Men’s – Anti-Heroic Masculinity. Prada AW20

January 13, 2020 | Design & Culture by Ed

“Let me say what’s the point of this show,” Miuccia Prada started backstage of her Prada autumn-winter 2020 men’s show: “That in the big – not ‘confusion’- but the complication of the current time between the world going wrong or going better, the discussion on sexes, on surviving or not… I thought to give an indication that the only thing that makes me calm and optimistic is to give value to work… to give value to things that matter in your life and your work. And so the creativity is mixed with technicalities, which is a little bit similar to the Secessionist period (boldly colored graphics shared with the fabric patterns associated with Koloman Moser and other artists of the Vienna Secession) when ideas, creativity, and actual work had to be all together.” And what about the rather anti-heroic, equestrian statue, was this also about the contemporary heroism? “Not heroic, but heroes… I want to give a hope that in this casino (‘chaotic world’) if you do well your job, paired with intelligence, and with culture, then this already is something… It’s to give respect to work, to effort, to fatigue, and to what is difficult.” So here’s some forever-intelligent Prada-ism to delight in. On the set that closely resembled one of Giorgio de Chirico’s metaphysical paintings, Miuccia presented earnest, simple, smart and easy-in-approach clothes that are both classic and modern. Three-piece suits or mismatched tailored separates, portfolios thrust between arm and hip. Rural worker in mid-calf boots and oversized corduroy jacket. Then a more urban kind of Prada man whose clothes have technical touches and piped sport raised graphics on pocket flaps. Scientist-like rubberized coats matched with baggy pants tucked into beaten leather galvanized sole boots (plus rectangular lensed shades). Different characters, different personalities. Yet not so dramatically different clothes.

Collage by Edward Kanarecki.

Men’s – Neo Archetypes. Salvatore Ferragamo AW20

January 13, 2020 | Design & Culture by Ed

The only thing I disliked about Salvatore Ferragamo’s autumn-winter 2020 for men was the ‘millenials’ talk – isn’t using this marketing term slightly outdated? Still, Paul Andrew’s collection was really good. The peculiar way young guys address masculine archetypes was apparently revealing for him. “Millennials break down archetypal references, mixing them into new categories that defy categorization,” Andrew said. He identified six different alpha-male paradigms of masculinity: the businessman, sailor, surfer, race car driver, soldier and biker. These served as canvas to create new masculine style species, mixed together into a freeform hybrid. “Once upon a time, men identified more clearly with these categories,” said Andrew. “If a surfer wanted to go to Wall Street, he surely didn’t know what to wear. Today you might be easily wearing surfer-style pants with a tailored jacket.” Maybe that’s a bit of an exaggeration. Still, he has a point. If you sum up a sailor & businessman archetype, what do you get? Answer: A perfectly tailored peacoat in the finest herringbone Scottish tweed. If you’d like to add a bit of your inner 1980s California surfer to the mix, you’ll wear a matching pair of oversized shorts over the trousers of an impeccably tailored pinstriped suit, a three-piece extravaganza fit for a new breed of businessman & ocean man. Or else, the soldier & surfer combo could result in a daring twist on the camouflage pattern, inspired by a Hawaiian shirt and reworked in military colors. Probably, less words would work even better for this inventive line-up.

Collage by Edward Kanarecki.

Men’s – Apocalyptic Party. Marni AW20

January 12, 2020 | Design & Culture by Ed

The audience was directed to a cavernous dark space, trespassing similarly dark tunnels outlined with thin, colored neon lights. The tunnel opened onto a pitch-black space with a labyrinthine neon-lit floor layout, with barely perceptible human silhouettes scattered around. The audience was kept standing. The Marni troupe (which was actually a dance collective, directed by Italian choreographer Michele Rizzo) emerged in slow-motion from obscurity as if in hypnotic trance. Awakening from their sleepy state, the dancers started moving and swaying to trance music, holding onto their spots as if glued to them. Then they started moving about at a snail’s pace. Then the beat and the energy changed abruptly and the Marni-clad collective started marching about as if propelled by a sudden urge, circling around in manic mode, until the pace wound way down again. This was no longer a fashion show, but an art performance. No wonder why focusing on the clothes was challenging. But still, the show wasn’t here to conceal the clothes. The fashion repertoire was highly eclectic, as usual from Franceso Risso. Tailoring mixed with big, slouchy shapes. Coats were bisected, jackets were dilated, sweaters fragmented and juxtaposed. Scraps of fabric were pieced together in patchworks. Nothing seemed to make sense – yet all coalesced beautifully into Marni’s stylish madness. But there’s no Marni show without a piece of Risso narrative. “It’s a dance which takes us to the end of love. The end and the beginning of love. I was thinking about Edgar Allan Poe’s ‘The Masque of The Read Death’ and about Prince Prospero,” said the designer. The story goes that Prince Prospero locks himself in an abbey with a crowd of friends for a masquerade ball, attempting to escape the plague. The Red Death infiltrates the abbey with exterminating results. “Today it was our court of Prince Prospero’s noble friends dancing to the end of love and locked in our castle,” continued Risso. “They are a collective in a never ending party, wearing multiform uniforms… objects with a life of their own, heirlooms, something we have to protect.” It’s not the first time when the designer goes apocalyptic. Theory aside, back to the clothes: they were made from assemblages of old scraps of fabrics and leftovers of 1950s deadstock. Risso’s poetic way of addressing new methods of creating and producing clothes (recycling, upcycling, assembling, reusing!) is a consistent approach, which still seems to be missing at other luxury brands. A big yes to this collection.

Collage by Edward Kanarecki.

Men’s – 25 Years. Dsquared2 AW20

January 12, 2020 | Design & Culture by Ed

While I can’t recall Dsquared2 catching my attention in the last few years, Dean and Dan Caten‘s men’s autumn-winter 2020 show – simultaneously being their 25th anniversary show – was something the label needed: sharp, naughty and distinctly Dsquared2. The collection paid homage to the label’s past – think whild, shouty, at times crappy 2000s fashion. Probably the oversize knit blanket coat was a nod to Naomi Campbell’s first look at their notoriously great autumn-winter 2003 airplane show. There was Western-inspired style they conceived for Madonna’s “Don’t Tell Me” video. The collection was also all about sultry pioneer vintage. The silhouette was narrow at the bottom (tight kicked pants and jeans for boys, bare legs for girls topped by under-butt skirts) and volumized above (big shearling jackets, fake-fur fringed herringbone overcoats, a great waxed horseman’s long coat). Also, when was the last time ripped denim and plaid shirts looked so hot? One might wonder if the beginnings of 2020s should look back at 2000s fashion in such a literal way. But it’s Dsquared2, it’s a glossy, loud, non-stop after-party.

Collage by Edward Kanarecki.

Dream Buys in Milan

January 10, 2020 | Design & Culture by Ed

Other than lots of pasta, art and Prada, Milan is of course fashion. It’s refreshing to see brands like Thom Browne emerge in Europe and labels like Balenciaga shaking up the vision of a retail space. Here’s a little dream shopping tour in the ‘fashion quartet’ of Milan’s Brera quartet… and it’s getting even better when you know that it’s 50% discount everywhere since the beginning of January!

What shocks you the most at Balenciaga are the mannequins standing at the entrance. Or rather two human corpses, which are hyperreal wax figures of two models of the brand. They are disturbing and even spooky. But it’s Demna Gvasalia’s world, so there’s no such thing as „basic”.

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Of course, Bottega Veneta is the busiest store in Milan. I overheard two women literally killing themselves for the last pair of block pumps in blue. That’s the Daniel Lee factor standing behind the brand’s accessories. Still, my heart belongs to the orange intrecciato shoulder bag.

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Off to the mountains for the holidays but still need a ball gown? The Moncler x Pierpaolo Piccioli duvet coat-dress is the only option.

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While everybody went crazy for the Mickey Mouse capsule that hit all the Gucci stores that day, I went mad for this faux fur coat. So dramatic.

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The killer heeled boots from Rick Owens. Not sure if they are made for walking, but they will elevate any silhouette. And those amazingly draped gowns in burgundy… they look incredible.

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Thom Browne’s preppy tailoring and quirky elegance is expanding in Europe. The Milan store – kept in the brand’s signature retro office style – is filled with Thom’s classics, as well as his fashion show garments (like the blazer with Una Troubridge intarsia illustration). My favourite item? The puppy slides.

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