New lockdown is hitting Poland (just as many other countries in Europe) and I can’t help, but wonder… why just about ten brands come to my mind with masks (or any other accessory that has something to do with provisional face-covering) for spring-summer 2021? I honestly though every third brand would do a mask, even the simplest one, without a commercial plot behind it. I realise brands and designers might not find mask aesthetically pleasing (I don’t, for instance), but it’s such a statement of our times, a symbol. An ultimate necessity, most of all. A sign that you’ve got a brain and care for others. Even one mask in the collection already makes a difference, brings this super important stance to the front. And this fashion month, it was so awkward to see all designers taking a bow in their masks, while the models were just out there, wearing clothes, as if it’s business as usual… here are some brands (a minority!) that at least tried to bite into the masks/face-coverings repertoire:
Imitation of Christ
(Ok, this isn’t a mask, but if you happen to forget yours… cover your face with whatever you’ve got! A turtleneck is very convenient).
So, here’s a reminder: please, please, please, MASK UP!
All collages by Edward Kanarecki.
In a pretty short time, Daniel Roseberry has pushed Schiaparelli – a haute couture maison – forward to an extent in which its ready-to-wear line finally makes sense. Roseberry’s flair for the fantastic absolutely works with Elsa Schiaparelli’s aesthetic, and in the spring-summer 2021 line-up he manages to negotiate the balance between the Surrealism that was the legendary designer’s signature and the everyday. Speaking over Zoom, he said he approached the new collection with “a renewed energy to focus on what I want to say here, to capture the irony and what Schiap was about. Her legacy still lives really large, and it feels really true to this moment.” The pandemic has upended fashion. Some designers and brands are sitting this season out or playing it extra safe, counting on pajama sets and tracksuits to carry them through. Not Roseberry. In the look book photos he took himself (it’s interesting that many designers choose to photograph their collections), and in the behind-the-scenes video the brand produced, that extroversion comes across most distinctly in Roseberry’s fabulous gilded jewellery: eyeglasses with enamel eyes in the center, masks that cover nose and mouth, fingertip talons, and even nipple buttons. Those little and big, wearable artworks took Instagram by storm. The clothes are nearly as provocative. See: the white button-down with hand-painted breasts on the front, the odalisque prints on a shocking pink and white pantsuit (studies of Manet and Degas that Roseberry did himself), and the broderie anglaise with Surrealist faces picked out. There’s also a pair of minidresses, one ivory, the other black, with big inverted volumes. Roseberry took no half measures with this collection, and in this time of uncertainty and anxiety, that kind of conviction is a real turn-on – something we’ve experienced as well at Jonathan Anderson’s extraordinary Loewe.
Collage by Edward Kanarecki.
Despite the name Daniel Roseberry gave his autumn-winter 2020 collection for Schiaparelli – the “Dreamer in Daytime” – the designer included some couture-like flourishes for evening, including a stretch-leather bodysuit worn with a full skirt with a cartridge-pleated waistband – athletic and easy to wear – and a silk faille party dress with detachable sleeves. “I love the idea of a modular ball gown,” he explained to the press back in March, reinforcing the idea that these clothes are designed to feel relaxed – “very chill.” And simultaneously precious.
Collage by Edward Kanarecki.
Comparing to his chaotic debut collection last June, Daniel Roseberry‘s take on Schiaparelli for spring-summer 2020 is sublime. S-U-B-L-I-M-E. For this couture line-up, the American designer decided to focus on the “double fantasy” of Elsa Schiaparelli’s style. He began planning the collection by looking at images of Elsa at work in her studio dressed in her inventive, but pragmatic daytime outfits. These he contrasted with “the incredible Surrealist parties that she used to throw – this idea of the woman who dresses for herself during the day but then there’s this duality at night where it becomes performative. I became obsessed with the contradictory personality, the introvert-extrovert idea,” he continued, “trying to embrace those two different extremes and remove all the middle, and do something that feels uniquely Schiap and personal.” Roseberry also looked at the designer’s 1930s friends and collaborators, including the minimalist Deco Moderne furniture and interior designer Jean-Michel Frank (for a daytime palette of cerused oak and parchment that he mixed with navy and cigar brown) and Alberto Giacometti (for the skeletal jewels and rhinestone “bone” embellishments that also referenced Schiaparelli’s own shocking padded jersey skeleton evening dress of 1938). Roseberry has had the opportunity to focus on tailoring (always important in Schiaparelli’s own work) and the collection opened with some stylish options for the couture client who actually works. The “psycho chic” day clothes, as Roseberry described them, morphed into evening pieces that evoked Schiap’s dreams (dreams that his program notes explained “were active, propulsive, exuberant, extravagant, rebellious, ambitious”) and nodded to Yves Saint Laurent and Christian Lacroix’s ’80s and ’90s couture work in striking ultramarine, scarlet, viridian, and of course the brand’s own shocking pink. Schiaparelli is finally back on its track. Roseberry is a wonder.
Collage by Edward Kanarecki.