious. Wise and mature. Loosely fitted, cropped, pinstriped pants, duvet shawls in monochromatic tie-dye and an elegant, belted cardigan in beige are the items I’m drooling over. It’s not a buzzy Van Noten show, and it never intended to be one. With all the men’s shows getting bigger and more entertaining, Dries kept it rather quiet. But silence is a statement as well, sometimes even more meaningful and deep than thousands of euros thrown into a showy, Insta-worthy venue.
Collage by Edward Kanarecki.
In a few words about Brock Collection, New York’s new go-to luxe brand: it’s designed by husband-and-wife duo, Kristopher Brock and Laura Vassar. With love. Last November, the couple won the CFDA / Vogue Fashion Fund, which enabled them to expand and develop their cozy womenswear label known for great denim and top-notch quality essentials.
About the autumn-winter 2017 line-up – you just feel it’s a collection created by two individuals, who are in a passionate relationship! It’s impossible not to fall in mutual love with those easy fur dresses and shawls, statuesque dresses or fleecy, soft knits. Rustical prints on pencil skirts and belted beige cardigans remind me of early Ralph Lauren and Donna Karan. It’s an all-American, luxurious wardrobe of a woman, who knows what she wants from life. She loves everything about the word ‘comfort’. But Kristopher’s and Laura’s fashion isn’t exactly falling into that well-defined box of New York-based designers, who are pure minimalists and less-is-more fanatics. The new collection is filled with more flirty options, like strap dresses or chic leopard-printed coats. That’s why I listed Ralph above – Brock Collection smartly conveys ageless elegance, but to contemporary times.
Whenever Chanel does a pre-collection presentation, you know every single detail regarding it a month earlier. The press is burning with the show’s fancy, far-fetched location; Instagram feed is all in #chanel. This time, however, Karl Lagerfeld and the legendary French maison decided to slow it down a bit with their PR – or at least, stay at home. And specifically, in the newly re-opened Ritz hotel on Place Vendome, just a few steps away from the brand’s flagship store on rue du Cambon. Although you can’t call this ‘modesty’, going a bit more traditional than usual is simply… reasonable.
In fact, there were three Chanel shows in one day – the first was presented during a chic brunch; the second started at the time of lunch; and the last during a fancy dinner. The guests (everybody from the fashion editors to couture clients) had a way better day than you, that’s for sure. The clothes were excellent comparing to the last few seasons where Karl did literary everything, from a faux women’s protest to a glossy IT room. I guess it’s because Chanel looks best, when worn in real Paris, rather than in non-sense, meaningless venues. The dining rooms of Ritz perfectly matched Lagerfeld’s vision of cosmolitan elegance. Slouchy knitted cardigans and tweed pencil skirts; black tulle dresses styled with deluxe duvet jackets; shoulder pads and layers of pearl necklaces. According to the designer, the collection was an reflection of and ode to “people from all over the world who’ve come to the Ritz. There were hundreds of dinners in the ’20s and ’30s, where women wore incredible things.” But the most intriguing thing about this collection is the lack of the ’60s’, ’70s’ or ’90s’ tags, which are overused by others in the industry. “You cannot tell from the collection what decade it is, and I think that is modern“. Good point.