Sterling Ruby’s Calvin Klein

August 1, 2017 | Design & Culture by Ed

Collages by Edward Kanarecki (the above featuring elements from Sterling Ruby’s art).

Raf Simons‘ take on Calvin Klein is the biggest momentum going on in New York’s fashion, whether we’re speaking of his brilliant autumn-winter 2017 show or the visionary advertising strategy. As if that wasn’t enough to make a dusty brand take-off right away, there’s also the Madison Avenue flagship re-designed by Ruby Sterling, which reopened last Saturday.

Raf and Ruby are long-time friends and have collaborated on many projects – from a capsule collection of parkas and sweatshirts at Simons’ eponymous menswear line to fabrics for Dior’s haute couture show in 2012 (the Belgian designer designed womenswear at the French house for three years). Simons and Sterling’s paths cross again, but this time in form of a three-floor store covered in glowing yellow paint and the artist’s custom-made installations. As Ruby described his work in the past issue of 032c, his art is something cartoonish and illustrative, yet contains dark gothic humor of it. Knowing Simons’ signature style, that’s quite a match. Also, the artist often uses motifs connected to Americana – a theme Raf frequently relates to while working at Calvin Klein, the all-American fashion powerhouse. It’s worth adding that aong the clothes and accessories with CK tag, you are able to buy vibrant Italian glassware, Homer Laughlin coffee mugs and Rose Cabat’s ceramics in Raf and Ruby’s brand new empire.

Calvin Klein; Location: New York NY;

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But if you’re not planning New York in near future and have no chance to get hold of Simons’ Calvin Klein garments, better get hold of those yellow sleeves, this jacquard blouse or that very in-demand turtleneck. Just saying.

Calvin Klein

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

Men’s – What’s Hot (4.1.17)

January 4, 2017December 29, 2016 | Design & Culture by Ed

Byredo ‘Sunday Cologne’ perfume, Dries Van Noten shorts, Vetements socks, Raf Simons ‘Robert Mapplethorpe’ tank-top & Rick Owens sneakers.

What’s Hot (1.12.16)

December 1, 2016December 1, 2016 | Design & Culture by Ed

J.W.Anderson mules & Olympia Le-Tan clutch.

Men’s – Robert Mapplethorpe. Raf Simons SS17

June 18, 2016 | Design & Culture by Ed

It’s the first time in a while, when Pitti Uomo feels exciting. This season, the fashion editors and buyers have seen Gosha Rubchinskiy take on Italian culture; the same day, Raf Simons presented one of his most defining collections in his career. The standing fashion show for spring-summer 2017 was a special occasion – it was a nod to Robert Mapplethorpe, a controvertial American, who was known for his unconventional black-and-white photography. During his lifetime, the photographer shot such extraordinary characters as Patti Smith or Andy Warhol, but also, he was famous for his highly BDSM polaroids, flower still-lives (often compared to erect phallus) and nudes of female wrestlers.

The photographer, who began the cult of erotic photography in the 70s, was the main, well-visible and fully acknowledged reference point for Raf this season. Rather than simply putting famous Mapplethorpe photographs as prints on tops, Simons challenged himself to make his inspiration something much more profound. “Every boy is a representation of a piece of work” – this is how the designer described the models, with dark, curly hair and skinny black pants. Some looked like the original characters taken out of Mapplethorpe’s polaroids, wearing leather biker caps and voluminous, white shirts. Oh yes, the shirts. The over-sized silhouettes reassembled white walls of a gallery, perfectly exposing these defiant and somewhat deviant visuals. Debbie Harry, with a stern face, looked at you from under a cropped V-neck sweater; a penis photo on a striped t-shirt wasn’t a surprise, keeping in mind Robert’s late obsessions. Wherever you turned, you could sense respect for the photographer, coming from Raf’s heart. The focus was on the clothes – the images weren’t shouting, leaving space for the pieces to speak for themselves. It’s not a one-season-only type of collaboration between an artist (specifically, Mapplethorpe Foundation) and a fashion designer. It’s a collection, where everything is about the rebellious attitude, with a very clear, labelled reference. Other designers should take a note from Simons on how to name their inspirations, in order not to become accidental copycats.