style

Magical Realism. Altuzarra SS23

| Design & Culture by Ed

I haven’t seen an Altuzarra show in a while, but I follow Joseph Altuzarra‘s side project, Altu, which is a genderless label offering timeless essentials in a cool, off-duty, gritty aesthetic. To sum it up, it’s quite the opposite of the ultra-feminine style of the designer’s main label. But it seems to me that developing Altu let Joseph take a new perspective at Altuzarra. The spring-summer 2023 line-up shows a more relaxed, laid-back approach, and I like it. Well, maybe the first part of the collection is too isnpired with last summer’s Prada silhouette, but the second section is truly eye-pleasing. “The world feels so alien and scary. I’ve been interested in how people in the past have made sense of things,” Altuzarra said at a preview. “Finding tangible reasons for why things are happening is what people would do, and that’s what I’ve been expressing through the collections.” For spring he said he wanted to explore “this idea of a trip and nature as an entry point for psychedelic experiences.” A couple of books, The Teachings of Don Juan and Desert Solitaire, both written in the late ’60s and both delving into mysticism, proved inspirational. The show played out like a journey – or maybe a vision quest – starting with preppy-ish classics like striped shirts, cable sweaters, and minis that Altuzarra tweaked and twisted until they looked neither preppy nor classic. He topped them with boxy blazers or parkas, and accessorized the looks with retro Keds sneakers. The shibori-dyed dress of look 19 is where woman meets nature. Tie-dye and coin embroidery are two Altuzarra signatures, and he doubled down here, sending out a parade of exquisite dresses whose intricate craftsmanship is near unrivaled in New York. Most ambitious was the series of body-skimming numbers that were first tie-dyed, then pleated and twisted; their patterns looked like exotic skins. Other dresses were sewn first, then dyed. “It’s all done on a final garment. You basically can’t mess up, because if you do, you have to redo the whole thing,” he said. They take almost two months to make.

Collage by Edward Kanarecki.
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Fly Like A Butterfly. Collina Strada SS23

| Design & Culture by Ed

At Collina Strada, Hillary Taymour was in a celebratory mood (like many designers in New York seem to be). Hari Nef opened the show, wearing a dainty, lace-trimmed slip over wide-leg plaid trousers, her arms fluttering up and down like so many butterfly wings. Bedazzled on the front was the phrase “Got milkweed?,” an environmentally friendly take on the classic Got Milk? ad campaign of the ’90s, which also happened to be the name of the collection. Milkweed is the only plant monarch caterpillars will eat. Fittingly, the show took place at Brooklyn Greenway, a former cemetery turned monarch butterfly preserve that’s not open to the public. Taymour’s signature playfulness and Y2K influence were certainly present, but there was also a tender touch (some of the models wore extra-long braids that dragged on the floor behind them as they walked, like a Rapunzel that never had to cut her hair off to find freedom) and a mix of romanticism that resulted in some truly elegant eveningwear options. A floral lace–crocheted long-sleeve gown was worn underneath a structured bustier minidress with an exaggerated balloon skirt—a fantastic continuation of the exploration of panniers and bustles that Taymour has embarked on for the past few seasons. “I just feel like now that we’re a ‘trend,’ I really wanted to push it and be like, ‘We’re not just [sportswear],’” said Taymour after the show. “I can make these dresses for you and elevate it.” A carnation pink dress made from deadstock chiffon that hung from bent-wire flowers that attached to matching airbrushed pink breasts and nipples proved she could do both. She added, “I just wanted to push myself to do that.” Big cargos came in hand-drawn floral prints, crushed velvet, and even organza. Decorated jeans were part of a collaboration with Unspun, a company that 3D-scans the body in order to create made-to-order denim. She also debuted a collaboration with Virón featuring shoes made of upcycled materials, including ruffled velvet oxfords and chunky silver metallic boots, and a collaboration with Melissa on supercool and weird puffy sandals, which she paired with tiny satin ballerina-style socks that perfectly encapsulated the spirit of the collection. In the show notes, Taymour describes being inspired by “the butterfly’s symbolic cycle of life, death, and rebirth,” but with clothes like these, Collina Strada will thrive forever.

Collage by Edward Kanarecki.
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New York. Fendi Resort 2023

| Design & Culture by Ed

Fendi got the New York Fashion Week rolling with a bang. For over a month, the Italian brand has been communicating that it’s planning to hit the Big Apple for a big occasion: the Baguette’s 25th birthday. And what made the eternal it-bag so in-demand for the last two decades? Of course, Sex & The City, the most New York show of all the New York shows. “It was almost like a character,” Kim Jones said. “So I thought let’s do the show here, and let’s add in a few curveballs as we always do.” Sarah Jessica Parker, who sat front row with Kate Moss, Kim Kardashian and Lily Allen, approved the project as the IRL Carrie Bradshaw. She was definitely making a mind-list of her favourite looks for the second season of And Just Like That. That Jones is a prodigious collaborator has been well documented, but the match-ups he orchestrated for the celebratory resort 2023 collection were particularly inspired. Tiffany & Co. was brought in to provide the baguettes – as in diamond baguettes. The double-F logo on the Tiffany blue croc Baguette carried by Bella Hadid was pavéd in the precious stones, and the electric colour of her silk jumpsuit was 100% Tiffany blue.

Another quintessential New York addition: the Marc Jacobs collaboration. Jacobs’s section riffed on his recent collections with block letter intarsias spelling out FendiRoma rather than his own logo on everything from tracksuits and trucker jackets and matching jeans to an oversize terry robe. The faux fur XXL hats, which we’ve seen the last time on his autumn-winter 2012 runway, wowed the audience just like they did a decade ago. “I called Marc up and asked him if he wanted to design a collection for Fendi. I haven’t been involved at all,” Jones explained the collab. “We worked side by side during fittings. We were doing ours, he was doing his. I’m looking very much at 1997, and I think Marc’s is fresh and now.” Jones was after more of a feeling. “I was thinking about when I was first coming to New York and we would go out clubbing,” he said. Hence the irreverent, high/low mix of sequins and utility jackets, or a shearling sherpa and a mini. He meant what he said about utility. Even beanies and gaiters came with built-in Baguettes, as did many of the garments, those shearling sherpas most temptingly. Surprisingly, it all felt very early Sex & The City and Patricia Field style. For the kicker, Linda Evangelista, who is the current face of Fendi, glided out, resplendent in an opera cape, with a sterling silver Baguette bag in the crook of her arm. Jacobs, who joined Jones and Venturini Fendi for a bow, encouraged everyone to stand up – not that the crowd needed any convincing.

Collages by Edward Kanarecki.
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La Piazzetta. Emilio Pucci AW22

| Design & Culture by Ed

True to her Italian roots, Camille Miceli called Emilio Pucci’s winter collection La Piazzetta, hinting not only at Capri’s famous handkerchief-sized hotspot, but also at the notion of the city square as part of Italian culture, a space open to communality and connections. These values and the idea of la famiglia, another established building block of the Italian lifestyle, are the drivers Miceli is embracing to charge Pucci with a bold new energy. For her second collection for the brand, Miceli drew from her own family and circle of friends – a motley crew of characters, talents, and generations – generously sprinkling it with her abundant joie de vivre. “My Pucci woman is an urban bohemian, she loves to travel, she’s in constant movement,” she says. “It’s the mother, it’s the daughter, it’s the grandma – as long as they enjoy life, they’re part of the community of Pucci.” Festive, bold, and colorful, the collection keeps all the label’s fundamentals alive, while introducing a few novelty notes to the mix. Knitwear was a new addition, offered in a rainbow-colored capelet with an undulating hem, or in a fringed hand-knitted, patch-worked poncho worked with horizontal intarsia. Miceli said that she was “happy to have achieved something that is Pucci, without being logo-ed by the prints in a big way.” She also used black as a thread throughout the collection, using prints as pipings, side inserts, foulard ribbons, and fringes, while widening the color palette with “some more options that reflect its character without being necessarily full-on printed.” Fringes are a Miceli signature, as they “bring frivolity to the garment,” she explained. They also give the feel of the energy and glamour that is the quintessential combination of the Pucci-Miceli connection. The Pucci woman, whatever her age, is on the move, going around in activewear-inspired zippered blousons in shiny recycled nylon printed and tiny pleated printed kilts, and weathering rainy days in protective hooded waxed ponchos boasting the lysergic Marmo pattern.

Parties are the Pucci woman’s natural habitat, and Miceli wants her to shine under the discoballs. Leggings with disco ruffles are a tribute to the effervescent charm of Raffaella Carrà, an Italian showgirl famous in the ’80s who reminds the designer of her teenage years. Miceli’s affinity for the label’s high-style bohemia was conveyed in long printed chiffon dresses with ruffled décolletages, in more sinuous, body-con options wrapped in stoles, or else in leopard-printed satiny numbers – a new introduction as “Emilio only did zebra at the time,” said Miceli. Bravissimo!

Collage by Edward Kanarecki.
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