Men’s / Sisyphus. Rick Owens AW18

January 19, 2018 | Design & Culture by Ed

Rick Owens‘ collections aren’t there to just please everyone around with a pair of ‘must-have’ sneakers. ‘Sisyphus’, the autumn-winter 2018 collection’s name, is an example of how the designer reacts towards the surrounding world, and the industry. “I think we’re entering this period of conservatism and creative smallness. And that’s me being very judgmental, but it’s frustrating. I’ve had a lot of resistance in things that I’ve wanted to do creatively—technical resistance—and it kind of discourages you from trying to create things. But then I think, ‘Why do I think that my stuff is so worth telling that I have to force it?’ And then that makes me think of aggression: How much does it take to really be a designer; to insist that you be listened to?”, is how he questioned himself and other matters that affect today’s designers. The collection itself was quintessentially Rick: big volumes, dark colours, deconstructed garments. But the identity behind every single piece is so powerful, that it doesn’t really matter that the designer didn’t do an entire performance, or chose a far-fetched runway venue. Focusing on the end product is the most important. Also, in the world of Owens, pretty much everything is brand-made. One of the key fabrics was a softly felted-looking material that the designer said was based upon his favourite Berber blanket. “I’m trying to do as many exclusive fabrics that we develop ourselves, with people that we’ve known from the beginning. I’m trying to make all of the collection exclusive: making things as profoundly mine as possible. If I could water the cotton with my tears, then I would!” That’s what you call a beautiful devotion. So, is it all so Sisyphean in the end?

Collage by Edward Kanarecki.

Men’s / Voyager. Haider Ackermann AW18

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

My love for Haider Ackermann is indescribable, really. His aesthetic, his style, his sensibility for colours and textures. The autumn-winter 2018 collection rotated somewhere around Moroccan souks and Japanese bath houses, at least this is how I’ve perceived it. Oriental, but not direct. Whether Ackermann’s man is a nearly mythical lifetime voyager or a guy from Paris wearing his velvet varsity jacket and high-waisted satin trackpants on the daily basis, I have the same feeling every season after seeing the designer’s show: I want to be, or at least look, like this man. Obsessed.

Collage by Edward Kanarecki.

Men’s / UGG in the Hood. Y/Project AW18

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

To be honest, it was quite predictable that at some point, with ‘ugly’ shoes having a moment, UGG will also hit the high fashion runways. But I never thought that in such way as presented on yesterday’s Y/Project runway. Glenn Martens earned his fanbase with elongating and distorting nearly each garment possible; so he did in his collaboration with the Australian footwear brand, known for the fluffiest and cosiest boots. The effect? Well, really, really perfect for snowy winters. But the label’s autumn-winter 2018 wasn’t only about big feet, but layering. Layering, layering, layering, whether we’re speaking of extra-large hoodies, tartan shirts or tailoring.

Collage by Edward Kanarecki.

Men’s / Adored Fits. Lemaire AW18

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

Christophe Lemaire and Sarah Linh Tran, season after season, find a way to make their truly timeless clothes feel exciting. Maybe this season it’s all thanks to the pink turtleneck the models wore under russet-brown cardigans and coats? That was a glimpse of colour that doesn’t affiliate with Lemaire, but surprisingly looked great. The brand is known for its sense (and love) for artistry. A designers’ friend contributed the muted paisley and feather-overlay marble prints used in outerwear, shirting, mohair knits and pants. Of course, for more classical Lemaire devotees, there are the signature, relaxed fits and silhouettes in ecru, black or grey (can I ask for that loosely fitted suit, please?). As always, Lemaire wins my heart.

Collage by Edward Kanarecki.

Modern Dark Age. GmbH AW18

January 17, 2018 | Design & Culture by Ed

“We started thinking that the time we’re living in feels like ‘the modern dark ages,‘” said Benjamin Alexander Huseby, one part of the GmbH‘s duo. “How do we protect ourselves?” Together with Serhat Isik, the label that originates from Berlin asks important questions regarding global issues, and answers them with clothes. There was something very ‘protective’ about the autumn-winter 2018 garments the couple presented at an industrial, graffitied overhang in Paris. Chainmail tank-tops; dirt-bike gloves; motocross silhouettes; structural biker jackets. Some of the pieces were ornamented with meticulous thread-work. “We developed these embroideries as a coat of arms, in a way. We took this plant, a stinging nettle, which is kind of unruly and unwanted and slightly aggressive—it grows everywhere that you don’t want it to,” said Isik, with Huseby adding: “Which relates to this otherness that we can feel. The others, the immigrants, not wanted.” Although there was a glimpse of bold yellow (in form of a loosely fit sweatshirt), the collection was kept in greys, navy and melancholic, dark green.