San Francisco. Rodarte AW16

February 18, 2016February 18, 2016 | Design & Culture by Ed

San Francisco is more than hippie flowers, even though we have literally seen real orchidees as earrings and crowns on the models’ heads during the Rodarte show. Kate and Laura Mulleavy looked back at their collage roots, reinterpreting the city of their youth in the most original way ever, leaving the well-known stereotypes behind. The sisters had a seat at Caffe Trieste, where Francis Ford Coppola wrote the script for The Godfather; that venue, and the whole mood of old San Francsico inspired the collection’s nods to art nouveau. It all started with a few, black leather looks. And then, it was all about the ethereal whites, as if the Rodarte bride had her spectacular escape from a too cheesy wedding. But don’t get me wrong – these weren’t JUST white, wedding dresses. The veils were made of white fish net, the leather chokers and black lipstick gave a cool-goth look – this girl wasn’t looking for “love at first sight”, but for fun…

Knits Please. Ryan Roche AW16

February 17, 2016 | Design & Culture by Ed

With her autumn-winter 2016, Ryan Roche proves that her label is not only about the best quality knitwear – it also thinks about other wardrobe essentials. But still, the quintessence of the brand is the signature, cable knit cardigan in pale pink colour. It’s here, as every season, and it doesn’t stop to look like the best sweater in the entire world. Although I haven’t seen any of Roche’s designs in life, I bet their woolly texture should be super soft. With a soft spot for cashmere, specifically, the designer delivered a look-book filled with cozy, knitted (of course) maxi-skirts. Moreover, the collection featured a burgundy dress – smells with Victorian era in here – made entirely thanks to the old-school, granny crotchet technique. It’s a smart, yet short escape from Roche’s minimal aesthetics. It’s distinctly visible that the New York-based designer does her best to move away from her knitted comfort zone, by introducing some graceful, lace pants and peach-pink fur jackets. Concluding, your next winter wardrobe is sincerely supplied with Ryan Roche’s AW16 collection, I guess.

Feelings. Eckhaus Latta AW16

February 17, 2016 | Design & Culture by Ed

If talking of talented millennials, Mike Eckhaus and Zoe Latta, the lovely couple behind Eckhaus Latta, also top the list of New York’s talented young blood. The nodels (not-models) stormed dynamically along the runway, wearing the brand’s clothes which always feature a raw, unfinished touch. The cast, so the designers’ friends and New York cool kids (India Menuez, for instance) wore Mike’s and Zoe’s garments, which perfectly presented what the designers are best at – Eckhaus’ background in sculpture (note the unidentified folds and slouchy, elongated sleeves) and Latta’s in textile design. The “dresses” had asymmetrical, abstract silhouettes, while the velvetish textile which ornamented the midi-skirts still shines bright in my mind. “We don’t have an elevator pitch for you because I feel like we’ve never approached our collections with traditional ideas of concept or inspiration,” says Eckhaus, “but they become representations of what we’re experiencing at the moment, what we’re feeling.” When seeing Eckhaus Latta’s outings, I always have a feeling that they fittingly reflect the current, New Yorker style among the youth – it’s not easy to define, but it’s very, very personal.

Photographs by Benedict Brink

Good Things. Rosie Assoulin AW16

February 17, 2016February 17, 2016 | Design & Culture by Ed

Considering all the fresh names that appear during New York Fashion Week, not many enter the game with a purely unique vision, or even a mind-striking collection. Sometimes, it looks like a slightly modified Celine or The Row copy-and-paste method fits all the occasions, while the venue of the show or presentation is limited to a modestly furnished uptown loft (there are too many of those this season, too). But in case of Rosie Assoulin, one of the most prolific and talented millennials in the fashion industry, everything works in the other way – meaning – every step the designer takes is utterly her’s, and not of somebody else, and what’s the most important – she doesn’t lead her eponymous label onto a mainstream path (well, you may say that her jumpsuit appeared in Beyonce’s Formation video a week ago and that her gowns appear to win the celebrity’s hearts on the red carpets – but still, her creativity keeps to be offbeat).

The autumn-winter 2016 presentation was, honestly, the most beautiful of all the New York brands I’ve seen this season. Firstly, the place where Rosie showed her new collection felt like the perfect spot to show these joyous clothes – the diverse models walked around a wooden installation of colourful, burning candles, creating abstract wax veins on the concrete floors. The rawness of brick walls, the elegant, but kinda off-duty black piano filled the atmosphere with Assoulin’s presence.

Another asset that Rosie had this season was the intimacy her show held – the guests could discover the pieces on the models up and close. And what’s more, the clothes were really interesting, which sometimes is missed by other designers nowadays! Dark blue velvet-trimmed pajamas (and chokers), a lipstick red jumpsuit with a caped back, a one sleeve cable knit worn over a ruffled, beige skirt – the woman portrayed by Rosie deserves a wow on a party. And for those, who prefer something more everyday, the female designer who understands all aspects of a woman’s wardrobe presented some great, olive-green pants, breezy tops with sexy shoulder cut-outs and arty blousons. I’m not mentioning the coats, as they look perfect when styled with one of these cargo pants…

Rosie knows what’s good. Slay.

Playing with Textures. Thom Browne AW16

February 16, 2016 | Design & Culture by Ed

If talking of drama, Thom Browne is the master of it, always. Staged in a faux snowy, secret garden, the nearly-couture designer played with textures and clothes, creating exquisite garments. Sewing together suits, he has created abstract skirts which chaotically overlapped mink coats, while the men’s ties were twisted into hats by Browne’s long-time collaborator, Stephen Jones. The pleated, signature-grey dress had a sense of Victorian night-gown, which gave us all a little hint that the designer looks nostalgically back at the fashion history (take the tweeds, which revive to a great surprise Coco Chanel – even Karl Lagerfeld would love to show off a line-up of so beautiful blazers!). Definitely, this ready-to-wear collection has a very unwearable, theatrical mood about it – however, there are few pieces which will surely sell well at Dover Street Market next season.