Beam me up, beam me up, beam me up town… don’t why, but got this Midnight Magic tune in my mind when I see this Saks Potts look from spring-summer 2019 (styled with the so-cheesy-it’s-chic yellow hat).
Collage by Edward Kanarecki.
Every so often a label appears out of nowhere that piques my interest. Well, in case of Extreme Cashmere, it made me completely, completely fall in love. This is what I want to have in my wardrobe, starting from September: a cashmere t-shirt (in all colours possible), a cashmere pullover in khaki, a pair of cashmere wide-legged trousers with elastic waistband in light grey. Shortly speaking, I want all my wardrobe classics in cashmere, and specifically in this over-sized, all-time friendly silhouettes Extreme Cashmere offers.
Since its founding in 2016, this Amsterdam-based brand has been dedicated to creating and producing the ultimate cashmere wardrobe for everybody and every body. The brand follows a clear aesthetic of reinvented classic styles in surprising colours and shapes, unisex and unisize, suited for all seasons and all occasions, austere yet playful, designed to be used and loved for a long time. Extreme Cashmere articulates one ever-evolving and seasonless collection that continuously gets refined, redefined and altered. Four times a year an ‘edition’ of fifteen styles that offer new knits, colours and designs are presented and added to the collection. The brand’s uncompromising focus on establishing styles with a long-lasting nature is also reflected in the sole use of cashmere stretch of the best quality available against a fair price (stop here: comparing to The Row’s cashmere goods, those prices are quite level-headed). Oh my, how can something look (and surely feel) so fleecy and fluffy, and simultaneously look aesthetically pleasing?
I know you will love this heaven. Discover the brand here.
Collage by Edward Kanarecki; all photos via the brand’s site and Instagram.
Azzedine Alaïa’s curiosity for exploring all things new and unique is legendary. His wide-ranging interests in art, architecture, music, and global cultures would often bring forward new and unexpected insights into both contemporary dialogue and the tempo of the times. Fashion and art always influenced his approach to couture. So it was not unusual that in 1991, art once again opened another path, expanding the world of Azzedine’s fashion. As always, his eye saw the pulse of the times. Inspired by his friend Julian Schnabel’s paintings, Alaïa was the first to take couture to the street. “It happened thanks to my friend Julian Schnabel, he wanted to make paintings with the vichy check fabric that was in fact the signature emblem of Tati”. Alaïa’s spontaneous and fresh approach to fashion led him to create what would later become a marketing model – collaborations between high fashion and street fashion – appearing for the first time on the Alaïa runway with the Tati collection. As he would later say when asked about the iconic spring-summer 1991 outing, “with Tati I learned many things, another way to look at fashion”. He used the trademark pink and white vichy check print fabric of the popular shopping store TATI, where every day Parisians would hunt for the best bargains. The history of the TATI stores was a part of Paris, part of the life of the city, and a part of his own journey from Tunisia through the working class neighborhoods where the TATI checked pattern could be seen. To join his world of Parisian couture with the streets of Paris was his pride. He would add the black and white and the blue and white patterns, something new for Tati, exclusive to the Alaïa collection, and he would offer his designs to customers at the lowest price in a small collection consisting of a bag, a T shirt, and a pair of espadrilles to be sold at TATI stores. Oh, Alaïa…
La Collection Tati, curated by Olivier Saillard, on view until 05.01.2020 at Association Azzedine Alaïa in Paris.
Collage by Edward Kanarecki.