Nomadic Glamour. Maison Margiela Couture AW18

July 17, 2018 | Design & Culture by Ed

Collections like this make you believe in fashion again. Maison Margiela‘s Artisanal line (read: haute couture) became an outlet for John Galliano‘s wildest ideas, which seems to let him explore his most dynamic ideas with the unlimited freedom. But when you listen to John speaking about the collection, you suddenly understand it’s not just a mega-artist’s next epic fantasy. There’s a seed of reality in those multi-layered garments packed with utilitarian textiles, protective pillow-y elements and extreme colours. “We’re all nomads today. . . we do move in tribes.” That nomadic glamour, the term he coined after the show, refers to the contemporary state of things. On the daily basis, we absorb so much information through different, constantly booming media. At the end of the day, we want comfort – but is it even possible in today’s world? Rather, we need shelter or an armour – which can be constructed from tulle, felt wool or some spong-y material, just as Galliano predicts. Even though we already exist in the hi-tech world, the vision of iPhones and iPads sticking out of our bodies like some kind of exoskeleton feels rather dystopian on the other note. But then, if the future will bring the humanity to “neo-digital natives”, as the designer says, then at least our wardrobes won’t disappoint with boldness.

Collage by Edward Kanarecki.

Hubert. Givenchy Couture AW18

July 14, 2018July 14, 2018 | Design & Culture by Ed

Clare Waight Keller puts Givenchy back into the spotlight – I doubt I’ve got to remind you who dressed Meghan Markle for her wedding day. But Clare’s latest collection – the haute couture one – establishes her even further as the right person behind the label found by the late master of chic and elegance, Hubert de Givenchy. It was a magnificient tribute to the man, who built the image of Audrey Hepburn and was one of the most crucial pillars of 20th century fashion. After his death in February, the brand – and it’s creative director – were sure that the genius has to be embraced to the fullest. “Having met him, and the fact that he passed three months ago, he felt very present in my mind; his legacy felt like something that needed to be celebrated,” she said backstage. “Everybody knows his work with Audrey. But less so the capes, the peekaboos, the architecture, the flou. . . . It was a wonderful trip for me to discover it and reinterpret it my way.”

It’s true – there’s so much connected to Givenchy in fact, and Waight Keller refreshed that to the contemporary audience. The iconic LBD (Little Black Dress!) was there, but with a hood (which could have been a modern Breakfast at Tiffany’s look to wear to be honest); this spectacular, caped ivory gown accessorized with a silver metal harness appeared; delightful plissé silk and sophisticated draping were present in nearly every look (Hubert would adore that); meticulous embroideries and feather aplications were as well on the runway, in excess. The collection was rich in references, but Clare didn’t get trapped by them at all. In overall, it was a refined, glorious line-up that makes you reassured of one thing – Hubert De Givenchy’s creations are timeless, and people like Waight Keller are talented enough to make them look desirable and modern.

Collage by Edward Kanarecki.

Chic. Sonia Rykiel Couture AW18

July 14, 2018 | Design & Culture by Ed

Julie De Libran, who successfully leads Sonia Rykiel for the last couple of years under her creative direction, decided to enter a new field with the brand – just on time of its 50th anniversary. Opening a haute couture line felt quite unexpected, since the founder of the house never really ventured into such bourgeois echelons of fashion. However, to a surprise of many, the collection represented everything that Rykiel stood in the past, and stands for today: female independence; easiness; joie de vivre. At first, I found this collection as lacking edit. But when I looked at it again, I noticed all of its true grace. From that evening gown with black feather insert and a huge blue ribbon belt that Kristen Owen wore to Małgosia Bela’s fringed knitted vest-dress, those one-of-a-kind pieces looked frivolous and chic. Note that over-sized cardigan made of different yarns (styled with see-through dress) – gorgeous, isn’t it? The only point of the collection that could have been done differently was the closing look, bride look spefically, which was basically a Martin Margiela knock-off from 1991. Even though De Libran had good intentions – to convey the spirit of a liberated wedding look, with denim and feathers – it’s important to give credit where credit’s due.

Collage by Edward Kanarecki.

Majestic. Valentino Haute Couture SS18

January 26, 2018 | Design & Culture by Ed

Dear Pierpaolo Piccioli, without any doubts, I’m calling your latest haute couture collection for Valentino the best of the season. It’s so captivating, delightful, grandiose, majestic! So many big words are here to describe every single piece of the show, from the boldly-coloured feather jellyfish headwear by the miliner Philip Treacy to the voluminous, ball gowns in lady-like tulle and pure silk. Pierpaolo reaches the heights of Valentino Garavani, the master, with this incredible collection. It’s a comeback to couture that really looks like couture, updated with very deluxe tank-tops, flares fit for dames and clean-cut outerwear (which makes an entrance – just see that statuesque, yellow coat!). Piccioli combines jewel-toned colours with pastels, and at some points goes for elegant black and white. But what I love the most about this impressive outing is its easiness. It’s fun, its rich, it’s wearable, yet not ordinary. Since Maria Grazia Chiuri’s departure to Dior (duh…), I haven’t seen anything particularly interesting about Piccioli’s solo direction. But now, he seems to blossom, in a good, fashion dream way. Bravo!

Collage by Edward Kanarecki.

Hi-Tech Magic. Maison Margiela Haute Couture SS18

January 25, 2018 | Design & Culture by Ed

“When I returned to designing, I was taken aback by how everyone was seeing shows through their phones,” John Galliano confessed to the press after the spring-summer 2018 couture show for Maison Margiela. If you can’t beat ’em, join ’em? Well, you can say that Galliano found a compromise for his initial frustration with the Insta-phenomen. A very, very innovative one. The audience members were asked to turn their cameras to flash throughout the show, which resulted in a totally unexpected experience. Everyone captured their own images of fabrics of the high-tech garments as the models walked down the runway. “It’s quite scientific,” Galliano continued. “We recorded every moment of what we were making, then looked at the photographs and altered what we were doing according to the photos.” The reaction of polyurethane to camera flash works magic on holographic material that was layered over polka dots and artisanal chinoiserie jacquards. In other words, what you see IRL, looks (and shines) differently, when you compare it to digital shot of the same piece. Fashion, for goodness sake, is a dream! And Galliano knows that. If your pocket isn’t filled with a haute couture budget, it’s just the matter of time when the hi-tech concept hits Maison Margiela’s regular ready-to-wear.