“The genesis of Guest In Residence is to honor past heirlooms and give life to new ones spanning generations,” says model and founder Gigi Hadid. Inspired by her parents’ hand-me-downs that brought her comfort while on the road, each piece is made from sumptuous cashmere and designed to be cherished. Here are couple of my favorite pieces by the brand that might come handy this festive season – both as gifts that will keep on giving and as outfit-wise evening-savers!
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CFDA Award winner Emily Adams Bode Aujla is making an impressive mark not only in menswear, but also in womenswear. The New York-based designer often uses unique, vintage textiles sourced from around the world to create one-of-a-kind pieces that tell a story and elicit emotion. Don’t miss the beautifully detailed Bode knitwear and jackets in this festive season edit!
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There’s nothing as (heart)warming as cashmere knitwear. Barrie, one of Scotland’s oldest knitwear manufacturer and since 2012 a Chanel Métiers d’Art house, elevates that credo like no other brand. Conceived by artistic director Augustin Dol-Maillot, Barrie collections bring together creativity, heritage and the most thorough attention to detail. For autumn-winter 2023, the brand looks at the painterly Scottish landscapes for inspiration, as scenic as the regional weather can be challenging. Classic earthy shades are clashed with bright tones and pops of colour (that red used in the knee-socks and bonnets!) and a hint of sparkle are the key elements of the current season. The warmth of colours and textures applied in the knits provide a wardrobe for both, a Parisienne with her well-worn vintage 2.55 handbag, and an avid mushroom hunter who just loves a stylish forest gear.
Mark your calendars, as Barrie is dropping its capsule collection co-designed with Sofia Coppola on the 2nd of November… I’ve seen its preview, it’s really something to add to your festive wish-list! Here’s Margaret Qualley teasing the collection:
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It’s back to groovy basics at The Elder Statesman. “Resort is holiday, so we tapped into a lot of our heritage, traditional kind of motifs,” Bailey Hunter, the brand’s creative director, said. “Florals, tie-dyes, stripes – all the things that we’re known for, we reinvented them in a way; and we’ve used a lot of new woven materials that we’ve brought into our library.” Materials – and yarn, especially – are king at Elder Statesmen. But the brand keeps on evolving into other categories. The yellow suit that opened the lookbook is a cashmere-cotton-wool twill made in Italy that feels like the softest and lightest denim. Another suit – the brand calls it “relaxed tailoring” – is made from Italian 50/50 cashmere and wool and comes in three colors: rose hip, dark green, and bark, in both men’s and women’s styles. A highlight of the collection was certainly the wool donegal made on a vintage loom in Italy in colorblocked squares of gray, navy, and wine. In the lookbook it appears as a wrap skirt secured with an oversized safety-pin and styled with a cashmere hand-painted crewneck sweater. Together, they’re youthfully punky and quite timeless.
A collaboration with Uggs is The Elder Statesman’s first foray into footwear. The clogs, mules, and boots made from patchworked sheepskin and decorated with “darning”-style embroidery are sure to become must-haves when they’re released later this year. A sporty tank and mini skirt made from hand-knit alpaca and cotton in various shades of blue, a wave patterned knitted cashmere shirt and pants, and a pair of knitted striped cargo pants in mixed bouclé yarns were more proof that the knitwear experimentation here is unparallelled. The bouclé cargos were worn with a black sweater featuring an intarsia illustration of eyes and the phrase “eye to eye it lasts,” a design that came from Greg Chait’s, the brand’s founder, grandmother Thelma. Chait said, “I feel like [the phrase] is about the collection.” Hunter finished the thought: “It’s about how it’s a lot better to see things in person, and see how everything feels.”
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You could say that Yohji Yamamoto‘s sublime autumn-winter 1998 lineup was about stretch. There were a lot of knits, both of the loving-hands-made-at-home variety and luxurious jerseys. Yamamoto explored the draping possibilities of the latter, but he also combined jerseys with more static woven materials. Post-show the designer told The Daily Telegraph that his idea was “to experiment with the ‘delayed’ reaction of certain fabrics contesting the movements of the body.” With the exception of the finale, bridal look, this was a relatively sporty show, even when it came to dressing for evening. To highlight that, Vogue photographed Angela Lindvall leaping through the Irish countryside in a knit ball skirt and ribbed turtleneck from the collection (obsessed). For the most part Yamamoto’s historicisms referenced the 20th century (the cargo-pocket peplums looked like a pre–World War II silhouette) rather than earlier periods. The caged finale gown, with its hyper-exaggerated 19th-century proportions, was the exception – and exceptional in every way. It was even accessorized with Doc Martens. Sally Brampton, reporting on the show for The Guardian in 1998, recounted that “the bride billowed down the catwalk in a cream skirt so huge that journalists in the front rows had to duck down below the skirt, only to discover a bamboo cage strapped around her waist with canes radiating out from it. Four men held up the vast My Fair Lady picture hat that floated like a snowdrift over her.”
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