This year’s Vogue’s Forces of Fashion biggest highlight? A conversation between two friends, Anna Wintour and Donatella Versace. And the personal photos they’ve shared with the audience (and the readers, right here). The above photo seems to be unreal! But it really happened. That’s the only camp I would love to go to. But also, how CAMP is this entire situation?! Now, have a great Sunday.
Traditionally, Marc Jacobs’ collection was the grand finale of New York Fashion Week. In a completely empty space, with different vintage chairs (painted white) standing in the middle as the guest seatings, a flock of paradise creatures emerged out of one side of the Park Avenue Armory, went across the audience, and disappeared. And then they came back, one by one, dancing and twirling according to Stephen Galloway’s choreography. A maxi velvet dress in orange, emberoidered with hippy florals; granny-ish knits with cats and kitschy landscapes; floor-sweeping gowns made for spectacular, late night dancing; patchworked denim flares; knitted mini-dresses that make you think of Quentin Tarantino’s Once Upon a Time in Hollywood and Margot Robbie’s Sharon Tate wardrobe; old school rockstar wife look as seen on Bella Hadid; another gorgeous ball dress and Savile Row-esque pantsuit… Describing each look in the collection is a non-sense, because they should all be seen. This was one of Jacobs’ most optimistic collections ever, full of dreams and emotions, love and happiness. For spring-summer 2020, the 60s, 70s and 80s were mixed and fused with Marc’s most beloved personalities and their bodies of work: think Yves Saint Laurent, Karl Lagerfelfd, Shelley Duvall, Anita Pallenberg and Marina Schiano. But simultaneously, it all feels… Marc. One more thing that should be praised in this line-up: it’s a mindful balance of wearable pieces that will actually sell in stores, and delightful fantasy. This is what the designer struggled with for the last few years. And he finally overcame it. Marc continues to be the ultimate king of NYFW. Dream a little dream of me…
Collage by Edward Kanarecki.
Anjelica Houston wearing Calder’s necklace, photographed by Evelyn Hofer for The New York Times in 1976.
Browsing The Metropolitan Museum of Art’s digital archives can bring so much joy. I knew that Alexander Calder induldged himself in making one-of-a-kind jewellery when not creating his hanging installations, but I never actually saw his necklaces. Calder produced more than eighteen hundred pieces of jewelry, most of them between 1933 and 1952. Many of these pieces were made specifically for family members or friends and given away on special occasions. Each necklace, bracelet, ring, pin, or earring was a unique, handcrafted design to which he applied his skills as a metalworker and his visual wit, just as he did when he created mobiles and bent-wire sculptures. The necklaces below were made by hammering brass wires into flat strips and then fashioning them into a linear design that relates directly to his early wire portraits. Incredible, wearable works of art.
All photos via The Met’s digital archives.
The sudden death of Azzedine Alaïa, the master couturier who understood a woman’s body like no one else, hasn’t only deprived the fashion world of an ultimate genius, but as well left his brand in an uncertain position. The spring-summer 2019 look-book that was released last week, however, assures that Alaïa – as a fashion house – isn’t going the wrong path and won’t end its existence as many French houses did after their founders passed away (waiting for years to be bought by a bored millionaire). The Maison Alaïa studio team proves to be loyal to the brand’s codes, and what’s more, isn’t lead by an outside creative director. All the people who work on today’s Alaïa collections were trained by Azzedine himself. Many pieces from the new collection aren’t that new. The offering comprises separate collections, éditions, that consist of archive pieces that have been perfectly replicated as new ready-to-wear and labeled according to original dates. A denim jacket from 1986. The striped dress is from 1990. Another gown saw its runway debut back in 1984. Cotton shirtdresses and woven raffia details were mastered in Azzedine’s last collections to perfection, and they reappear here too, just like python leather garments. The soul of Alaïa is there, in each cut and stitch. The effect is more than beautiful, and you really wish of seeing these clothes in real life. It’s a tribute collection, but not in a Versace spring-summer 2018 way. The studio is expected to rework Alaïa’s original designs in future collections, supplying the stores with the brand’s all-time classics.
Still, there are few new additions that smell with forced commerce: espadrilles made in collaboration with Castañer (ok, that must be heaven comfort) and a capsule collection of dresses, t-shirts and accessories emblazoned with the words Mon cœur est à papa, the expression of love attributed to Naomi Campbell, who considered the Alaïa her father figure. This isn’t presented in the new season look-book (shot by Karim Sadli and styled by long-time friend of the house, Joe McKenna), but, well, it’s a necessity that just has to be accepted. By the way, for the nay-sayers, Alaïa himself did a capsule collection of logo t-shirts in collaboration with Comme des Garçons back in the 90s (very treasured vintage). No one will return Azzedine. But it’s a great relief that his heritage is in good hands and his fashion continues to be praised with so much grace and respect.
Collages by Edward Kanarecki.
On the last day of New York fashion week, Marc Jacobs sent out a line-up of human-size dolls. But no Barbies here – rather, those old-school dolls dressed in delightful, dreamy dresses every girl used to want in her life. Many considered Jacobs’ collection as ‘too much’, while I thought it’s just the right amount of fun, glamour and honest fashion joy. At some points dangerously saccharine, the collection was a nod to Karl Lagerfeld’s early years at Chanel and Yves Saint Laurent’s voluminous, multi-coloured moment in the 80s. It’s Jacobs’ second season of going fashion-history-heavy, but this time the result is much lighter and not that exaggerated. While fashion insiders note how badly Marc does in his ready-to-wear sales in the recent seasons, it’s visible that the designer doesn’t really care about that and continues to keep New York’s fashion on track with his mind-blowing outings. I mean, we can’t just stare at baggy pants and Phoebe Philo knock-offs, right? With a few exceptions, that’s what New York’s fashion is like today.
It seems that Marc Jacobs, Rodarte sisters, Pierpaolo Piccioli from Valentino and Alessandro Michele from Gucci are the last people who still dream in fashion, in that ‘romantic’ way. But still, Pierpaolo does that solely in his couture (that’s commercially backed up by ready-to-wear). Alessandro is having his ‘hype’ period that might end sooner or later. With Rodarte, I will never understand how that brand sustains itself financially. Where’s Marc in all that? Maybe the beauty line will keep him in business, because his clothing becomes shockingly rare to spot in the stores. Whatever it is, I hope he won’t be exiting his brand anytime soon.
Collage by Edward Kanarecki.
Design & Culture by Ed 