Save Meadham Kirchhoff!


When Meadham Kirchhoff stopped doing street-casted shows and closed their brand, it was a very, very bad omen for the fashion industry, which, first things first, should be fuelled by creativity. Benjamin Kirchhoff and Edward Meadham were creating the boldest, the happiest and the heartiest label in London, or even in the entire world – but then, “debts have caught up” and this relatively small, studio-based label couldn’t survive the pressure of this sadly, too corporate world.

If that wasn’t bad enough – it appeared that the designers were forced out of their studio, and Meadham Kirchhoff’s archive was confiscated by the succeeding occupier. Remember the glamorous pieces from their gothic past, all those vinyl coats and naughty, glittered bodysuits? They aren’t owned by the designers since that moment. But, heads up – there’s a chance for Meadham Kirchhoff archive to be retrieved and be admired in its full grace. Curator Shonagh Marshall has worked with Edward and Benjamin, and selected around 50 pieces that will be donated to museums. As one of the designers said “we had an impact on culture and on British and international fashion, and we want these clothes to live beyond the context of a personal wardrobe; we always wanted Meadham Kirchhoff clothes to be seen, not something to just have and never wear.” The selection, was priced at £15,000 – this is a sum that can buy back 12 years of the duo’s work. If you mind / care / want to help – I strongly advise you to donate a pound or a hundred here. Let’s support British fashion history and Meadham Kirchhoff creative legacy, which indeed changed a lot!











Some of the photographs are by Drew Jarrett, shot for 1 Granary.

Anglomania. Gucci Resort’17


Just a few weeks before Britain’s choice whether to remain in European Union, London has suddenly become the capital of resort 2017 collections. Firstly, Dior showed its mild collection in Blenheim Palace; secondly, Alessandro Michele, the creative director of Gucci, proved that Italian fashion goes in pair with anglomania. Covered with dark-green, needlepoint cushions, the famous Westminster Abbey was transformed into a venue for the most eccentric Michele’s show up to date (note: every show by Gucci gets even more peculiar and twisted…). Gucci girls and Gucci boys went down the Gothic church, all bold and playful, reivisiting cult fashion tribes of London. From Camden Market loving geeks to Rolling Stones fanatics in slim denim trousers and t-shirts (with old-school GUCCI logos – next season’s must-have), Alessandro praised Britain’s biggest style eras in this extremely non-chalant outing.

To dive in this gothic sea of inspiration!” he began. “The punk, the Victorian, the eccentric—with this inspiration, I can work all my life!” The former, origing from Vivienne Westwood’s rebellious times of SEX boutique and Sex Pistols costumes, was reflected in tartan ball gown and badass, yet classy attitude of the clothes. One of the jackets was a perfect Victoriana sleeve sample, but all in baby-pink astrakhan fur; Thatcher-era Kensington grannies crossed the abbey during the show, wearing printed silk dresses and foulards on their heads; there was even a Spice Girl moment which will be remembered for long in the industry – rainbow striped platform sneakers HAPPENED, spicing it all up. It’s not a surprise that Alessandro thought of Scottish kilts, too – they were worn casually with lady-like, blue pea-coats. Chic, right?

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Looking at this collection, you might be confused with all that opulence of topics, and even doubt whether this is still about so-called “good taste”. But Alessandro Michele, who made the ready-to-wear sales spike in this 95-year-old Italian brand, blurs the term. In fact, these outfits remind me of great, vintage-selling Instagram shops, which are loved for the extraordinary styling. Let me recommend you @the_corner_store – check it out by the way. .








Back to Gucci. While writing this, I’m listening to Siouxsie & The Banshees “Face to Face”, and I’m authentically feeling the mood conveyed by Michele. It’s rock’n’roll, slightly alternative, very theatrical – breaking the rules and even the system. Of course it’s not as radical as Westwood and McLaren – but it’s a leap away from all this safe minimalism which is trending for the last few years. And if I mention that I’m watching the second episode of 80s favourite comedy show, Absolutely Fabulous, starring Eddy and Patsy, you can imagine the affair I feel with this collection. Glam, over-the-top effect and never-mature clubbing lifestyle. I love it! Although Alessandro is an Italian, who loves embroideries and lace, he’s also an anglomaniac, obsessed with unconventional youth and aristocracy-meets-punk thing England is famous of. “You are part of the culture of Europe!” exclaimed the designer backstage, showing his love for British art, fashion and music side. I’m quite sure that if all the Brits take a peek at this collection, they will be sure about their vote during the referendum coming this month.







Erotic Decadence. Comme des Garçons AW16


“18th century punk” is how Rei Kawakubo, the 73-year old designer behind Comme des Garçons entitled her autumn-winter 2016. But don’t expect opulent ball-dresses with tomahawks (although Julien D’Ys, Rei’s long-time collaborator, created those grandiose hair constructions for this occasion)  – this collection pushed all the possible concepts of both, the past of historical costumes and punk. And, it was really all about sex and fantasies, with gigantic tongues, and – well, let your naughty imagination work it out – layered garments with “balls”, rendered in Lyon’s finest (and most expensive) tapestry. The closing look worn by Anna Cleveland, so the pastel-pink, leather piece with exaggerated, ruffled sleeves was a defiant reconstruction of Marie Antoinette’s coat, in which she would surely have a cupcake, or two. It subtly exposed calves, just like the rest of the extraordinary “dresses”. Another look, also in the same shade of pink, was an elongated blazers with harness belts tied all around the model’s body, while the floral armor made of booming, red fur pom poms shouted one thing – make love, don’t fight. There was a decadent, bourgeois feeling of couture, but simultaneously, Kawakubo broke up with chambre syndicale conventions, and totally ripped the French fanciness off. Who do you call a rebel now?

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Not Just a Punk. Acne Studios AW16


You always feel an energetic attitude at Acne Studios collections, naturally caused by the bold colour palette, psychedelic prints and the 80s spirit which surrounds the clothes. The creative director of the brand, Jonny Johansson, has been inspired by a Californian punk band, The Cramps, and their rebellious, acid-dyed looks. But the autumn-winter 2016 outing wasn’t a wannabe “grunge” collection. Johansson reinterpreted his obsession, playing with silhouettes (orange, duvet jackets worn as kimono dresses, for example) and textures. From a transparent PVC top, which hid a striped mini-dress, to über-cool yellow leopard patterns on the knits and undies, the designer proves that a punk soul has many forms of its appearance – but it always keeps on looking defiant, and going against the flow!






Punk, Belts and SoHO. AF Vandevorst AW16


A.F. Vandevorst showed its new collection in London, which felt quite unexpected, as the designers behind the Belgian brand – An Vandevorst and Filip Arickx –  used to be the regulars at Paris Fashion Week. But the city was a pretty obvious choice for them, though. The punk spirit, which was the theme behind the collection, is reflected in British music history in the best possible way – and the fish-net tights revived the old, clubbing attitude of SoHO, before it became a trendy, hipster district. The faces of the models were splattered with red, while some of them wore restrictive belted helmets made of leather or velvet. To a surprise of many, velvet had a bright moment this season at Vandevorst, looking good on platform boots and extra-large maxi dress. Also, the deconstructed skirts and pantalons had a rebellious twist, looking quite fierce with red suede stompers. Punk and rock’n’roll have been present in the label’s codes from the very beginning, and to a large extend this collection was a good occasion to highlight that fact – even though I will always consider A.F. Vandevorst as a much more Paris-based label. Whatever they say about the British subculture present in these clothes, the chic, French decadence is oozing from every corner – and I hope this won’t change.


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