Tisci’s Take. Burberry SS19

September 20, 2018 | Design & Culture by Ed

London fashion week didn’t see a big debut for a while. But was it worth the wait? Riccardo Tisci at Burberry seemed to be an unlikely choice from the beginning. The brand’s logo and identity changes felt vague and predictable. A post-show, 24 hours only merch shopping via Instagram had to have everyone like ‘wow’, but I guess no one really bothered to buy anything. You might think that 134 looks in a collection have to speak loud and clear about the designer’s vision. That’s what I thought before. Well, maybe that number of looks tried to say a word or two, but in overall it felt like Tisci wanted to seize too much and mention too many things at a time in his first collection for this historic, British brand. The first part of the collection referred to Burberry’s heritage – trench coats, Burbs checks and silk foulards – and played with the notion of conservative, British middle class from the Thatcher era. If Riccardo developed that a bit further and kept the show in these 50 outfits, that might have been a good shot . But then, a dozen of identical menswear looks appeared, aesthetically closer to Prada and 90s Helmut Lang than Burberry. Another ton of womenswear (this time related to the punk movement, unfortunately looking shallow, preppy and… tired) and a portion of men’s unamusing streetwear (think sweatshirts and prints that are very close to Riccardo’s work at Givenchy – this time, however, we’ve got creepy, Victorian families photo instead of Catholic iconography) appeared on the runway. In the end, we had this quite stiff line-up of ladies’ eveningwear. I liked Christopher Bailey’s last seasons at Burberry, but I never really looked at his collections again. Tisci’s debut could have been more focused and gripping, that’s sure, but let’s give him time. And please, narrow down that scope!

Collage by Edward Kanarecki.

Sex in Nature. Christopher Kane SS19

September 20, 2018September 20, 2018 | Design & Culture by Ed

No one talks about sex like Christopher Kane. Especially, in fashion. Last year, his collection was inspired with Cynthia Payne, a South London brothel keeper who entertained the Members of Parliament in her suburban house, and John Kacere’s paintings portraying female bodies. Then, last season, Kane was obsessed with The Joy of Sex, the 70s of blockbuster that was all about illustrated sex education and evocative explanations. In a way, Christopher doesn’t go for straightforward, ‘sexy’ clothes, but goes deeper with the idea of sexiness. Spring-summer 2019 is no different. Titled as Sex in Nature, expect the most unexpected. The show starts and the soundtrack is on. The mating rituals of wildlife animals – as narrated by David Attenborough – are remixed with a recording of Marilyn Monroe speaking about her own sex symbol status. The clothes are equally surprising and multi-faceted. To-be sell-outs, the t-shirts, had such slogans as ‘Foreplay’ (depicting two tussling leopards), ‘Sexual Cannibalism’ (two mantises mating, where the female will devour the male later on) and ‘Horsepower’ (speaks for itself). But there were the less commercial pieces as well. Take the boxy mini-dress belted with a lace belt. Wait, is it made out of C-strings? Kane found that accessory in a sex shop in Tokyo, and here we are with the ‘aroused’ tongues on shoes, dress straps and bustiers made solely out of C-string-like elements. Something surprisiglt sexy was also there in that turquoise velvet dress and exaggerated, big, cheesy-chic diamonds that were used in jewellery, tops and prints. Sensuality, instincts, desire, pleasure. Christopher manages to plant all that in his fashion, and doesn’t get trapped by stereotypes or, simply speaking, by the commonly vulgar, over-sexualised notions.

Collage by Edward Kanarecki.

Stella & Fanny. Erdem SS19

September 19, 2018September 19, 2018 | Design & Culture by Ed

At a first glace this seemed to be a very typical, Erdem collection. Floor sweeping gowns made of satin; puffed sleeves; huge bows in the brightest colours; lots and lots of brocades and lace. A wardrobe suited for a palace dame, you might think. But in fact, the idea behind the collection isn’t that regal, or even conservative, as you might easily suppose. For those more concerned, this collection was deeply connected with the contemporary politics of gender self-identification. Erdem Moralioglu and his parter, Philip Joseph, lately bought a house in Bloomsbury, “and there was a plaque around the corner dedicated to two sisters, Stella and Fanny, who in fact were Frederick Park and Ernest Boulton, who lived as women in the 1860s.” As Sarah Mower teaches in her Vogue feature, “Fanny and Stella, retrospectively honored as heroines of queer London in that plaque, were very publicly out and about in Victorian nightlife. In 1870, the notorious ladies were arrested leaving the Strand Theatre and charged with “conspiring and inciting persons to commit an unnatural offense”—although they were later acquitted.” Not only were the Victorian era-inspired garments a clue for this quite very uncommon reference, but as well a gender-fluid model casting that appeared on the runway. The beauty of craftsmanship and dress-making was embraced in this gorgeous line-up, yes, but as well the beauty of something much, much deeper and humane. “Far beyond any perceived thrill of cross-dressing,” the designer wrote in his press notes, “these were individuals with the courage to explore the power of self-expression.” Powerful.

Collage by Edward Kanarecki.

Heritage. Simone Rocha SS19

September 19, 2018September 19, 2018 | Design & Culture by Ed

For Simone Rocha, the spring-summer 2019 show marks the first time she explored her Chinese heritage. During the research, the designer looked at the images of royals dating back to the Tang dynasty and was immensely inspired by their way of dressing and opulent fashion they favoured. But don’t think Simone went for anything too straightforward, like an ‘oriental’ themed collection. In an impressively smooth way, Rocha incorporated the Chinese history elements (like floral patterns from ceramics and emperor-esque volumes) into her signature dresses. While shopping in an antique market in Hong Kong, the designer came across the 16th-century paintings of concubines coming from the same dynasty. Elements from those paints show up in prints and portraits used in the dresses and skirts (slightly obscured by romantically lace trimmed, sheer sheaths). Some chic drama was delivered by the quite heavy-looking veils, made from meticulously embroidered tulle. But taking apart the headwear (and those gorgeous feathered flats!), the pieces that Rocha presented this season are more than welcome in the daily life. That’s the designer’s real charm – she creates stunning, fairytale garments that can be worn for any occasion.

Collage by Edward Kanarecki.

A Decade. Victoria Beckham SS19

September 18, 2018September 18, 2018 | Design & Culture by Ed

Here we’ve got the other anniversary collection from London. Unlike Mary Katrantzou, Victoria Beckham didn’t revisit her archives literally for the collection that celebrates her 10 years in fashion. And, other than the appearance on the London fashion week schedule, major media fuss and the appearance of model greats on the runway (like Stella Tennant, who opened the show, Małgosia Bela, Grace Bol, Tasha Tilberg and Liya Kebede), that was a very regular, Victoria Beckham collection. Chic, slouchy tailoring, super-slim crepe trousers that are here to be worn underneath every second dress you’ve got, satin tank-tops with lace inserts, minimal eveningwear, over-sized shirts. Wardrobe essentials, elevated with a refreshing colour palette and minimal-feminine sensitivity. Soul II Soul’s Back To Life played in the background, reminding the soundtrack from Phoebe Philo’s remarkable spring-summer 2014 collection. This triggered the inner finding of parallels between Philo’s work, and Beckham’s brand codes the designer repeats and refines every season. But then, I can somehow forgive Victoria for doing that. Look at her now, 10 years later. That body-con dress and killer stilettos are buried deep, deep in the fashion history. Let’s see what the next decade brings for this iconic, ever-changing woman.