Industry Wishes for 2019…

What I wish the fashion industry (at least) tries to consider in 2019

Less influencers that influence no one.

Stop using the word ‘millenials’.

Quality over quantity.

Precision of design, not marketing.

Being authentic, not #authentic.

Stay true to yourself.

Rather read the critics, well-thought features and longer reviews, than Diet Prada.

Understand what cultural appropriation is (finally).

Make fashion fun.

BUT, don’t make fashion-fun out of other cultures and communities.

Give designers time and let them grow.

Collage by Edward Kanarecki, feauturing Calvin Klein resort 2019 by Raf Simons.

Empowering. Tom Ford AW16


Fashion month kicks it off, and we’re all ready for the next marathon of womenswear. But surprisingly, New York Fashion Week starts with a first industry ‘paradox’. It’s September, and throughout the years we’ve got used to the fact that we start reflecting on the next summer wardrobe at the very beginning of the cold season. Tom Ford does the opposite, presenting autumn-winter 2016 collection, instead of spring-summer 2017 (which you will see a lot during the upcoming weeks). But he isn’t an exception – this new model of selling, so see-it-now and buy-it-now logic, is already in the process at Burberry or Thakoon. But why is Tom Ford, and the others, making it even more complicated, if we already have all those pre-collections and capsules? Well, in fact they want to make it all easier for us all, even though the transition moment is HARD.

Here’s why. Tom Ford presented his AW16 collection yesterday in the evening during a celebrity-filled dinner (Tom Hanks, Julianne Moore, Uma Thurman to name a few), and today, a majority of those clothes hit the on-line stores and boutiques world-wide. Looking behind-the-scenes, the international buyers ordered the collection months ago, Tom Ford factory had its time to produce the one-of-a-kind pieces, and the customers are really into buying those velvet skirts and sequined turtlenecks, because they feel so “relevant”. They just saw it on the internet and their heavily-Instagrammed feed. As easy as that – virtually, the sales boom. Logistically, everyone is appealed to this new deal, which will MAYBE slow down the pace of the industry.



But Tom Ford’s newest collection isn’t a sensation just because of its new, business strategy. This glamorous outing of diverse models (featuring 90s stars like Amber Valletta and todays newcomers) wearing feminine silhouettes and gorgeous accessories, is one of Ford’s best for a long, long time. Belted corsets on seductive leather jackets and slim pencil skirts. Ornamental, gold necklaces contrasted with elegant, tweed dresses, while over-the-knee boots made the models look even taller and badass. Mica Arganaraz and Lineisy Monero walked down the runway in colourful fur coats; Grace Hartzel, in her all-black outfit, looked like a rock’n’roll chick with whom you can’t argue. It sounds like a collection oozing with sex-appeal, a typical thing for Tom’s past, provocative Gucci-era. But in fact, it was much more mature, and it celebrated this specific type of killer woman, who enters the room and makes people drop. Guys in velvet blazers and duvet jackets looked nothing but harmless next to those girls. Ford definitely has a toast to a very good start of the fashion month, and his brands’ future of the revolutionary retail model.





Crista Seya


Crista Seya is a Paris-based, lifestyle brand that’s against the fashion system’s speed and commercialism. Cristina Casini and Keiko Seya, the founders, both have worked for years as stylists for publications like L’Officiel, Numéro and i-D. In 2013, the duo decided to launch their own label with an aim to release “editions”, not collections, of around 15 items – specifically, one edition per six months. No overproduction, no hurry – just a pure, creative process which combines highest quality craftsmanship with  a cool French attitude.

Each edition is the building block for a wardrobe,” says Casini. First edition was all about indigo blue, which came across cashmere knits and over-sized pants. Their latest edition was inspired with ethnic prints of Africa, however don’t expect bold colours – it’s rather about the delicate reference, not the theme of the collection. All of Crista Seya’s editions are available at the designers’ lofty studio in Paris’s Ninth Arrondissement, while stores and customers can pick and choose what they like from previous capsules – whether that’s a blue, masculine shirt, camel poncho or a voluminous sweater from the men’s line. Don’t forget that Crista Seya is a lifestyle brand. In the brand’s selection, you will find ceramic heads created in collaboration with renowned artist, Giacomo Alessi. Coming straight from Sicily, the heads were produced, unsurprisingly, in very limited quantities. Or, there are hand-sculpted combs from Japan that were dried for 30 years, along the traditional techniques. Summing up – Crista Seya defines defiance in today’s fashion industry.


















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Anthony Vaccarello for Saint Laurent


On Friday, we “officially” discovered that Hedi Slimane is leaving Saint Laurent for good. And yesterday, the loud rumours were approved – Anthony Vaccarello is the new main man behind the French house. In fact, there is no surprise, as for me. Vaccarello’s appealing, sharp and super short skirts and mini-dresses have always felt very close aesthetically to Slimane’s skimpy silhouettes, while the femme fatale attire, which is  conveyed by the Belgian designer season-to-season might be just the perfect match for a post-Hedi era (and who knows, finally a good choice for Yves Saint Laurent’s legacy continuation). One thing’s sure – Vaccarello’s clothes that we know now would look perfect, fittingly perfect on the marbles that his predecessor placed in all the Saint Laurent flagships world-wide. But I hope that this quiet, Anja-Rubik-friendship-goal guy will take a riskier path in his new chapter, having his debut next September for the spring-summer 2017 season.








Bye, Alber.


At this time of my departure from Lanvin on the decision of the company’s majority shareholder,” he writes, “I wish to express my gratitude and warm thoughts to all those who have worked with me passionately on the revival of Lanvin over the last 14 years . . . together, we have met the creative challenge presented by Lanvin and have restored its radiance and have returned it to its rightful position among France’s absolute luxury houses.

Alber Elbaz, one of the most loyal fashion designers, was officially fired from the house of Lanvin. After 14 years of beautiful, feminine collections, he was simply asked to leave, due to the fact he opposed to the unbelievable speed of fashion industry, which makes major designers feel frustration, and young designers struggle. Throughout his career, Alber presented and tried to prolifically approach the house of revolutionary Jeanne Lanvin  – four collections a year for women, and two for men designed together with Lucas Ossendrijver. But still, the share-holders of the brand felt dissatisfied with Elbaz. And this causes a big problem in the fashion industry system – where is it heading to? To even bigger desire of consumerism? To more and more of beauty? Wait. Even the most couture-ish gown looses its beauty in this situation. The best example of that is a 500 euro jacket, that H&M will soon sell in collaboration with Balmain. Who cares that it’s beautifully embroidered, if it was produced in thousands of exemplars. This isn’t really on topic right now, but people who are planning to buy this jacket at H&M for such a price… well, then good-luck with  completing your wardrobe with too expensive Made in China clothes.

But coming back to Alber Elbaz and his Lanvin history. When I have looked back at all of his collections this morning, I nearly cried. His signature, draped dresses. His opulent, yet simply cut tops. The ruffled details. The new definition of Parisian chic, that we all know understand thanks to Elbaz’ silhouettes and ways of dressing women. After those 14 years, it feels like Alber rebuilt the legacy of this French house, giving a lot of future references to the designer that will be soon announced. I just wonder who will be so desperate to work with such “demanding” and ignorant owners. Any guesses?