Sleek. Tom Ford AW19

February 7, 2019February 7, 2019 | Design & Culture by Ed

Hello, NYFW. New season is on, again. There’s no rest from fashion. But then, Tom Ford isn’t here for the newness. For autumn-winter 2019, the designer delivered what he does best: the 90s sleek we all know and used to love at his Gucci. Two specific looks – worn by Maria Carla Boscono and Gigi Hadid – were a straightforward reference to his iconic 1996 collection for the Italian house. The deep, cherry red velvet suit. The jersey column eveningwear from the 2019 outing was a remiscent of the gowns that closed the same collection back then (all-white, worn by Kate Moss and Amber Valletta). Other than that, Tom returned to his tailoring roots, reworking the codes he famously established. The grey horse-rider blazer was sublime, while the version in satin black looked more than relevant with a de luxe hoodie. Some looks were complemented with groovy faux fur hats, while others were styled with sparkgling stilettos. At the very same time, the Tom Ford man should own two looks: a velvet suit, kept in the most alluring shade of burgundy, and a suit in dove grey leather. That’s it.

Collage by Edward Kanarecki.

It’s Real. A Détacher SS19

October 28, 2018October 28, 2018 | 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

September 15, 2018 | Design & Culture by Ed

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.

Collage by Edward Kanarecki.

Passion. Maryam Nassir Zadeh SS19

September 15, 2018September 15, 2018 | Design & Culture by Ed

Take a look at Maryam Nassir Zadeh’s spring-summer 2019 collection, and then at her Instagram posts from this summer. You will instantly understand, that the designer’s fashion is ultimately all about her, and her style. Whether in Italy, Greece or New York, Zadeh’s everyday style is equally spontaneous and idiosyncratic. Whether it’s a zebra bandou, a maillot or a wraparound triangle top – clothes that you rather associate with beachwear – the designer incorporates these summer pieces into her daywear. With a flamenco-ish skirt or a pastel-pink camisole. Or even a beige, loosely fitted blazer. What I especially loved about this collection is the passionate, Pedro Almodovar-esque colour palette. Think juicy red and deep blue. Maryam’s brand is embraced by her pack of friends and beloved female artists (like Ana Kras and Hailey Benton Gates, who walked the runway), and women who are very much like them. That’s why, without much fuss and PR presence, Maryam Nassir Zadeh’s clothes (and leather goods) are in constant demand.

Collage by Edward Kanarecki.

References. Calvin Klein SS19

September 15, 2018September 15, 2018 | Design & Culture by Ed

To my very own surprise, I’m on fence with a Calvin Klein collection by Raf Simons. Specifically, with his most recent, so spring-summer 2019 collection. Not that I don’t like it. I love it. I want one of those The Jaws t-shirts with a CK logo on, even if that’s just a branding masterpiece triggered by the right moment to take an old, good blockbuster out of the shelf. But other than the affordable, approachable ‘merch’, I’m quite saddened that Simons doesn’t let his clothes do the talking, but needs a list of references to justify them. Jaws as first, and not just on the t-shirts. The rubber scuba-diving material was used for subversive outerwear, underscoring a sexy, S&M-like silhouette; the chomped-out, shark-attacked tears at the hems of pleated skirts were for the more observant ones. It’s all good so far. But then, another ‘inspiration’ – Mike Nichols’ classic of post-adolescent indecision, The Graduate. Most people, who haven’t seen the film, thought that the mortarboards and graduation gowns thrown over models’ shoulders were taken out of this 1967 film. Ironically, there wasn’t even a brief still of these two throughout the entire film. The film’s soundtrack was played at the end of the show, instead. And some of the prints (like leopard spots) resembled those that Mrs. Robinson liked to wear, while seducing Benjamin. The high-school gear felt unconvincing and, to be honest, I was completely confused what the designer tried to say with it. Moral: let’s not take film titles too literally. And then another reference. American couture from the 50s and 60s. Worn with plastic harnesses (so, so Helmut Lang), the floral dresses that were a nod to that conservative fashion era had been re-stitched to create this ‘crushed’ effect. I know this wasn’t meant to look flattering, but… well, I just can’t say I like the look of these garments. The show had its visible ups (like the venue’s look, the fun styling, and the apparel that is a sure bestseller) and downs. Simons continues to discover American culture (by now we had Andy Warhol, horror films, cowboys, universities, Hollywood…) and recycle different ideas from it in his collections, but I think it’s time to let go and take another step. Or at least, go for something more metaphorical, not based on the collective brain of finding direct associations and parallels in pop culture (as if they were Instagram tags).