A Discussion on Uniforms. Matthew Adams Dolan SS19

September 7, 2018September 7, 2018 | Design & Culture by Ed

Who: Matthew Adams Dolan

Where: New York

What: Dolan’s denim jackets and signature shirt-dresses with exaggerated cuffs are perceived as the new ‘basics’. Why? Noting their couture-level tailoring, Matthew’s fashion is realistic and wearable, but far, far from trivial. It’s not about few good styling tricks or a thoroughly contrived Instagram ‘image’ that fuels the label. Dolan let’s the clothes do the talking for themselves, which is especially rare in the industry. The talented, young designer as well revises American fashion, creating the ultimate classics of 2018 (and for years ahead). SZA and Rihanna approve, just as the fact that Matthew became one of the finalists of this year’s LVMH prize.

SS19: This season, Matthew took a closer look at the American society, dissecting various ‘uniforms’ and recreating them in stylishly utilitarian looks. Splashed with colours – from acid green to bold fuchsia – the collection had the pieces you want to wear now: a belted, over-sized blazer, the ‘cashier’s vest’ worn over an over-sized shirt, a pair of bermuda shorts that can be mistaken with a midi-skirt. The young designer mentioned Claire McCardell as one of his main reference points for spring-summer 2019. McCardell is credited with the creation of American sportswear, and injecting it into women’s wardrobes. That sort of democracy appeals to Dolan, and he conveys that through the functional, yet not boring garments. It’s exactly fashion that the early 20th century designer would totally approve.

Collage by Edward Kanarecki.

Power Dressing. Tom Ford SS19

September 7, 2018September 7, 2018 | Design & Culture by Ed

After his over-the-top, kitschy-chic fashion show back in spring, Tom Ford’s spring-summer 2019 collection felt like a colour detox mixed with self-reflection. Black, white, beiges and pale lilac were the leading shades, while the entire line-up took us down the memory lane of Ford’s career. For a moment, we all experienced again his 90s momentum at Gucci, that was all about refined sexiness and confidence – words that match the designer’s current work with the same precision. To a surprise of many, there were as well references to the few year tenure at Yves Saint Laurent, the period that shaped Tom’s aesthetic into a more sublime, after-dark vision of women.

But back to 2018. Draped skirts with lace inserts; jackets and blazers made of fake crocodile leather; satin cocktail dresses and evening gowns with pony-hair details. Some of the looks are fit for goddesses of seduction, other for cosmopolitan bosses. This one all-leather look seemed to be taken straight out of Roxy Music’s cover that featured Amanda Lear. But no, in the end this collection wasn’t created with a dominatrix in mind, but for powerful women who want garments that look equally powerful. The menswear part can be described with one word: handsome. Conclusion: when the evening comes, you want to meet both, the Ford woman and Ford man.

Collage by Edward Kanarecki.

Sun-Kissed. Partow SS19

September 6, 2018September 6, 2018 | Design & Culture by Ed

Who: Nellie Partow

Where: New York

What: Partow, as a label, is rooted in the present tense, so don’t expect 70s or 90s references that storm other designers and brands for the last couple of seasons. Simply speaking, it’s a brand that can be easily put next to The Row. The quality of knitwear, tailoring and pretty much everything else makes Partow a true American luxury brand, from top to bottom.

SS19: The designer listed her hometown of Laguna Beach, California, as the main inspiration behind the laid back silhouettes. Baha hoodies are a nod to the local surfers, while the toned shades of peony and tangerine remind “the peach undertones in your skin,” post-sunbathing. The collection’s highlight was definitely the hand-knit cable sweater, which was covered with paint to mimic whitewashed wood. Gorgeous! Phoebe Philo is still off the radar, so if you seek clothes that are similar to hers, Partow might be your go-to brand this season. There are some clear clues of Nellie’s love for the pre-Hedi Céline (with an É!), from the styling to several garments (far too many to list). But that’s not a bad thing! I also found the look-book itself quite intriguing, starring Tasha Tilberg and photographed by Bibi Cornejo Borthwick.

P.s. The fashion month has just begun, and I thought of changing the format for my reviews. New brands that debut on Design & Culture by Ed will have the ‘in a nutshell’ scheme (like here), while the more well-known names will get the traditional, long read.

Collage by Edward Kanarecki.

Men’s / New Vintage. Bode SS19

August 13, 2018November 6, 2018 | Design & Culture by Ed

While the fashion industry struggles with overproduction and its self-destructive pace, the New York-based designer Emily Adams Bode goes against the flow. Her label, Bode, is mostly fabricated from vintage textiles: antique table linens, patchwork quilts, grain sacks – the list can go on. But don’t think her work comes out as looking overly D.I.Y. or crafty-arty. We’re speaking of button-up shirts with romantic pussy-bows, delightful coats and striped boxy trousers, treated with the finest dyes.

Her spring-summer 2019 collection is a beautiful nod to India. Part of it was produced from khadi, a handwoven cloth, produced by Indian craftsmen. But there are as well incredible Bengalese embroideries all over the shirting; a t-shirt with a flag of India print that has a cool, vintage-y vibe; pastel-blue short shorts; a rugby jacket in the brightest shade of orange; loosely fit suits. It’s like Wes Anderson’s ‘The Darjeeling Limited’ cast wardrobe, available in real life. But coming back to Bode and it’s phenomenon, it’s incredible how the label stays true to ethical and sustainable way of doing things (noting that Bode is based in the Big Apple, where everything should be ‘now and here’ lately). “We’re still largely focused on vintage textiles,” Emily says, “and then we work to find something that is reproducible from them. We have mills and producers in India, actually. And, when buyers come, they shop on the rack, and say, ‘How close can you get to this piece?’ Some want each piece exactly the same, and others want only one of a kind. We’re calibrating it, but it’s working.” One more thing: even though Bode presents her clothes on men, all of the pieces can be as well worn by female fans of the brand.

Collage by Edward Kanarecki.

Olympics. Saks Potts SS19

August 12, 2018 | Design & Culture by Ed

For their spring-summer 2018, Barbara Potts and Catherine Saks clearly wanted to stir away from what Saks Potts is mostly known for: the best-selling faux fur jackets. And they tried hard to surprise. In the beginning, a dance troupe performed in the middle of the stadium, where the collection was presented; then, a model came out, wearing a dramatic white dress in fur. And then, the show really began. The collection was meant to be a nod to the Olympics and everything connected to sport. But the result could have been much better. The designers definitely needed to concentrate more on editing the looks, as in the overall the collection felt simply… messy. Holographic, Lycra ensembles. Duvet jackets with mountain prints. Logomania tights. Too much going on in here. Also, I couldn’t help but note all the elements that seemed to be knocked-off from Area NYC. Their signatures: the big sunglasses, the over-the-top styling, the early 90s glamour. All present at Saks Potts, executed in a very similar way. The best (and certainly the most original) part of the collection was the fur. That lilac coat with a fluffy collar and equally fluffy cuffs is a highlight, just like the ombre teddy bear piece.

Another week, another fashion week. Some Copenhagen designers, like Cecilie Bahnsen, have a clear signature and keep to it. Other, like Ganni, recycle trends. And the other others, like Saks Potts, are established for one thing, but seem to struggle to evolve. Still, the Danish designers are worth watching.