Tulle Things. Molly Goddard AW24

Molly Goddard‘s design language, consisting of signature tulle and romantic, magpie aesthetic, takes a beautiful, somewhat experimental turn for autumn-winter 2024. The play of volumes makes you think of the sensational Junya Watanabe’s 2000 Techno Couture collection which was all about exaggerated, honeycomb ruffs inspired with European portraiture of nobility. Like some extraordinary dolls wrapped in layers and layers of tulle, the Goddard models could easily appear on the set of Yorgos Lanthimos’ “Poor Things“. Then there were all these charming cowgirl motifs, like embroidered roses on collars and full-skirts covered in XXL polka-dots, kept in a vivacious color palette taken straight out of a Pedro Almodovar film. Not every designer could pull off such portion of eclecticism and make it all look somehow consistent. But Molly Goddard is a creative who finds method in the madness.

Need a quick Molly Goddard fix in your wardrobe?

ED’s SELECTION:


Nico Cropped Two-tone Pointelle-knit Wool Cardigan



Selene Gathered Metallic Lamé Mini Dress



Phoebe Tiered Cotton Mini Dress



Sonia Jacquard-knit Cotton Cardigan



Lisa One-shoulder Ruffled Tulle Top



Dexa Off-the-shoulder Ruffled Neon Tulle Gown

Collage by Edward Kanarecki.
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Men’s – Incense In The Air. John Alexander Skelton AW24

In London, (the unofficial) Men’s Fashion Week couldn’t begin in a more astounding, ecclesiastically-euphoric way. At St. Bartholomew the Great, London’s oldest parish church, with air heavy with incense, John Alexander Skelton had his triumphant return to the runway. For autumn-winter 2024, the designer -took inspiration from the gothic aesthetic and intangible emotions that This Mortal Coil, an ’80s dream pop collective, elicited. “It’s my emotional response to the music“, he said. That took shape in romantic longline coats, tailored suiting, knitwear and shirting, with Skelton’s signature horn buttons dotted throughout, and sported by stately models clutching lit candles in hand. Regal, but chic; mystical, but not whimsy.

Inky blacks composed the majority of this season’s palette, a choice Skelton attributed to examining 15th-century portraiture in which wearing black was “generally thought of as a power symbol,” he explained. It was contrasted with a drop of blood-red ruby, which took the form of meaty velvets. While John Alexander Skelton is often inclined to spin a rich and theatrical yarn around his collections, the essence of his appeal lies in the clothes themselves – just hold one of his shirts or tailored trousers in your hands, and the extraordinary craftsmanship and timeless textiles look and feel just as arresting as any of his runway spectacles.

Collage by Edward Kanarecki.
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Handsome Femininity. Victoria Beckham Pre-Fall 2024

I like to put a bit of myself into my collections,” says Victoria Beckham. For pre-fall 2024, the designer followed the threads of the semi-autobiographical mainline show she put on in Paris: ideas stemming from the weekend country-life she lives these days on the one hand, and from her ballet-mad girlhood on the other. The collection informed both, her knack for styling – as usual – and by her empathy for making clothes that are actually useful. The contemporary-dance influence flows through her series of long, fluid dresses. Some have cutout necklines with wired curliqued inserts. What’s newer, but also well-established by now, is Beckham’s reputation for tailoring. That’s the side she refers to as “handsome feminity” in this collection – meaning the look of British heritage tweeds and preppy peacoats, styled together with turtlenecks, shirts, and cropped flares, or casualized with cargo pants or various permutations of denim pieces. She has a well-judged way of making these templates interesting as well as simple to wear.

Want some Victoria Beckham wardrobe update? Let me help!

Ed’s Selection:


Victoria Beckham – Satin Gown



Victoria Beckham – Tie-detailed Silk Crepe De Chine Blouse



Victoria Beckham – Ribbed-knit Turtleneck Top



Victoria Beckham – Cutout Two-tone Wool-blend Turtleneck Sweater



Victoria Beckham by Augustinus Bader Cell Rejuvenating Power Serum

 

Collage by Edward Kanarecki.
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Tethys. Standing Ground SS24

For his third showcase at Fashion East, the sensational Standing Ground designer Michael Stewart doubled down on his statuesque yet ethereal aesthetic in a collection – entitled Tethys, a reference to the prehistoric Tethys Sea which was an early ocean formed about 35 million years ago when most of the countries of the earth were still one large landmass- made from offcuts and leftover fabrics. This time, the palette was inspired by the pastoral landscapes of Ireland, featuring shades of powder blue and moss green. There were column dresses with ruched detailing adorned with intricate beading. “While I’ve developed something of a distinct aesthetic that’s a combination of technique and form, this season’s pieces have a certain purity and softness, while maintaining something of a sci-fi vibe,” he shared ahead of the show back in September. Ever since founding Standing Ground in 2022, Stewart has strictly dedicated himself to the canvas of the evening gown. He is a designer who knows the importance of a sharp fold and a glamorous wrinkle. Naturally, his spring-summer 2024 outing delivered that in abundance. The construction of these pieces was exquisite. It will be hard to forget the cobalt blue gown constructed from a single piece of fabric or the green crushed velvet number that genuinely made that notoriously tacky fabric look couture. Of course, the beaded accoutrements were the stars of the show. The show notes described them as “Xenomorphic coils, conjuring subliminal techno-erotics and a gothic posthumanism.” They encrusted the dresses like barnacles, or a H.R. Giger-style exoskeleton.

Collage by Edward Kanarecki.
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Eureka Moment. Phoebe Philo Edit 1

Once the debut see-now-buy-now Phoebe Philo collection got launched yesterday at 4 pm, it felt like an eureka moment. Even now, writing this post, I feel unbashed joy that Philo, after over five years of absence from the fashion industry (and fashion circus), finally materialized the brand that was indefinitely teased and teased and edged every single Philophile of this world. Much was already said during yesterday’s collective euphoria, and I agree 100% with Cathy Horyn’s words: it’s the kind of movement that people have been waiting for. The first drop – entitled “A1” – is a mix of uncontrived images by Talia Chetrit depicting powerful women of all ages, and a look-book that is the perfect balance of feminine and masculine notions – something Philo mastered to perfection at Céline, and seems to push to another level at her namesake brand. Phoebe isn’t a designer who is looking at references, she rather gravitates towards moods that are more visual than verbal. If “A1” is a mood, then it’s a punch of witty and very intriguing energy. The contrast of bulky leathers and fluid-like silhouettes informs a closet of a woman that doesn’t give an F about trends and “cores”. She just wants clothes that don’t categorize her as either a “minimalist” or “maximalist”. The collection, consisting also of fluffy shearling coats (modelled by Daria Werbowy, the eternal Philo muse since her Chloé days), supremely cut “Milanese” pants, hand-combed skirts and dresses, chic scarf tops, over-sized t-shirt tunics and phenomenal cargos, is like a launchpad for the designer’s further experiments and novel iterations of the modern woman. Accessories-wise, the drop offers wardrobe building blocks: absolutely timeless, XXL totes, heels and pumps with a retro feel, and some off-kilter jewellery: the now-viral “MUM” necklace and “Dahlia” brooch. Most of the collection is sold-out so far, even though the prices can come across as out-of-this-world expensive. But with Philo and her loyalty to uncompromising quality, I have an impression that they are to some extent honest comparing to other luxury brands. I’m already dying to see where Phoebe and her label are heading next. I haven’t been that thrilled with a fashion moment for a long while.

Collage by Edward Kanarecki.
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