Men’s / Child’s Play. Marni AW18

January 14, 2018January 15, 2018 | Design & Culture by Ed

Unfortunately, fantasy is rare in today’s fashion, especially in case of menswear. However, there’s an exception – it’s Marni‘s creative director, Francesco Risso, who doesn’t only convey a certain feeling of escapism in his work, but also makes it look extremely desirable. If you ask me, I would wear every single piece from his autumn-winter 2018 collection. From those ultra-big coats to fishing boots, from the haphazard, yet lovely, monkey-printed blazers to mis-matched sleeveless knits – everything. The two layered-up ‘blanket’ looks are totally fine, as well. Also, the season’s model casting is outstanding, featuring dandy-ish 40+’s, runway favourites (like Paul Hameline) and real Italian men. Really, really in love.

Collage by Edward Kanarecki.

Out of Her Mind. Marni SS18

September 25, 2017September 25, 2017 | Design & Culture by Ed

What’s Marni girl like according to Francesco Risso? She’s out of her mind. But in a positive sense, at least this season. It’s Risso’s second women’s runway show at the helm of this Italian brand and it finally builds some image of the designer’s creative direction. The inspiration for the collection came from “two English gardens seen by Tim Burton… with candies“, a nod to the cinematic adaptation of Willy Wonka and his crazy chocolate factory. So, just like in case of Roald Dahl’s original story, don’t expect anything rational from Marni this season, as it’s a fantastic play with literally everything, from the fluffiest bags to most rich and rare textiles like brocade or horsehair. The fur coats were joyously embellished with pink roses, while cocktail dresses torn apart and re-shaped around the body to look less glamorous and more clumsy. Floral prints collage-ed and patchworked with David Salle’s illustrations of smoking females; colourful rhinestone embroideries scattered haphazarly around gowns; earrings and necklaces were bent, becoming wearable sculptures. Looking oddly has always been a style-code at Marni, and Risso gets the point: he no longer terrifies people (see his debut collection…), but appeals with his woman’s spontaneous edge. That’s a candy nobody expected near the end of Milan fashion week, where things felt quite plain in taste.

Collage by Edward Kanarecki.

Carte Blanche. Jil Sander SS18

September 24, 2017September 24, 2017 | Design & Culture by Ed

Lucie and Luke Meier are an ultimate fashion couple. The first one worked along Serge Ruffieux at Dior for a couple of season’s after Raf Simons’ sudden departure; the latter worked for Supreme and cofounded the menswear label OAMC. Now, they meet proffesionally under one roof – at Jil Sander, the empire of minimalism with German origin. Leading the brand with typically minimal, 90s-inspired aesthetic isn’t as easy as it sounds. Pure simplicity, that seems to be rooted in Jil Sander, isn’t a promise of succes: as Sander exited her label, nobody really came close enough to make it feel relevant (except Raf Simons) and really authentic. But that’s the perk of designing for a brand like Jil Sander – there’s only one master.

The new designers did two things that felt like their personal take on the brand. First, they presented their debut collection not in Jil Sander headquarters, but outdoors at soon-to-open mall with a view on Zaha Hadid-designed tower. A breath of fresh air, an eye-opening perspective. Second, it was their feminine sensivity that appeared throughout the entire show. The Meiers smartly noted that “a lot of the time, the first impression of her (Jil) is cold, sparse, and hard – what she did, was also feminine, light, and sensual; that was the approach for us.” Of course, the brand’s signature white crisp shirts were present, but they looked softer than usual. Romantic, white maxi-dresses swept the runway’s floor. Black coats weren’t that mournful. There was also some craftiness, that unfortunately felt quite inconsistent and unsynchronised with the rest. Still, those big chunky sweaters and knitted dresses looked good, even if they had not much to do with the brand’s founder and her style codes. Debuts are debuts – to get the full picture of Meiers’ Jil Sander, we’ve got to take some time.

Collage by Edward Kanarecki.

Italian Party. Missoni SS18

September 24, 2017 | Design & Culture by Ed

Exactly 20 years ago, Angela Missoni took on the role of creative director at the brand her parents founded. So yes, that’s a reason to do a very festive collection. Pieces from Missoni spring-summer 2018 just beg for an invitation to a garden party, Italian-way of course. Soft and light knits in all shades of aquamarine and covered in signature zig-zag patterns; sheer capes and fleecy cardigans wrapped around the body; big hats ready for sunset-watching. Now, picture this: wearing Missoni, take a sip of red wine and induldge yourself in some sage-flavoured raviolli. Gossip with your Italian friends. I think I’m buying that.

Angela always makes Missoni look contemporary, while relying on unconventional, edgy styling. What’s more, she doesn’t fall too hard into the house’s archives, but goes her own path. Her 20 years of creative direction are success, as she managed to keep Missoni an Italian heritage brand that’s relevant. And what’s this season’s biggest change? The brand’s womenswear and menswear is shown together, a runway-model adapted by many other Italian brands latelt. The boys, wearing their thin knitted scarves and printed shirts are happy to join that party, too.

Collage by Edward Kanarecki.

Gianni. Versace SS18

September 23, 2017 | Design & Culture by Ed

Believe it or not, Gianni Versace was murdered 20 years ago, in the front of his Miami mansion. After his death, the fashion world drowned in sadness and grief – that was the end of an era of joy, sex and beauty. But, as its visible in 2017, Gianni’s soul is with us and his aesthetic is as relevant as ever – via Donetella Versace‘s medium. Yesterday was a fashion bomb in Milan, with Versace‘s absolute hits taken out of the archives. ‘Andy Warhol’, ‘My Friend Elton’, ‘Native Americans’, ‘Metal Mesh’, ‘Icons’, ‘Vogue’, ‘Animalia’ – all those wild and opulent prints, that used to explode in iconic ad campaigns by Richard Avedon, are revived. And alive. For good.

It’s hard to review a show like this, because it’s a breathing fashion legacy that has already been discussed from A to Z decades ago. Gianni’s signatures were placed on everything, from leggings to dresses, while some of the pieces that appeared to be too hard to replicate were taken straight out of the archives to the fashion show. But the models were the real stars of the runway: Instagirls (Hadid sisters) and mega-model off-springs (Kasia Gerber) sashayed along such models like Anja Rubik, Doutzen Krous and Mica Arganaraz in regular ready-to-wear; the runway queens, who launched their careers first walking for Gianni, closed the show with a fierce walk to the tune of George Michael’s ‘Freedom’. Naomi, Helena, Claudia, Cindy and Carla, the original muses, were all here (I just missed Linda…). Fashion loves spectacles. But that wasn’t a spectacle – that was an emotional ode to a genius, an icon, and her brother. Bravo, Donatella.