New York

Grunge is Back. Marc Jacobs Resort 2019

| Design & Culture by Ed

When Marc Jacobs presented his now iconic collection for Perry Ellis in 1993, he was rather close to being burned at the stake. Unapologetically grunge-isnpired, the collection went down with the leading critics and editors, except for Grace Goddington, who styled that equally (at the time) risky editorial for Vogue, visibly very obsessed with Jacobs’ bold move. Perry Ellis fired the designer right away, and became what it is today – a boring, apparel-focused brand for men. Quite unsurprisingly, the ‘true’ grunge world hated Jacobs for doing this collection, too, with Courtney Love and Curt Kobain reportedly burning the pile of clothing Marc designed with them in mind. But that’s history.

We’re in 2018, and Courtney Love’s daughter – Frances Bean Cobain – is one of the faces of Marc Jacobs, the brand. Even more ironic is the fact that Coco Gordon Moore, the daughter of Kim Gordon (aka grunge godmother) wears Jacobs’ newest collection called, wait for it: Redux Grunge. For resort 2019, the designer brings back 26 looks he designed for the controversial Grunge collection, now with his tag on them. The looks, shot by Juergen Teller (who used to be Marc’s long-time collaborator for years until 2014 – now might be back doing the ad campaigns!), are a testament to the brazenness and timelessness of the designer’s vision. They are as relevant today as they were revolutionary (or even infamous) 25 years ago. Well, that’s true – if not Jacobs, grunge would die with its subculture and never arrive to the mainstream. Crotchet cardigans, a midriff cutout knit dress as seen first on Kristen McMenamy (now on her daughter, Lily McMenamy), rainbow striped beanies, Dr. Martens boots, a cropped blazer baby Kate Moss would wear down the runway, chokers… well, it’s all pretty much identical. I can’t say it looks fresh – it isn’t the collection’s intention in the first place. But somehow, I like it, I like that free-spirited feeling being revived right now, at this moment. Still, it’s such a stark contrast to Jacobs’ saccharine and dramatic spring-summer 2019 collection… that you might really have problems with realising that one person can both do both, rough and sweet.

Collage by Edward Kanarecki, feauturing different visuals by Juergen Teller.

CFDA 2018 Winners

| Design & Culture by Ed

Pyer Moss SS19

I’m always thrilled to see how talents are finally spotted and then rightly backed up. Congratulations to the 2018 CFDA / Vogue Fashion Fund winner, Pyer Moss. Designer Kerby Jean-Raymond accepted the CVFF award (from actress Emily Blunt) yesterday, following a dinner and fashion show held in the Brooklyn Navy Yard in New York. Pyer Moss has been lauded for its beautiful and intelligent celebration of black culture in America. The designer makes activism a crucial component of his brand, being as well vocal about current problems that America faces today – from the current president to widespread social injustice. Interesting to see how the award helps Pyer Moss expand with its powerful vision. But there isn’t just one winner at CFDA. Taking home one of the two runner-up prizes for this year is Emily Bode of the menswear brand Bode. Last year, Bode became one of the few women to showcase at the sleepy New York Fashion Week: Men’s – because, one could say, she knows what the boys want (think a rugby jacket in the brightest shade of orange; loosely fit vintage-y suits; The Darjeeling Limited inspired, hand-dyed t-shirts). Now in its second year, the label has been praised for its sustainable practices and focus on craft. To be honest, Bode is a brand I wish I had in my wardrobe – just look at the label’s new season offering. The second runner-up prize went to Jonathan Cohen. The designer launched his namesake brand in 2011, and has been steadily gaining recognition for easy-breezy pieces, which makes getting dressed as simple as dipping into one of his feminine dresses with intriguing finishings. From this year’s finalists, I also had major hopes for Batsheva (you might have seen one of those already cult prairie dresses here or there) and Matthew Adams Dolan (the Rihanna and SZA dresser who makes all-American uniforms look fashion). As Anna Wintour summed up this year’s winners, “their work highlights a high degree of creativity and a deep-rooted commitment to the notion of community. They’re not only a credit to the CFDA/Vogue Fashion Fund as it celebrates its 15th anniversary, but also to the optimism and inclusivity of the very best American fashion.” Once again, big congrats!

Pyer Moss SS19

Bode SS19 and AW18

Jonathan Cohen SS19

Collage by Edward Kanarecki.

It’s Real. A Détacher SS19

| Design & Culture by Ed

When you’re a designer like Mona Kowalska, and you lead a brand like A Détacher, you don’t necessarily need a New York fashion week attendance. The success behind this label isn’t propelled by celebrities; a world-wide distribution across multi-brands; or even a perfectly curated Instagram feed. It’s all about one store in New York’s discrete Nolita (that as well sells hand-picked rarities, niche scents and vintage) and a loyal client-base that consists of female professionals that appreciate what Mona does. Kowalska celebrates the 20th anniversary of her brand this year, and her spring-summer 2018 look-book presents her brand’s pure quintessence. Balloon-sleeved dress, harem pants, stacked-heel boots in ecru, pleated skirts in abstract patterns, a loosely fitted blazer. Those are just some of the pieces that catch one’s eye while browsing the collection. A Détacher is as well-known for its knitwear – see that deconstructed, short-sleeved top. There’s also that logo print episode, but it isn’t as obtrusive as we know it at other brands. The collection was shot at the designer’s Brooklyn home. The model poses spontaneously, surrounded by artwork and books. It feels real. And it’s real. Kowalska’s fashion is intimate, but then, it’s made for wearing, not just for editorial styling. Conclusion: I’m sure that the label will continue to prosper for many, many years to come.

Collage by Edward Kanarecki.

Dolls. Marc Jacobs SS19

| Design & Culture by Ed

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On the last day of New York fashion week, Marc Jacobs sent out a line-up of human-size dolls. But no Barbies here – rather, those old-school dolls dressed in delightful, dreamy dresses every girl used to want in her life. Many considered Jacobs’ collection as ‘too much’, while I thought it’s just the right amount of fun, glamour and honest fashion joy. At some points dangerously saccharine, the collection was a nod to Karl Lagerfeld’s early years at Chanel and Yves Saint Laurent’s voluminous, multi-coloured moment in the 80s. It’s Jacobs’ second season of going fashion-history-heavy, but this time the result is much lighter and not that exaggerated. While fashion insiders note how badly Marc does in his ready-to-wear sales in the recent seasons, it’s visible that the designer doesn’t really care about that and continues to keep New York’s fashion on track with his mind-blowing outings. I mean, we can’t just stare at baggy pants and Phoebe Philo knock-offs, right? With a few exceptions, that’s what New York’s fashion is like today.

It seems that Marc Jacobs, Rodarte sisters, Pierpaolo Piccioli from Valentino and Alessandro Michele from Gucci are the last people who still dream in fashion, in that ‘romantic’ way. But still, Pierpaolo does that solely in his couture (that’s commercially backed up by ready-to-wear). Alessandro is having his ‘hype’ period that might end sooner or later. With Rodarte, I will never understand how that brand sustains itself financially. Where’s Marc in all that? Maybe the beauty line will keep him in business, because his clothing becomes shockingly rare to spot in the stores. Whatever it is, I hope he won’t be exiting his brand anytime soon.

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Collage by Edward Kanarecki.