Haider Ackermann‘s spring-summer 2020 was about combining sensuality with tailoring – a sort of art that the designer mastered to perfection. The waist was a big focus of his new season line-up. Men and women both got midriff-spanning leather belts, and other times Ackermann knotted a jacket at the hips with a casual flourish. It looked especially compelling in the case of a jacket lined in vintage kimono silk. But if anything, this was a less androgynous collection than usual, due to the work the designer did with plissé bands of color, wrapping and twisting them around female torsos in a style reminiscent of Madame Grès. The tops, that are actual ribbons of fabric, are daring, just as the jumpsuits with the bumster-low cut-out detail in back. Bella Hadid and Adut Akech’s plissé bandeau dresses are highlights. The women’s and men’s show featured as well an ensemble first worn by Timothée Chalamet at the Venice Film Festival: a dove gray lapel-less suit in technical nylon with a flash of aqua blue at the hem. The belted tuxedo in the same pale shade with a liquid silk top underneath Chalamet wore not a while ago also appeared on the runway, styled in a slightly different way. Ackermann never disapoints.
Collage by Edward Kanarecki.
No fashion show this time, but a peaceful, tranquil showroom presentation accompanied with a look-book starring Saskia De Brauw. That’s how Ashley and Mary-Kate Olsen reply to New York’s fashion week fuss. Oh, the clothes. The Row is heavenly. Majestic. Angelic. But don’t think of any opulent embroideries or ornamental details, no. Rather, a voluminous dove-gray silk dress. Tweedy coat with the frayed edges. Robe-like gowns with regally upturned collars. All hand-made, kept in the highest possible quality of craftsmanship. Those garments don’t look still and statuesque, but flowing. I’m absolutely in love with this one look where a huge bag works as layer of clothing worn over a minimal, sleeveless dress. Editors tend to say that clients who adored Phoebe Philo’s Céline should go to The Row. Well, I wouldn’t go that path of logic. The Olsen twins gradually create their own vocabulary, that is less and less Philo-esque. They finally create distinct clothing that speaks for itself; it says ‘The Row’, not ‘Philo appreciation sample’. Also, a big shoutout to The Row’s new menswear line that launches in October. Mostly with a Made in Japan tag, the men’s garments (just a few preview images were released) will be as exquisite as the women’s. The price range, that starts from $4,000, speaks for itself as well.
Collages by Edward Kanarecki.
Never enough of Rei Kawakubo. All garments from Comme des Garçons’ autumn-winter 2017 collection.
Publication: The NY Times Magazine April 2017 Model: Saskia de Brauw Photographer: Erik Madigan Heck Hair & Make-Up: Julien D’Ys
The spring-summer 2017 campaign showcases five separate visual identities, five Prada realities: Pathways, Frontiers, Stations, Exits and Terrains. Each represents different scenes from the same story, a sequence of imagery. In a challenge to the singularity of traditional campaign imagery, the multiplicity of interpretations will continue throughout the year. The visions behind each of these Prada images – and behind this new advertising concept as a whole – echo the ever-shifting needs and desires of everyone’s lives, every day.
Photographer: Willy Vanderperre Models: Saskia De Brauw, Giedre Dukauskaite, Dylan Fender, Jonas Glöer, Amanda Murphy, Nimue Smit, Sara Grace Wallerstedt, Kris Grikaite, Oliver Houlby, Kiki Willems, Wang Hong Yu, Masao Parris, Jing Wen, Wallette Watson & Jude Law.
Publication: Vogue Paris December/January 2014-2015
Model: Saskia de Brauw
Photographer: Alasdair McLellan
Fashion Editor: Anastasia Barbieri