Joy. Rosie Assoulin SS19


The fashion week calendar gets blurrier and blurrier with designers like Rosie Assoulin, who has presented her resort 2019 and spring-summer 2019 as one, fluent collection, long ahead of the usual schedule. The designer is planning to make two collections a year, keeping it at her pace – so, forget any ‘see now, buy now’ strategies here, or other confusing business tricks. For Assoulin, it’s the time that matters: to design and to produce her garments. And that’s quite visible, when you take a moment to look at the clothes.

For instance, a coat hand-painted with watercolours; intricately beaded midi-skirts. Note the pin-striped suits. As Vogue reports, “instead of engineering a print, each pinstripe was actually a space-dyed yarn that almost shimmered”. Indeed, not that simple as it seems. Not forgetting about the fantastic jug bags, one of Rosie’s well-known signatures among the New Yorkers. This time they come in even bolder colours. What makes Rosie Assoulin’s brand so distinctive is the joy and humour that are inseparable from the clothes. And what else could highlight that this season? The presentation’s venue, Raquel’s Dream House. It’s Raquel Cayre’s space, where the design lover exhibits some of the most iconic pieces – Masanori Umeda’s Tawaraya ring sits, Shiro Kuramata’s famously fragile Glass Chair and Ettore Sottsass’s Ultrafragola mirror, to name a few. A set that matches Assoulin’s arty gowns, skirts and outerwear just perfectly.


Collage by Edward Kanarecki.

Sweet Lifestyle. Missoni Resort 2019


Angela Missoni can make her Missoni collection as sweet as the Spicchi de Arance e Pompelmo from the newly published The Missoni Family Cookbook. By that, I mean the softness of knits and a spectrum of pastel colours that appeared in the line-up. Missoni is more than fashion; it’s a lifestyle that’s about love, family, friendship, celebration – all somewhere situated in a very Italian villa. Light, plissé dresses in knitted Lurex and palazzo pants (note that delicate transparency) suggested fresh airiness, while the abstract floral prints and sea-shell jewellery brought on even more charm. Yet still, the collection feels dynamic, with that leading, signature “Put Together Look”, where different patterns, colours and textures are gracefully matched up. Plus, Bibi Cornejo Borthwick’s photography and Vanessa Reid’s styling fit contemporary Missoni’s image very, very well.


Collage by Edward Kanarecki.

Consistently Exciting. Chloé Resort 2019


Natacha Ramsay-Levi makes Chloé bloom, even if she’s not resorting to floral prints as her predecessors. I mean, her Chloé is so good. Her first seasons characterised with smart consistency which is capable of being exciting. And with each collection, Natacha seems to grow in confidence. For resort 2019, the designer continues to play with Chloé codes, like the horse print, but experiments more freely with volumes and styling. I love how that Victorian-sleeping-gown dress gets more badass with the knee-length leather boots. Ramsay-Levi does the Chloé flou, but she doesn’t fall into that dangerously naive, over-feminine trap. That woman isn’t here to be blown away by the wind in the middle of a field. It’s urban chic for self-aware, conscious females.


Collage by Edward Kanarecki.

When in Alyscamps. Gucci Resort 2019


It was Gucci and the ancient necropolis of Alyscamps, a stone throw from the French city of Arles, that followed the Louis Vuitton cruise show in the Cote d’Azur. The lightness and sun-drenched mood of French Riviera got erased by a massive dose of historical weight and a sense of mysticism that Alessandro Michele adores to implement into his clothes, and the Italian brand. It’s not a surprise that the collection was heavy in details and focused on a beautiful chaos, typical for the escapist universe of the creative director. The line-up was like a moving closet for women and men, or rather for anyone who feels free to wear the clothes. That’s Alessandro’s way of pushing Gucci into no-gender-boundaries label. So there it all was on that, literally, ‘on fire’ runway: a gown with a skeleton thorax embroidered on the bodice (disturbingly magnificent), bridal dresses embellished with Christian crosses, leggings with memento mori written all over, richly embroidered toga dresses, punk-ish boots, opulent robes, jaw-dropping faux fur coats and lots of flowers (that replaced real accessories). I no longer look at Michele’s collection in terms of clothes only. That just doesn’t make sense. His creations are like a theatre, where everything matters: the styling, the models, the setting, the music.


Collage by Edward Kanarecki.

Art and Riviera. Louis Vuitton Resort 2019


I know, I know. It seems that Louis Vuitton‘s resort 2019 collection took place ages ago. But I’ve been holidaying for a while in the Algarve region of Portugal, and hey – shouldn’t we all slow down the pace in the industry? Shall we make make reflection, not the instantness, a priority?

Nicolas Ghesquiere‘s take on French Riviera’s artistic aura was brilliantly executed at the Fondation Maeght in St. Paul-de-Vence. The runway, filled with Giacometti sculptures, was a perfect backdrop for the season’s flowing dresses, evening tops with feathers and deconstructed vests. The collection is full of contrasts. Leather over-the-knee sneaker-boots clashed with feminine flou of some of the outing’s most refined looks, while 80s volumes and prints were put next to boudoir-esque pink satin and lace. Shortly, Nicolas celebrates diversity in dressing, that used to be rich among the artists who settled across the Riviera.

What is it today to be an original, [someone] who has her own way of dressing? This bricolage . . . you can start a real movement. I love those people who are eccentric.” Possibly, Ghesquiere had Grace Coddington on his mind, who collaborated on the Vuitton bags the season. The mega-stylist and former creative director of Vogue worked on a collection of bags based on the sketches she does of her beloved cats and Nicolas’ dog. Maybe it’s the sea breeze that’s doing the work, but that was one of the best collections coming from the designer in a while.


Collage by Edward Kanarecki.

So Luxe. Givenchy Resort 2019


It took me a while to fall in love with Clare Waight Keller‘s refined vision at Givenchy, true. But her resort 2019 collection is fire in terms of both, womenswear and menswear. That luxe feeling behind the faux fur coat, slouched boots and kimono-inspired varsity jackets is nothing ground-breaking, yes, but the effect is sublime. Clare delivers classical elegance, which feels both contemporary (satin hoodies there, slouch pants there) and true to the house’s heritage simultaneously. That black & white mini-dress is quintessentially Hubert De Givenchy. Shortly, that’s a delightful set of looks, styled by the greatest Suzanne Koller. I actually can’t wait what Waight Keller plans for the main collection – a tribute to the late founder of the house is probably in progress.

Collage by Edward Kanarecki.

New York. Prada Resort 2019

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So, resort 2019 season has started. After a very tedious show Chanel staged in Paris a few days ago (that ship standing in the middle…), Prada‘s collection in New York makes a bit more sense. The MET is just around the corner; the company tries to re-enter the U.S. market with a boom – all of that is quite understandable. Miuccia Prada went for her archives (again), giving us some 90s feels. Her famous ‘ugly print’ from the time was all over the mini-skirts and dresses, while the ‘I don’t care much’ attitude of the decade was perceived. Even, if at some points it all felt forced. Other than the bucket hats and padded trappers, I just don’t understand the impact of this outing. Well, maybe seeing a bit more of Prada on Instagram was the entire point (plus the few-minutes long Times Square livestream that surely had all New York eyes watching).


Collage by Edward Kanarecki.