New York

American Princess. The Marc Jacobs Pre-Fall 2020

| Design & Culture by Ed

The sister line of Marc Jacobs is (finally) what Miu Miu used to be to Prada in the early 2000s – a more accessible, easy and care-free label that isn’t a license trash. The Marc Jacobs (the name is Marc’s actual Instagram handle) is the modern day Marc by Marc Jacobs, which comparing to its predecessor is presice in style and consistently rotates around some of the biggest Jacobs hits: a denim jacket with Victorian puff sleeves; grunge-y baby doll dresses; fun accessorising. The “American Princess” signs all over the belts and 90s mini-bags look like instant best-sellers, just as the colourful tights that will elevate every look or adorable variations of the prairie dress. The cupcake-boob t-shirts are hilarious in a good way. While today’s sister line fashion landscape  – think See by Chloe, Red Valentino, M Missoni… – rarely spark much interest and in general feel sleepy, The Marc Jacobs isn’t trying to be the main line at a lower price point. Instead, it sells great clothes that complete Marc’s brand.

Collage by Edward Kanarecki.

The New Sexy. Khaite Pre-Fall 2020

| Design & Culture by Ed

For pre-fall 2020, Catherine Holstein tweaked some familiar Khaite hits – Victorian blouses, romantic tulle dresses,  Western skirts, timeless denim – and sprinkled in a touch of 1960s rock & roll glamour. That said, the designer felt her greatest departure was in the ultra-short minidresses and body-hugging ruched gowns. “I’ve always avoided using the word ‘sexy’ to describe the clothes,” she said. “I would call them ‘sensual,’ which sounded more modern, or maybe more feminist. But I really wanted to embrace the idea of sexy and what that means for our woman right now.” Beyond the sheer blouses and minis, even the suits had a curvier, more womanly fit, with narrow, high-rise trousers and snug blazers. The sexiest look of all might have been the ivory pantsuit, shown with a black leather belt and nothing else.

Collage by Edward Kanarecki.

Elegance. Thom Browne Pre-Fall 2020

| Design & Culture by Ed

Thom Browne‘s pre-fall 2020 is at his gender-blurring best. “I love the sensibility of it being so beautifully masculine; but on a girl, I think there’s something beautifully feminine about it too,” he said of an ultra-high waist held up by suspenders, pleats so sharp they draw shadows, and shoulders shaped with the gentlest slope. The black tuxedo, which closed the look-book, is most seductive look of the entire collection. But for those who aren’t always impeccably elegant suit & tie fans, Browne also shows his “fun” side: take the skirt and jacket incrusted with a giraffe worn with a matching coat for an example. Style the look with argyle socks and quirky shoes, and here you’ve got the edgy-snobby, polished-kind-of-look you can only get from Thom Browne.

Collage by Edward Kanarecki.

The 2010s / Marc Jacobs AW19

| Design & Culture by Ed

Believe it or not – I can’t! – but we’re heading towards a new millenium. So, how do you choose the most important collections, designers and labels of the decade? The ones that made an actual impact in the 2010s? Well, it’s not an easy task. It all began in September 2009 with New York’s spring-summer 2010 shows and ended when the autumn-winter 2019 haute couture shows wrapped in Paris. Few thousands of shows, by the way. There will be 19 posts (that’s really the only possible minimum!) reminding about the best – and if not the best, then strongly influencing – moments in fashion.

Marc Jacobs AW19 – the King of New York.

Marc Jacobs closed New York fashion week last March with one of his best collections in years – or even, in his entire career. While the past few seasons were brilliant, they slightly worried with being too exaggerated, too show-y. The autumn-winter 2019 collection is just the perfect balance of Jacobs, and what his brand stands for. New York edginess combined with this cool, ‘off’ glamour. There was drama, of course: the yellow gown worn by Adut Akech looked insanely gorgeous, just as the dresses covered in feathers, as seen on Christy Turlington (by the way, it was her major runway return after 20 years and let me tell you – she was so, so beautiful). But there was something calm about this collection. Even sober. The venue was dark and absolutely minimal. Classical, live music played throughout the show. No killer platform boots or crazy hair – most of the models looked make-up free and wore beanies topped with a feather (that’s how Stephen Jones does ‘casual’). You might say that the collection seem to be inconsistent: how does Sara Grace Wallerstedt’s minimal pistachio dress works with Guinevere Van Seenus’ ruffled, retro ensemble? Well. They don’t have to. And Jacobs is fine with that. “They’re all very beautiful, but they’re all different. We have 40 girls and each one is slightly different… our vision of who each of these women are,” is what the designer said about both, the collection’s diverse model casting, and the aim behind the entire line-up. A ‘wardrobe’ would be a bad term to describe this, as this is something much more broader. It’s rather a set of personalities, in the fashion aspect, but not only. I’m still completely in love with this collection every time I see it.

Collage by Edward Kanarecki; Christy and Marc photographed by Steven Meisel.

The 2010s / The Row’s Minimalism

| Design & Culture by Ed

Believe it or not – I can’t! – but we’re heading towards a new millenium. So, how do you choose the most important collections, designers and labels of the decade? The ones that made an actual impact in the 2010s? Well, it’s not an easy task. It all began in September 2009 with New York’s spring-summer 2010 shows and ended when the autumn-winter 2019 haute couture shows wrapped in Paris. Few thousands of shows, by the way. There will be 19 posts (that’s really the only possible minimum!) reminding about the best – and if not the best, then strongly influencing – moments in fashion.

The Row‘s minimalism.

Looking back at the 2010s, it seems to me that Mary-Kate and Ashley Olsen are the ultimate owners of minimalism. With their sensivity for top knotch quality and craftsmanship, it’s no surprise that The Row is globally renowned among the richest women who, rather than drown in Gucci, have similar preference for clean lines, the comfort of soft cashmere and well, have nowhere else to go since Phoebe Philo left Céline (ok, there’s Lemaire, Jil Sander and Bottega Veneta, but… still, they choose The Row). Their collections don’t surprise, but warm your heart. Coats of the most perfect volume and silhouette. An over-sized ecru turtleneck-dress from the best alpaca yarn you can imagine. Masculine tailoring, beauutifully sculpted at the waist. Timeless, crisp shirting that’s getting better and better while wearing it. Eveningwear that’s pure refiniment and elegance without even one embroidery or print. You don’t expect newness with The Row, except for some unexpected lining detail or an antique embellishment on the bags – so, basically details you will notice only when the clothes arrive on the rack. Other than incredible collections the Olsens staged in New York (and in a French chateau that’s 45 minutes outside Paris back in 2015), the sisters created some of the most beautiful retail spaces (see them here) and an equally magnificent menswear line.

Collage by Edward Kanarecki.