Stella & Fanny. Erdem SS19

erdenn

At a first glace this seemed to be a very typical, Erdem collection. Floor sweeping gowns made of satin; puffed sleeves; huge bows in the brightest colours; lots and lots of brocades and lace. A wardrobe suited for a palace dame, you might think. But in fact, the idea behind the collection isn’t that regal, or even conservative, as you might easily suppose. For those more concerned, this collection was deeply connected with the contemporary politics of gender self-identification. Erdem Moralioglu and his parter, Philip Joseph, lately bought a house in Bloomsbury, “and there was a plaque around the corner dedicated to two sisters, Stella and Fanny, who in fact were Frederick Park and Ernest Boulton, who lived as women in the 1860s.”  As Sarah Mower teaches in her Vogue feature, “Fanny and Stella, retrospectively honored as heroines of queer London in that plaque, were very publicly out and about in Victorian nightlife. In 1870, the notorious ladies were arrested leaving the Strand Theatre and charged with “conspiring and inciting persons to commit an unnatural offense”—although they were later acquitted.” Not only were the Victorian era-inspired garments a clue for this quite very uncommon reference, but as well a gender-fluid model casting that appeared on the runway. The beauty of craftsmanship and dress-making was embraced in this gorgeous line-up, yes, but as well the beauty of something much, much deeper and humane. “Far beyond any perceived thrill of cross-dressing,” the designer wrote in his press notes, “these were individuals with the courage to explore the power of self-expression.” Powerful.

Slajd1Slajd2Slajd3-kopiaSlajd4-kopiaSlajd5-kopia

Collage by Edward Kanarecki.

Heritage. Simone Rocha SS19

Slajd1

For Simone Rocha, the spring-summer 2019 show marks the first time she explored her Chinese heritage. During the research, the designer looked at the images of royals dating back to the Tang dynasty and was immensely inspired by their way of dressing and opulent fashion they favoured. But don’t think Simone went for anything too straightforward, like an ‘oriental’ themed collection. In an impressively smooth way, Rocha incorporated the Chinese history elements (like floral patterns from ceramics and emperor-esque volumes) into her signature dresses. While shopping in an antique market in Hong Kong, the designer came across the 16th-century paintings of concubines coming from the same dynasty. Elements from those paints show up in prints and portraits used in the dresses and skirts (slightly obscured by romantically lace trimmed, sheer sheaths). Some chic drama was delivered by the quite heavy-looking veils, made from meticulously embroidered tulle. But taking apart the headwear (and those gorgeous feathered flats!), the pieces that Rocha presented this season are more than welcome in the daily life. That’s the designer’s real charm – she creates stunning, fairytale garments that can be worn for any occasion.

cdemxSlajd2z

Collage by Edward Kanarecki.

Maximalism. Mary Katrantzou SS19

Slajd1-kopia 5

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!

maSlajd2rykaantrtzSlajd8

Collage by Edward Kanarecki.

Touch. JW Anderson SS19

Slajd1-kopia 6

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.

ccSlajd2vvbbnnmmm

Collage by Edward Kanarecki.