Men’s – Poetry. Ann Demeulemeester AW17

January 25, 2017January 25, 2017 | Design & Culture by Ed

When Ann Demeulemeester stepped down from the role at her namesake brand in 2013, I wondered – how difficult will it be for any successor to continue her legacy, yet not fall into biting the archives? Sébastien Meunier had his ups and falls since he became the creative director at Demeulemeester. But his men’s autumn-winter 2017 is unconditionally the best to date.

Perhaps it’s the season, where he found the balance between his personal creative language and Ann’s style codes. It was one of the most sensual and beautiful collections I have ever seen for men – pure poesy, where everything flows and works together, from the textures to the colours. From delicate white shirting with lace to all-black equivalents, Meunier re-invented, consciously or not, the way we perceive a poet: eccentric, romantic, on the boundary between ‘masculine’ and ‘feminine’. Even the fur-lined parka jackets would dress a modern-day Edgar Allan Poe or William Blake. Eventually, it was Ann who said those words about both, poets and her favourite colour: “Black is not sad. Bright colors are what depresses me. They’re so… empty. Black is poetic. How do you imagine a poet? In a bright yellow jacket? Probably not.”

In her work, Demeulemeester often used feathers and plume, whether in jewellery or vest-making. Meunier did nonchalant, big feather shawls and breath-taking hats, which looked so elegantly decadent that I’m just… speechless.

Men’s – Detournement. Gucci SS16

June 24, 2015June 24, 2015 | Design & Culture by Ed

“Detournement is the art of taking some parts of the past and using them in the present with a contemporary approach and away from their original contest” is what Alessandro Michele of Gucci said before his SS16 show for men. “I love to work with the past to translate the future,” explained Michele, and although his designs are certainly rooted in Gucci’s heritage (those horse-bit loafers, the green and red equestrian stripes, bee motifs and famous GG logos) they update the house’s codes in a way that’s unrecognisable, thanks to his desire of not wanting “to stay a prisoner inside of the brand.” There are many retro references, with suede jackets and wide collars adapted from classic silhouettes of the 70s, but there is, as Michele puts it, no room for nostalgia – his focus is on youth. “They really are the future – when someone asks me what the future is? The future is now, between us, between young people,” he says. Also, the dynamic, new creative director of Gucci has a truly amazing point of view on beauty for men fashion. “My idea of masculinity is beauty,” Michele said after the show. “If you want to be beauty you can be beauty how you want; it doesn’t mean that you are not a man or woman.” That is strongly visible in this collection – hand-made embroideries, royal looking textiles, tudoresque jewellery and that Italian “dolce vita” attitude towards life is felt all over these clothes.

As it is in Michele’s philosophy to have female models in his menswear collection, the mesmerizing robes and silk scarves were jaw-dropping for both genders. And even though, many of these clothes feel like out of this era, they are all looking far into the future. It is a great pleasure to have a peek at all that artisanal beauty and reflect on it in the same, poetic way. Maybe because Michele himself is a great poet?

Ceremony of Separation. Comme des Garçons AW15

March 11, 2015 | Design & Culture by Ed

Rei Kawakubo’s collections are always full of interpratations. Last time, it was all about red and it’s meaning. Now, it’s about black and white – but in a very metaphoric way. White – life. Black – death. Kawakubo went further and brings human’s biggest problem and fear into one, “painful” collection. The garments, made of many tones of white and black lace, had little, childish dresses embroidered on – disturbing and eerie at first sight. The serene and ghostly models moved slowly down the runway, and as they passed each other, a sad look was exchanged. As we usually “close” ourselves when we feel grief, every model had a hardened lace veil covering the faces or they were obscured by a sculptural cocoon by the master of hair-sculptures, Julien d’ys.

The collection made the guests of the show forget thinking whether “this will sell” or not. Everybody looked at the whole “ceremony” through their hearts and feelings. Rei Kawakubo proves again, that she is more than a fashion designer. She’s a poet which makes the emotions rage.