Kim Jones‘ first collection for Fendi, which was a haute couture line-up starring the designer’s friends like Demi Moore, Kate Moss and Naomi Campbell, polarised the audience. Surprisingly, his ready-to-wear debut wasn’t such noteworthy event – no big names among the models, and instead of some sort of Insta-extravaganza, we’ve seen a very classic, proper Fendi collection. Wisely, Jones neither committed himself to reflecting every aspect of the Fendi story, nor contained himself to narrowly defined elements of it. Instead he allowed the collection to unfold for the watcher as the city unfolds for the visitor, a multitude that coalesces towards the impression of a whole. The looks were all in neutral shades, both to reflect the mineral colors of the city and the organic shades that have dominated in Fendi’s history. Spaghetti-fringed furs in contrasting herringbone, striped silk shirting, and the opening loose-sleeved suede bonded mink evoked the period of Fendi’s first great flowering under the stewardship of the founders’ five daughters Paola, Anna, Franca, Carla, and Alda. It was they who recruited Karl Lagerfeld in 1965, and his great influence was stamped most clearly in a soft tote whose F-framed handle evoked his famous ‘Fun Fur’ of that period. Significantly, many pieces were punctuated with the 1981 ‘Karligraphy’ monogram. The biggest innovation here was the way the topic of fur was handled. The grandest fur on show was a long-haired fox whose raw material had been upcycled from previous pieces. Jones said of upcycled fur “that it is probably more challenging to work with for the artisans, but they enjoy being challenged.” He also pointed to the abundance of by-product shearling and added that his approach in this regard is to balance two questions: “What does the customer want and what can we do ethically?” Maybe this collection wasn’t overly charismatic or loud, but I bet it will do well in the stores next autumn.
Collage by Edward Kanarecki.
If you’re a fashion insider, you must have already spotted two or three pastel-coloured fur jackets on the international. street-style scene. There’s a big chance they came straight from Copenhagen’s hottest young label, Saks Potts. The brand’s statement piece stole the spotlight this season, opening the show on Caroline Brasch Nielsen, a runway favourite. In a light-blue shade, covered with lily motif, the outerwear must-have looked charming with simple denim pants and a pair of suede pumps. Saks Potts and its creatice usage of fur has many faces. Shaggy, chocolate-brown Mongolian jacket fur was styled in a casual way with vichy pants, while cute, fluffy pompoms covered a simple, black coat. 70s attitude was present in the air – take a look at the Jane Birkin-flares, and the last look (a floral, pussycat bow dress).
90th anniversary for Fendi is not just an anniversary. It’s an occasion to show off. And Karl Lagerfeld proudly celebrated the event during his last haute couture show for the Italian house, making the entire Rome gasp. The show was literally staged on Trevi Fountain, fresh off a $2.4 million rehab. Like in a fairy-tale, the models walked down a transparent, elevated runway, while Fellini-famed symbol of the eternal city has never looked that glamorous and fashionable. No doubt this fashion show will be remembered forever as one of the most magnificent and daring – this can be easily said about the fur creations, which graced the runway, too.
Since the very beginnings of the brand, Fendi was known for “fun fur” – the most fantastically decorated fur coats and jackets were delivered from Roman ateliers, pleasing the aristocratic Italian families and clients. Lagerfeld embraces Fendi’s specific, couture legacy through fourrure, and autumn-winter 2016 is his second one (the first one was also presented as a winter season last July). Words can’t describe the beauty of these masterpieces. A pink dress seemed to be made out of simple lace, but in fact it was Persian lamb with 5000 hand-cut holes. Mosaic-style scene of an enchanted forest was presented on a mink coat thanks to an old technique of stitching and cutting. Some dresses were appliquéd with hand-sculpted flowers from mink. Crotchet gowns oozed with antique chic, embroidered with long-hair mink and fringed leather. “This is what Fendi is all about. No other fur house in the world does it, or could do it” the creative director said during a press conference. That’s a true statement, Karl.
Maryam Nassir Zadeh is New York’s favourite among stylish, sophisticated and down-to-earth women. Her boutique, with aesthetically curated brands, and her eponymous, namesake label, are known for an affordable, yet profound approach towards fashion you want to wear everyday. For autumn-winter 2016, Maryam is expanding her line, by continuing the denim obsession – a cool, off-beat pencil skirt, as well as patched 501-style pairs of jeans are about to storm the streets. The Woody Allen women, surrounded with calm neutrals, meets a lifey acid green shade of the pussy-cat bow dress; there is also the strong fur game, from cute teddy-bear jacket to a more “investment” coat in a deep, blue colour. When those clothes are going to arrive to the Lower East Side store, a lot of them will sell quick – for now, we can just try to recreate these looks thanks to Zadeh’s masterful styling tips…
Photography by Ana Kraš, aka @teget
Looking at the solemn faces of Rick Owens‘ models, who walked down the concrete runway in their furry, fluidic garments, it’s visible that the designer translates a hard topic into his creative vision. Owens called his new collection “Mastodon“, referring to the world’s global problems by creating a dark, apocalyptic story. The designer mentioned that his life-partner (and my fashion godmother) Michèle Lamy had begun keeping bees on the rooftop of their home in the heart of Paris in order to help them after 2015’s hottest summer – and he instantly thought about the endangered world. ” What about the ecological anxiety we are all feeling? What is the worst possible scenario?”
Definitely, according to Rick, it’s not that bright. Heavy, sheep-skin cocoon-like hoodies were styled with over-sized sweat-pants; black, aviator jackets looked quite mournful on the black and white background. The textures play an important role in this collection – “I want to say I vomited this out,” is how the designer summed up the way the strips of fur and wool bubbled around the bodies of street-cast models. Moreover, some of the looks basically focused on a long, flowing silhouette of a dress – however, the models’ heavy-metal inspired make-ups said a loud NO to any possible, feminine or even gentle side of a man. Even though some of the slouchy pieces felt comforting. “Hope for the best, but prepare for the worst” Owens added pessimistically.