Resurrected. Imitation of Christ SS21

September 16, 2020 | Design & Culture by Ed

I discovered Imitation of Christ a year ago, and when I’ve shared some archive images from Tara Subkoff‘s early 2000s shows on my Instagram stories, many replied to me that they’ve never heard of the brand and that it’s just so, so amazing. I was in awe, too. Each of the label’s collections was presented as a sort of ironic performance: a funeral show; a red carpet line-up opened by Chloe Sevigny; a collection solely dedicated to denim, with Scarlett Johansson as a Marilyn-Monroe-look-alike model. Then, the brand seemed to go into a hiatus, then it came back for a moment and disappeared again. And then, to my surprise, somebody posted on Instagram that Imitation of Christ is back this summer with a guerilla couture performance in Los Angeles. And now, here we are with Subkoff’s spring-summer 2021 collection – in a moment that one might never suggest for a brand that’s planning its “big” come-back. But Imitation of Christ isn’t a regular brand, so the circumstances just couldn’t be more exciting. Twenty years after the brand’s first show on the escalators in a subway station, this season’s performances (there were two, one in Los Angeles, one in New York, not identical, but each consisting of a capella singers accompanied) are equally inventive. And, while all of this is going on, The RealReal, from which Subkoff sourced some of her pieces, will offer the spring collection for sale in see-now, buy-now fashion, with part of the proceeds going to Greta Thunberg’s nonprofit Fridays for Future. Upcycling or “resurrecting” existing pieces is the central tenet of Imitation of Christ, and it means that every piece is unique. Collection themes do emerge, however, and are crystallized by the way they are presented. Skateboarding is the organizing principle this time around, and Subkoff describes the clothes as “glamorous activewear” – say, a vintage slip attached to the front of a sports jersey. Some of it could have been hand-sewn by the bored, home-imprisoned Lisbon sisters from Sofia Coppola’s The Virgin Suicides, by the way. Subkoff became acquainted with skateboarding girls when she was feeling a bit blue. Struggling to find inspiration, the designer started visiting local skateboard parks, which she found to be “heavy on the dude feeling” until she noticed the young female skaters trying to master tricks, falling down, and starting over again. In their determination Subkoff says she found a “good metaphor for what it feels like, to me, to be female in this world in some capacity. Like you just have to keep doing it, until you do it better than the men. And then you have respect in some way.” Looking forward to more of Imitation of Christ, as it’s one of the most enigmatic and intriguing labels in New York.

Collage by Edward Kanarecki.

Simple Magic Is Still Magic. Rodarte SS21

September 15, 2020September 15, 2020 | Design & Culture by Ed

After last season’s Dracula-bitten, romantic extravaganza, Rodarte’s spring-summer 2021 collection – presented in a look-book – is understandably much less dramatic. It’s actually about coming back to the brand’s roots, according to Kate and Laura Mulleavy. The dual crises of a global health pandemic and raging wildfires in California – the sisters’ homeland – forced the designers back into that state: at home, together, with only their creativity to occupy them. While their collection was borne from the same cloistered Californian sisterhood of their earliest outings, the final products are visually different. It’s signature Rodarte, but in more practical-magic version. It’s not so much that the tulle explosions or the cake topper confections have dulled; in the face of such tough times, the sisters are emphasizing the importance of making fashion for this struggling world. “Everything we do is about fantasy and dreams, but we are located in a moment, and we are a part of what is happening now,” Kate told Vogue. A fanciful gown, both designers agree, has little place in today’s world, so instead they channeled their efforts into clothing they would want to wear now “without distilling the ideas.” Expect florals, veils, and just slightly off sweetness. Pajama sets, slips, and robes appear in dainty and orderly floral prints inspired by their local gardens. The floral story continues in the ’40s dresses they played with last season, now relaxed in shape with prints that radiate from the navel or appear in handkerchief-like grids. Silk sweatshirts (I’m on fence with logo ones, though), trackpants, and midi-skirts continue the motif, trimmed in lace or ruffles. All this is topped off with silk floral wreaths that frame models’ faces, giving them the impression of fairies, nymphs, or other magical woodland creatures. With this collection, the Mulleavys have proven their ability to make inherently useful garments that don’t compromise on the Rodarte identity.

Collage by Edward Kanarecki.

Be Camp, Everyday. Batsheva SS21

September 10, 2020 | Design & Culture by Ed

Maybe you can’t judge a season – a month of fashion shows and look-books – by one brand, but somehow Batsheva‘s spring-summer 2021 line-up makes me believe that things are looking up. In hard times like 2020, there’s nothing better than letting some joy in. In Batsheva Hay‘s fashion, adorable polka-dot dresses appear alongside high-collared midi-dresses with dainty embroideries and prints of psychedelic, acid green figures. There are, perhaps, more ruffles and bows than usual, each alighting on a V-neck or high shoulder. There’s playfulness and camp feeling all over those pieces, which – and that’s a Batsheva special – are made for the everyday. Even, if the new routine of Hay’s clients means days and days of Zoom calls. This is a loud “no, no!” to grey, sad sweatpants. The collection went live a few days before the official start of New York fashion week – which will last just three days and with many brands missing – and while many designers seem to struggle in the new reality, with Hay the situation is slightly different. She launched her brand with an unmissable signature, and evolved it however she felt right in her heart. Since day one, she thinks sustainably – some of the fabrics used in her dresses are either upcycled or vintage. When all the turbulent changes caused by the economic downturn of the pandemic (and because of the chaotic mess of the fashion system) abruptly came up, Hay didn’t have to change too much. “Fashion is about dressing,” she declared on a video call with Vogue. “It’s an answer to how people want to dress: be comfortable. Wear something not too expensive, but that feels elevated.” As a brand, she explained she wants to “exist in some way in ordinary lives.” Thinking soulfully and practically happen all too rarely in fashion industry. With some new, beautiful additions – like granny crotchet knits and a simple khaki blazer that will work with everything – Batsheva is a brand that keeps on evolving. And most of all, surprises with its powerful, never-boring consistency.

Collage by Edward Kanarecki, look-book photos by Alexei Hay.

Beauty, Promise, Sparkle and Grit. Marc Jacobs AW20

February 14, 2020February 14, 2020 | Design & Culture by Ed

It’s rare I’m rewatching fashion show videos. But in case of Marc Jacobs’ autumn-winter 2020, I think I’ve seen it like five times already. It’s so brilliant. It’s nothing new that Jacobs closes New York fashion week with a vivid finale. But this season, it was even better. The runway featured a dance performance choreographed by Karole Armitage, New York’s „punk ballerina”, with the catwalk staged like a bistro. At some point it was hard to tell who’s the model and who’s the dancer (everybody was dressed in Jacobs), and that was the intention: beauty in chaos, told through powerful movement. Infinitely inspired by his heroes of the past and present, it is style in which different people dress at the various stages, ages and times in their lives that provokes Marc’s love for fashion and possibilities of what it can be. The designer especially had the fading image of disappearing New York in his mind – forever mythical and chic with its „beauty, promise, sparkle and grit”. As a departure from last season’s lamboyance, free spirit and color, this collection emphasizes restraint, quality of fabrics, make and proportion – valuing simplicity and timelessness above all. Jackie Kennedy’s evening dresses, pearls, refined daywear and headscarf looks were a big inspiration, just as the slinky minimalism of New York’s 90s aesthetic (which, of course, was shaped by people like Marc). Each look has its elegant charm, whether we’re speaking of white-collared dresses with above-the-knee lenght, pieces made from draped roses, classic peacoats or the marvelous gowns, inspired with couture masters. What truly stuns in this line-up is the way Jacobs brougt so much relevance and modernity out of nostalgia – literally everything is fit for 2020 here. I think it’s clear who’s (again) the winner or NYFW. And, what’s worth noting, not because other shows were dull and Jacobs was entertaining. We’ve seen some great collections this week – I’m thinking of The Row, Rodarte, Area and few others – but Marc’s felt definitely the most alive and emotional (and, simultaneously, completely wearable!).

Collage by Edward Kanarecki.

Prairie Dress on Ice. Batsheva AW20

February 13, 2020 | Design & Culture by Ed

There’s no street style in New York without the Batsheva dress. Batsheva Hay‘s prairie look has trickled down to other, local brands’ repertoire, which just reassures her success. The designer expands, trying out new things. The autumn-winter 2020 collection had no runway, but a look-book featuring… figure skaters. Batsheva and her husband, Alexei, had conspired to shoot this collection guerrilla style in the American Dream mall, and stumbled upon a figure skating competition on the day they went to scout locations. “Part of what I’m always trying to prove is the wearability of my clothes,” she said, “and athletic movement is the definitive wearability test.” The skaters spin, twirl and jump in Hay’s chiffons, cottons, and custom flower pot embroideries, frozen mid-gesture by the camera. It’s intentionally not glamorous (and definitely not Tonya Harding) and the styling is kooky in its spontaneous way. For the season, the designer brings in evening-worthy sparkles, vintage flocked wool trenches and a red bustier “going out” top. It’s proper hot. For prairie girls not ready to give up their pastoral vibes, Hay offers ruffle V-front dresses and smocks, as well as velvet leopard with a wider, less Victorian neckline – this one is my personal favourite. Sounds (and looks) like lots of fun.