Belle Du Jour. Saint Laurent Pre-Fall 2023

June 29, 2023 | Design & Culture by Ed

If you’ve had a yearning for big shoulders lately, you can thank Anthony Vaccarello for that. For several seasons now, and for both the women’s and men’s collections, Vaccarello’s Saint Laurent has been pumping them way up. It’s a look that rests on a squared-off line with a lot of impact. It’s also been a neat way to underscore his and the house’s exemplary tailoring skills which are impeccable. The deadly-chic Saint Laurent women’s pre-fall 2023 sketches out the look. There those shoulders are on masculine inflected overcoats, their swagger exaggerated by dark glasses, door knocker hoop earrings, and spike-heeled black boots. There they are again on leather and shearling jackets, some cut with a curvy blouson-y look or natty aviator versions, with featherweight shawls knotted at the neck to trail in the wind, leaving everything and everyone in their wake. The high-gloss, high-power era of fashion, roughly the late ’70s to the just dawning ’90s, is something that Vaccarello’s YSL has long been tapped into. Yet his smartness with it has been to amplify the look while also denuding it of some of its associations. Yes, he might be evoking that time with his second-skin black dressing, the wrists weighted with hefty golden cuffs, or with the roomy boardroom coats over sliver-thin pencil skirts that finish a fraction above the knees. But this isn’t a historicist retreat; there’s no desire here to create clothing shellacked with outmoded notions of power and status. Instead, Vaccarello’s attitude reads as modern: a touch of dishevelment with the hair of his models, a certain androgynous beauty, a kind of casual offhandedness about the whole proceedings. Vaccarello is designing for someone who’s curious about wearing chicer, glossier, more structured clothing, but who is still firmly living in, and dressing for, the world today.

Collage by Edward Kanarecki.
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Indulgences. Bottega Veneta Pre-Fall 2023

May 27, 2023 | Design & Culture by Ed

“At the end of the day, we had a lot of pleasure just making clothes that we want to wear ourselves,” Matthieu Blazy summed up the creative process behind his Bottega Veneta‘s pre-fall 2023 collection. “But it’s not just me. It’s the studio, and it’s the woman who works on fabric.” As it has been from his start at Bottega Veneta, material is a major preoccupation. The boxy t-shirt and denim pencil skirt pictured in the first photo are actually leather, but additionally the leather button-downs that have fast become brand icons have also been made in silk so they’re wearable year-round. Blazy said the development of the collection was a reaction to what he sees as a preponderance of heavy fabrics in the market. “To build up volume, it’s easy to take a heavy fabric and sculpt; we did the opposite, we tried to lighten everything in order for people to move and not be constrained at all.” That came across most clearly in a pair of special dresses, one with volume at the hips created by exposed fabric knots, and another with slits cut into puffy sleeves that draped from high shoulders. That quest for lightness doesn’t mean the clothes lacked indulgences. A bronze sequin coat is bound to feel as good to the touch as it is attractive to gaze upon. Same for a lilac crushed velvet dress with a cool zippered neckline. The ultimate indulgence may be the leather jeans woven in the house intreccio style; this season they come in a silver chrome. They’re trophies of a kind. Other Bottega Veneta customers might be tempted by the cozy hand knits, one of which features Blazy’s dog John John. I need it in my life!

Unfiltered Variety. Valentino Pre-Fall 2023

May 9, 2023 | Design & Culture by Ed

Scrolling through the images Valentino provided for pre-fall 2023, the impression was that of a wildly over-saturated wardrobe where luxe was given a twist of cool, in keeping with Pierpaolo Piccioli’s current direction. “The idea of a wardrobe as a vocabulary of various and diverse semantic layers has always fascinated me. Every one of us is a collector, creating a vision through selection and personal taste”, the designer summed it up. The collection has it all. At some points, even too much. Valentino’s PPPink returns, just like the monogram logo. The V-neck sweater tucked in a brocade full-circle skirt look felt sciura in a Prada way; a sweatshirt worn over an evening dress gave Jenna Lyons; some of the more bare-it-all looks made me surprisingly think of Alessandro Dell’Acqua’s early 2000s style. The nonchalant, unfiltered variety of separates is styled in the “counterintuitive way” Piccioli embraces – but this method tends to worryingly look like a collection of inspirations, rather than an actual Valentino look. However when you consider the pieces separately, they do have a polished ease about them, with no conceptual detours. Broad-shouldered masculine pantsuits introduced the monochrome palette that punctuated the evening offer. Dense pops of bright green and Valentino red added vitality to sleek long dresses with side bow-knotted cut-outs, as well as to fluid jumpsuits with wide palazzo pants. Glamorous, they exuded the charisma of haute dolce vita ingrained in the house’s codes. Quiet luxury? Never heard of her.

The Essentials. Balenciaga Pre-Fall 2023

May 5, 2023 | Design & Culture by Ed

Balenciaga‘s pre-fall 2023 look-book – made up of dressing room selfies – is a cleverly staged invitation for the customers to come back to the brand’s shops. And a reminder, much like Demna’s winter runway show in Paris, that the Balenciaga creative director remains one of the key architects of the look of contemporary fashion. The emphasis on exaggerated suiting, the embrace of couture-ish shapes, and the return of rave jeans – all of that is covered, just in time as the new season clothes start hitting the shops. Double-breasted black blazers were alternately puffed up with a layer of padding, or cropped at the hips, with the hems tucked under in almost makeshift fashion. A third was worn like a wrap, its buttons askew. Demna cut similar styles in glen plaids and checks. More so than the runways, Balenciaga’s pre-season collections are devoted to daily wear. And so there were oversize parkas, peacoats and trenches with more of those folded under hems, fluid velvet sweatsuit separates in surprising pastels, and denim in both raver proportions and a newer skinny cut lopped off at the knees. Standing in for the dramatic evening dresses in the March show were a couple of full-length looks in a quotidian key, one dress in a body-conscious knit and a shrunken logo hoodie and matching ankle-length skirt in what looked like stretch velvet. The accessories game is strong too: Le Cagole comes in sportier shapes, and Pantashoes are revisited in Margiela-esque fishnet overlays.

Barbarian Romance. Chanel Pre-Fall 2013

April 23, 2023April 25, 2023 | Design & Culture by Ed

On Monday, May 1st, the 2023 Met Gala will take place. This year’s Costume Institute exhibition, “A Line of Beauty,” will celebrate the oeuvre and life of Karl Lagerfeld. The exhibition will see Andrew Bolton and Wendy Yu, curators in charge, examine the work of Karl Lagerfeld (1933–2019). Throughout his lifetime, Lagerfeld worked at prominent fashion houses such as Balmain, Chloé, Fendi, Chanel, in addition to founding his namesake brand. More than 150 pieces will be on display in the exhibition, many of which will be accompanied by Lagerfeld’s sketches. In the following days, I will look back at my all-time favorite Chanel collections, designed by the one & only Karl. Hope some of these magnificent looks will end up on the red carpet on the first Monday in May…

“Dressed to kilt.” How else was Karl Lagerfeld going to define the collection he showed for Chanel outside of Edinburgh for pre-fall 2013? The thick tweeds, the argyle knits, the charming cardigans, the man-styled essence of Chanel all came from Scotland and the time that Coco spent there with her lover the Duke of Westminster. But the fashion show’s venue was Linlithgow Palace, where Mary, Queen of Scots, was born almost seven centuries ago, and her tragic life gave Lagerfeld the perfect opportunity to gloss Chanel’s easy pragmatism with an element of doomed romance. It was a fantastic combination. Maybe that’s because it was kind of personal for the designer. The first French poem he ever learned, at the age of six, was all about Mary. Then there’s that umbilical connection between Scotland and France, which history recognizes as the Grand Alliance. And in Lagerfeld’s team, he had Sam McKnight on hair and Stella Tennant (I miss her so much) on all-round fabulosity. In other words, there was something quintessentially Scottish in the air. “Barbarian romance,” Lagerfeld called it. Linlithgow’s courtyard was lined with flaming braziers, spitting sparks into the snow flurries. Guests made their way up spiral stone stairs to the palace’s great hall and chapel, open to the heavens since marauding Hanoverians torched the building in January 1746. After the show, they made their way back down a labyrinthine wooden construction to dinner in a tented fantasia that had hardened souls gasping with wonder. With impressive ease, Lagerfeld translated the sense of occasion into something that grandly allied Chanel’s original Parisian proportions with Scottish tradition. Picture Stella Tennant in a drop-waisted kilt-pleated coat. But also imagine that kilt in chiffon and lace. And the tartans and tweeds, the Fair Isles and argyles that would have garbed lords and ladies of the glen reconfigured in languid knits and patchwork, layered in swingy jackets, accessorized as delightfully with jewels, feathered hats, flowing scarves, and patterned tights as one could wish from a collection that was created to celebrate the “métiers d’art” of the Chanel ateliers. True, there were a few costume-y moments, in which it looked like the models had slithered straight off a canvas in the National Gallery of Scotland. A final passage of white wool gowns touched with lace and feathers, meanwhile, was an almost operatic exercise in pure technique.