Just Gorgeous. Valentino SS19

October 8, 2018 | Design & Culture by Ed

The first part of Pierpaolo Piccioli’s spring-summer 2019 offering at Valentino could be read as the designer’s departure from the magnificent, Italian glamour he channeled in the past few seasons. With Kristen McMenamy (scream) and Maria Carla Boscono on the runway, Piccioli sent down an all-black line-up of minimally cut dresses with balloon sleeves, ball skirts and loosely fit suits. It’s been a while since we’ve seen such an impressive use of black, especially for summer. Somehow, the effect was far from solemn. But, if you missed Pierpaolo’s recent fashion galore, here you are: somewhere in the middle of the collection, a colour explosion took place. Valentino red looked less dramatic, but more joyous. Matisse and Gaugin-inspired prints were used for mini-dresses that got as well trimmed with feathers. This season’s use of tulle (delightfully pleated) as well made Valentino’s ready-to-wear top the ranks for the evening occasions. One can’t forget the huge, straw hats that brought even more glory to the collection. Piccioli is growing stronger and stronger as the sole creative director at the house. It’s a pleasure to watch him do wonders.

Collage by Edward Kanarecki.

Suburban Extremes. Thom Browne SS19

October 7, 2018October 6, 2018 | Design & Culture by Ed

Thom Browne took suburban, summer garden party style to the extremes. Gingham checks, whale and boats themes, dad ties and ridiculous headwear got exaggerated and couture-ed. Every sleeve is hand embroidered with the season’s motifs (like starfish or bananas), while the masks refer to old-school horrors happening in the calm, silent outskirts. Thom Browne rarely does anything usual and his creativity is far, far from the real world problems. But, noting all the absolutely fantastic craftsmanship involved in this line-up, it’s hard to look at the models struggling in killer heels, tied up with corset-like strings and strangled by all that uncomfortable excess. As Cathy Horyn wrote in her review for The Cut, it’s “silly”. Still, other than that, Browne’s spring-summer 2019 offering is full of fantastic garments to appreciate and cherish.

Collage by Edward Kanarecki.

Mind Shifting. Balenciaga SS19

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

Before mentioning the clothes, lets talk about Balenciaga‘s spring-summer 2019 venue that was, simply speaking, groundbreaking. Demna Gvasalia wanted to transport his guests into a sort of brain flow, a digital mind. The project – a tunnel filled with constantly changing, sci-fi animations – wouldn’t come together if the Georgian designer didn’t meet Jon Rafman, digital artist, at Art Basel. This collaboration resulted in the audience so stunned, that many couldn’t leave their seats minutes after the show ended. “My work explores new technologies and how our society, our consciousness, our interrelationships have changed,” Rafman told Vogue. He and Gvasalia collaborated at a distance, with full creative freedom given to the artist. The collection itself was as multi-faceted as Rafman’s art installation. It was the perfect balance between Gvasalia’s understanding of contemporary wardrobe and Cristobal Balenciaga’s design heritage. “I wanted to take a lot of things that are in our vocabulary, but give it this new dimension of elegance,” Demna said backstage. No sneakers this season, but a line-up of extraordinary dress-shaping (see the closing looks) and incredible tailoring. All kept in bold, even eye-scratching colours. “We challenged ourselves to make tailoring for today’s generation. How can they wear a suit—which they never do?” he explained. Get ready for shirt-jackets with matching trousers, fit for all genders. “It’s like a jogging suit, but it looks super-elegant in shape. There’s no obligation to wear a shirt and tie, because the jacket has become the shirt. Somehow, this is what I want to wear myself.” Innovative, intelligent, a bit hilarious, yet wearable, that’s what Balenciaga is this season. And, to be honest, that’s Gvasalia’s best collection in a while.

Collage by Edward Kanarecki.

Moving. Comme Des Garçons SS19

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

Rei Kawakubo’s spring-summer 2019 seemed to be opening a new chapter, but then it appeared to be much more intimate and internal than one might have thought. The Comme Des Garçons designer stopped her short (but one of the most memorable during Paris fashion week), abstract, ‘no clothes’ shows after ten seasons, and returned to bigger line-ups that consist of ready-to-wear (or rather hints of ready-to-wear). But as usual with Kawakubo, nothing is that simple. “I felt this approach was no longer new, and I looked for what is new, what is new. But I could not find it,” went the pre-show statement. “What I thought of in the end was a profoundly internal approach… about what’s deep inside.” This was the season’s most deep and profound collection. It was about a woman, and women in general. Especially, about women today, about all the limitations, pains and struggles. Few models had heavy chains strapped beneath their tattoo-like, second-skin dresses. Others wore tailored jackets with ‘cut out’ shoulders, as if somehow violently dissected their bodies.

Comme Des Garçons, ‘Lumps and Bumbs’, autumn-winter 1997.

Remember the ‘Lumps and Bumps’ collection? Kawakubo seemed to refer to it. But this time, the shapes were more gentle, natural. Pregnancy bellies-like protrusions stack out from tweedy blazers and fluffy, black dresses. Some were printed with Comme Des Garçons logo, suggesting Kawakubo’s perception of her huge brand, which consists of a number of divisions and all the Dover Street Market Store, as of her child she has to nurture and protect. The grey hair, supplied by Julien d’Ys, spark conversations on age and self-acceptance. To create, and then publicly present, something so personal, disturbing, yet darkly beautiful, requires true power from the inside. It’s more than impressive to see how Kawakubo pushes her limits every season and sends out so many emotions through the medium of fashion (I mean her multi-faceted idea of fashion, not fashion that’s repeated by the rest). Truly moving.

Collage by Edward Kanarecki.

Mad. Andreas Kronthaler Vivienne Westwood SS19

October 6, 2018 | Design & Culture by Ed

Andreas Kronthaler has gone fashion mad this season, in a good way. There’s no wonder why his life partner, Vivienne Westwood, looked so enchanted by this line-up. The models had fun, too. Some, instead of walking, chose to ride on scooters and skateboards. Dree Hemingway wore a red Thonet chair hat. Other models, muscular and all, wore tight underwear made in collaboration with Yasmine Eslami. Draped dresses made out of tapestry-like textile looked especially fantastic. The more approachable pieces – printed t-shirts and sporty jumpsuits – were visibly there to back up all that playful rhapsody, but looked matching.