Paris

Men’s – The Final Frontier. ERL AW21

| Design & Culture by Ed

Eli Russell Linnetz is the fresh, Californian blood in Paris. The multi-hyphenate visual artist, stage designer, photographer, and director, Linnetz began working on his own label, ERL, at the encouragement of Dover Street Market’s Adrian Joffe and Ronnie Cooke Newhouse. Now in its third full season, the collection has expanded: it includes ERL takes on everything from swimwear and long-johns (quickly becoming the “it” item of the men’s season – see Prada!) to tuxedos and silver puffer pants. Linnetz makes apparel for everyday life which is far from being basic. That seemingly infinite potential is what makes the things Linnetz does do all the more interesting. Titled “The Final Frontier,” his autumn-winter 2021 collection riffs on the Space Age, the psychedelic 1970s, showy 1980s culture, and a sort of timeless collegiate Americana that always permeates his work. The thread that marries such disparate items as a frat sweater and spiky ski bum hat is Linntez’s irreverent sense of humor. A sense of levity and surreal bit of nonsense is welcome in the at-times far too serious world of fashion. Linnetz’s intimate photography and cast of true Cali beach boys only help make the case for his clothing. Scantily hanging off the dudes’ bodies, the clothes telegraph the laissez faire lifestyle of the West Coast. Wide wale corduroy jeans have a constructed slouch, hoodies feature seaming that mimics wave patterns, and fluffy shearling is actually made from a new corn-fiber material to be more sustainable. The collection also includes a ski collaboration with Salomon, neoprene cowboy belts, and a full range of swimwear. There’s an element of costume, of dressing up, and of changing your clothing to change your life. It’s a sort of everyday escapism, finally available to menswear.

Collage by Edward Kanarecki.

Motional. Beautiful People SS21

| Design & Culture by Ed

Hidenori Kumakiri creates shape-shifting garments at his Tokyo-slash-Paris-based label, Beautiful People. The former Comme des Garçons pattern-cutter makes classic clothes bordering with fantastical volumes, a mix of femininity and 1950s couture sensibility combined with the Japanese avant-garde. The brand presented the spring summer 2021 Side-C Vol.5 Motional collection, which explores today’s world, where we are stuck in our homes, and overwhelmed by emotions, with a striking film directed by Takahiro Igarashi. The collection sends message of optimism and rebirth, with the bustle-like shapes, and big and flowing volumes. “Side C, the transformative look at classics that focuses on the layers and the in-betweens of clothing, finds another dimension: a flowing, dynamic one. By creating an interconnecting system of pockets inside the garments, and filling them with small beads, movable silhouettes are created. The beads flow as the body moves, sits or stands, allowing for endless reconfigurations. A skirt turns into a couch, a dress into an armchair, only to revert back to what it was,” the press note says. The result is a look at the classics and the layers in between the clothing – a collection filled with an interconnecting system of pockets inside each look which allows them to be filled with small beads. With each movement, the shape and volume of each look changes into an endless array of silhouettes. And when topped off with pillow-like hats, there’s another nod to home and the familiar elements of our humble abode. Incredible.

Collage by Edward Kanarecki.

R.I.P. Pierre Cardin

| Design & Culture by Ed

2020 has far too many sad news. Pierre Cardin, the prolific avant-garde French designer best known for his geometric, space-age couture and his maverick approach to business that would reshape the French fashion industry, died yesterday in a hospital in Neuilly in the west of Paris. “It is a day of great sadness for all our family. Pierre Cardin is no more,” the family said in a statement. “We are all proud of his tenacious ambition and the daring he has shown throughout his life.” He was 98 years old. “I don’t like to stop, I like to continually prove myself,” Cardin said in an interview with CBS back in 2012, a sentiment that his tireless work ethic all the way up until his death pays testament to. Renowned throughout his career for his groundbreaking approach to both design and business, Cardin expanded his empire through licensing of everything from automobiles to restaurants (he turned Maxim’s, the historic Parisian Belle Époque restaurant, into a global brand), to hotels, jewelry, glasses, fragrances, furniture, and even tableware. Though the practice of a fashion house lending its name to a variety of different products and concepts is now commonplace, Cardin’s approach was pioneering. So too did Cardin revolutionize the business model of a high fashion brand by introducing the concept of ready-to-wear in 1959, a reflection of his firmly-held belief that quality design should be accessible to all. The fashion world won’t forget him.

Visit the maison‘s website to go through some of the most striking archive works by Cardin.

Alber’s. Yves Saint Laurent AW00

| Design & Culture by Ed

All that holiday season is also a good time for induldging in the fashion archives. Many don’t know that (or simply don’t remember – or were barely born then!) Alber Elbaz worked as creative director of Yves Saint Laurent from 1998 until he was fired after three seasons when Gucci bought the company in 2000 and Tom Ford took over the creative direction. Autumn-winter 2000 was Elbaz’s last collection for the maison, but also his best. As Vogue’s Hamish Bowles recalls, “he finally hit the target with a controlled collection that proved a strong modern take on the house’s timeless chic. Elbaz elongated and chiseled the classic proportions of the trademark boxy jackets and pencil skirts, and showed them with black glove-leather shirts with matching narrow ties – a cool, modern spin for the classic YSL suit. With satin revers on an overscale man’s Crombie coat, he also gave a contemporary twist to ‘le Smoking.'” Looking at the collection now, it feels so relevant and distinctly YSL at the same time. Leaving ‘grand soir’ statements to the master Yves himself and the haute couture collection he continued to design at the time, Elbaz sent out a capsule of few, after-dark looks for his finale. Classic metallic lace looked chic again, in long-sleeved midi dresses styled with hip-slung crocodile belts and wrinkled ’70s cavalier boots. Great-looking tarnished brass lamé suits with black chiffon blouses, body-skimming cocktail dresses in black slipper-satin, and entrance-making flapper dresses were followed by a final stylish take on a YSL classic – the sheer black chiffon blouse with a skirt made entirely of ostrich feathers. No wonder why after this collection, Lanvin invited Elbaz to take over the brand… and he did wonders there for more than a decade!

Collage by Edward Kanarecki.