A Decade. Victoria Beckham SS19

September 18, 2018September 18, 2018 | Design & Culture by Ed

Here we’ve got the other anniversary collection from London. Unlike Mary Katrantzou, Victoria Beckham didn’t revisit her archives literally for the collection that celebrates her 10 years in fashion. And, other than the appearance on the London fashion week schedule, major media fuss and the appearance of model greats on the runway (like Stella Tennant, who opened the show, Małgosia Bela, Grace Bol, Tasha Tilberg and Liya Kebede), that was a very regular, Victoria Beckham collection. Chic, slouchy tailoring, super-slim crepe trousers that are here to be worn underneath every second dress you’ve got, satin tank-tops with lace inserts, minimal eveningwear, over-sized shirts. Wardrobe essentials, elevated with a refreshing colour palette and minimal-feminine sensitivity. Soul II Soul’s Back To Life played in the background, reminding the soundtrack from Phoebe Philo’s remarkable spring-summer 2014 collection. This triggered the inner finding of parallels between Philo’s work, and Beckham’s brand codes the designer repeats and refines every season. But then, I can somehow forgive Victoria for doing that. Look at her now, 10 years later. That body-con dress and killer stilettos are buried deep, deep in the fashion history. Let’s see what the next decade brings for this iconic, ever-changing woman.

Collage by Edward Kanarecki, featuring Euan Uglow’s painting.

Maximalism. Mary Katrantzou SS19

September 17, 2018September 17, 2018 | Design & Culture by Ed

In London, it’s the season of anniversaries. It’s not only Victoria Beckham who celebrates her 10 years of business, but as well Mary Katrantzou, the Greek designer who exactly in 2008 stormed the industry with her kaleidoscopic, bold prints. One would expect to see a remix of her greatest hits, but Katrantzou pushed the envelope and didn’t go the ‘easy’ way. For this delightful collection (which I consider her best in a while), Mary took favourite prints she used throughout her career, and re-made them in the most couture way. Postcard stamps, butterflies, perfume bottles, jewellery, flowers and many other trademarks of her visual language were transformed into meticulous embroideries and embellishments that covered long-sleeved mini-dresses, tulle ball-gowns, romantic capes and elegant flares. Once you see the details, you will be instantly in awe with all that stunning, mind-blowing beauty. Maximalism has always been Katrantzou’s best friend, but this season it seems to be a grand love affair. In the end of the show, after the “collection of collections” was presented, the curtain in the middle of the venue went up and an army of mannequins appeared. The guests could revisit Mary’s most major moments, from her gorgeous MA collection to that memorable type-writer dress in red from 2012. Well, what else is left to say. Wishing the designer next, and next, and next decades of success in fashion!

Collage by Edward Kanarecki.

Touch. JW Anderson SS19

September 17, 2018 | Design & Culture by Ed

J.W. Anderson‘s spring-summer 2019 collection is one of those harder to comprehend, sophisticated line-ups. The designer, Jonathan Anderson, “wanted something a bit more bohemian.” He continued backstage of his show, saying that he wanted “a celebration of fashion. Everything with fluidity to it, a patch-worked, somehow“. The complexity of those garments, or rather, the way they were put together, was deeply rooted in the multiple combinations of textures, fabrics, colours and so-called ‘fashion conventions’. Flowing maxi-dresses were styled with white gloves and over-sized t-shirts, while the over-sized shoulders were even bigger than usual, ultimately distorting the proportions. Pin-stripe shirting looked soft and feminine, meanwhile the ‘unfinished’ hems of skirts brought rawness. This collection was also close to Anderson’s work at Loewe – here, we also had a great appreciation for craftsmanship, which tactility you can only truly feel by touch. At a first glance it seemed to me that every element of this collection is somehow ‘in conflict’. But then, taking a second look, made me realise that that’s the essence of J.W. Anderson, as a person, and as a brand. Edgy, even disturbing, gradually becomes beautiful.

Collage by Edward Kanarecki.

Pre-Party. Molly Goddard SS19

September 16, 2018 | Design & Culture by Ed

For me, London fashion week kicked off with Molly Goddard‘s wonderful spring-summer 2019 outing. Goddard is known for her carefree way of staging a show – his season, we’ve had a Mediterranean vacation of sorts. Market stalls were set up alongside the runway, designed by her talented set-designer mother, Sarah Edwards. Some of the models, other than wearing frivolous daisy dresses and sweet gingham print short-sleeved coats, carried a salad. “It’s that moment when you’re ready for the party, but your mum asks you to go to the market”, the designer said backstage. All dressed up, but still in the ‘organising’ mode. Other than Molly’s beloved, signature tulle (which seemed be more down-to-earth that usual, not that colour-explosive), there were lots of pieces trimmed with frills. Take Edie Cambell’s second look, that white, mini-shirt-dress cut with a plunging neckline, with the meringue-ish detailing at the hem. That’s a perfect summer dress, no?

Collage by Edward Kanarecki.

Dolls. Marc Jacobs SS19

September 15, 2018 | Design & Culture by Ed

On the last day of New York fashion week, Marc Jacobs sent out a line-up of human-size dolls. But no Barbies here – rather, those old-school dolls dressed in delightful, dreamy dresses every girl used to want in her life. Many considered Jacobs’ collection as ‘too much’, while I thought it’s just the right amount of fun, glamour and honest fashion joy. At some points dangerously saccharine, the collection was a nod to Karl Lagerfeld’s early years at Chanel and Yves Saint Laurent’s voluminous, multi-coloured moment in the 80s. It’s Jacobs’ second season of going fashion-history-heavy, but this time the result is much lighter and not that exaggerated. While fashion insiders note how badly Marc does in his ready-to-wear sales in the recent seasons, it’s visible that the designer doesn’t really care about that and continues to keep New York’s fashion on track with his mind-blowing outings. I mean, we can’t just stare at baggy pants and Phoebe Philo knock-offs, right? With a few exceptions, that’s what New York’s fashion is like today.

It seems that Marc Jacobs, Rodarte sisters, Pierpaolo Piccioli from Valentino and Alessandro Michele from Gucci are the last people who still dream in fashion, in that ‘romantic’ way. But still, Pierpaolo does that solely in his couture (that’s commercially backed up by ready-to-wear). Alessandro is having his ‘hype’ period that might end sooner or later. With Rodarte, I will never understand how that brand sustains itself financially. Where’s Marc in all that? Maybe the beauty line will keep him in business, because his clothing becomes shockingly rare to spot in the stores. Whatever it is, I hope he won’t be exiting his brand anytime soon.