Desire. Area AW17

February 13, 2017 | Design & Culture by Ed

Area is one of the most daring New York-based labels with its semi-glamorous aesthetic. The designers, Beckett Fogg and Piotrek Panszczyk, prove that once again in their autumn-winter 2017 collection – which, by the way, was their big runway debut. The collection was dripping with sexuality, from fluid-like dresses in purple to crystal thong knickers. A fabulous, fur bra was worn over a t-shirt, while zirconia bangles and platform heels were purely about the attitude of a stripper-cool femme. Since launching Area, Beckett and Piotrek polish their home-made signature – sassy croc-like embossing, which consistently appears everywhere, from the dresses to pants. Now, the brand expands to ripped denim and rather commercial t-shirts with slogans like ‘J’aime Drama‘. But who doesn’t go for these tricks in New York right now? And fashion drama is definitely the thing that makes Area one-of-a-kind.

Cozy. A Détacher AW17

February 12, 2017 | Design & Culture by Ed

Mona Kowalska differs from the rest of New York pack. Her collections at A Détacher always feel so tranquil and distant from the fuss. No celebrities, no far-fetched venues. It’s oure focus on the clothes. For autumn-winter 2017, the New York-based designer thought of cozy knits – from striped skirt with matching cardigan to wispy in texture sweaters, A Détacher’s clients will have a lot to choose from this autumn in the flagship store on Mulberry street. There was urban-cool tartan plaid; a bit of florals on the baggy dresses; lovely ‘townhouse’ print on sweatshirts. Daily essentials, which can be worn in many ways, according to your mood.

Oh, Raf. Calvin Klein AW17

February 11, 2017 | Design & Culture by Ed

While watching yesterday’s Calvin Klein show, where Raf Simons had his anticipated debut, I thought that up to now, a fashion follower felt like he / she had to belong to a specific ‘camp’. After Alessandro Michele of Gucci and Demna Gvasalia of Vetements and Balenciaga appeared on the scene in more or less the same time, fashion got so polarised. You either had to rush after embroidery madness and all those sparkly accessories or go for “the uglier, the better” kind of look, which says a strict ‘no’ to anything pretty. But what about people (like me), who weren’t falling into any of these camps entirely? I’m still a helpless sucker for Phoebe Philo’s Céline. But here is the new Calvin Klein.

Years at his own menswear brand, succesful tenures at Jil Sander and Dior – from every aspect, Raf seems to be the person, who can handle a major fashion brand, putting it again into the spotlight (and for longer, than a while). And especially if a label like Calvin Klein, which for the last few years was rather associated with Justin Bieber’s phallus in a pair of boxers than remarkable clothing, gradually declined. And Calvin Klein wasn’t only about NSFW Kate Moss and Brooke Shields advertisements: in the past, Klein used to pull off empowering suits for businesswomen, sensual slip-dresses and timeless apparel.

When Raf Simons and his design team (Pieter Mulier and Matthieu Blazy) were appointed at Calvin Klein back in August, the Belgian designer understood those codes instantly. And he knew they had to come back for good. Not only Calvin Klein logo and advertising campaigns got revamped; but the entire wardrobe for both men and women (both lines will be now put into one collection) went through heavy refreshment. For autumn-winter 2017, the Belgian designer put emphasis on suiting. Over-sized blazers for both men and women looked sharp, just like the pencil skirts and smart pants. The yellow coat worn by Julia Nobis was ‘trapped’ under vinyl, just like technicolour-era feather dresses. Simons loves messing up with stereotypes, so did he with American glamour: even the heels looked plastic-fantastic. Contemporary cowboy boots; body exposure mania in form of transparent knitwear; total leather looks for a motorcycle ride along Route 66. Even though Raf presented his first collection just a few months after Donald Trump won the elections, he doesn’t want to be miserable. He wants to celebrate America, its absurdity and phenomena. And that’s best seen in the wrapped, USA flag skirt.

Calvin Klein

Candy Rave. Marc Jacobs SS17

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

New York Fashion Week might impress and surprise, but leave “shocking” to Marc Jacobs, who always ends the city’s schedule with a spotlight-stealing collection. And this time, Jacobs presented an ecstatic rave of his latest obsessions, inspirations, collaborators and, of course, aesthetic. At the Hammerstein Ballroom, Stefan Beckman built a huge stage splattered with grease, lit up by more than a thousand little bulbs. A perfect space for an off-beat, underground party filled with techno-music and thirsty-for-fun people. The association was right – it was the venue of the most youthful collection of the upcoming season.

Lets take a look at the collection from the bottom to the top, literally. All of the models wore platforms, which looked even higher than the ones from Jacobs’ autumn-winter 2016. I LOVE THOSE SHOES, every single pair of them. Kept in all colours of the rainbow, the killer-stompers were designed in collaboration with Julie Verhoeven (who also did a fantastic job together with the designer during his spring-summer 2002 Louis Vuitton show). Verhoeven produced a number of fantastic, cartoonish illustrations, which appeared on the shoes, and also on the bags and some of the one-of-a-kind pieces. Looking at the clothes, Marc and his team didn’t disappoint. Candy-coloured, sheer apron dresses with ruffles; extra mini, mini-skirts in denim; fur-collared or sprouting with feathers military jackets and cardigans. This season, it’s about lifting normal pieces into ~~nearly~~ couture creations. Hoodies (something we are all getting sick of lately) look brilliant, also printed with Julie’s illustrations. I really do have doubts whether teens would feel absolutely comfortable in those sexy, fairly provocative and imaginative pieces on a binge – but surely, these clothes guarantee a big entrance.

Reaching the heads of the extremelly tall models, we are getting closer to the most problematic (to some) aspect of the collection – the dreadlocks by Guido Palau. Instagram users raged Jacobs’ account with comments on cultural appropriation, calling him a ‘thief’. I’m just overwhelmed with the public’s lack of any awareness. True, corn-rows are over-used by white teens, while Indian headbands with feathers aren’t properly credited by Coachella fans. BUT dreadlocks are for everybody. They are universal. Lana Wachowski has fuchsia-pink dreadlocks. Boy George from the Culture Club-era had dreadlocks. And Bob Marley was the king of dreadlocks. Even a friend of my cousin has dreadlocks (but they look bad, though). In other words, dreadlocks are for everyone, and people should at least try to widen their horizons.

Janis and Bees. Rodarte SS17

September 17, 2016 | Design & Culture by Ed

Bees and Janis Joplin. Mostly nothing in common. But Laura and Kate Mulleavy found a connection between genus Apis, and the magical character of a 70s icon. In case of the former, Rodarte played with tulle and lace to form honeycomb-like layers. The safety pins lined up along pants weren’t about grunge and punk, but rather an association of bees’ stings. A heavily ornamented, beehive shaped bustier on a closing gown looked as sweet as honey. Flowers are essential for bees – that’s why floral motif appears countless times in this collection. In case of Joplin, her care-free attitude oozes in those jaw-dropping, fringed biker jackets and hippie, ruffled dresses. In the world of Rodarte, it’s a fantasy story-telling combined with truly beautiful clothes.