style

Men’s – Fashion Fun. Y/Project AW20

| Design & Culture by Ed

The huge pit packed with orange baloons inside of Y/Project‘s runway had a message: fashion is fun. For the label’s autumn-winter 2020 menswear and pre-fall 2020 womenswear, Glenn Martens wanted to bring on optimism that comes with dressing up. Martens distorts his clothing, amplifying details and suppressing others with a wit and invention that really surprises the eye. This season these distortions included a clash of Elizabethan corsetry against corporate dressing and duvet, winter-sportswear (a collaboration with Canada Goose is coming!). Disemboweled suiting saw strips of satin, sometimes black, sometimes shades of blushy pink, beautifully meshed and promoted to the exterior, a technique carried over into a contoured minidress for women. Martens, as usual, does exciting and far from obvious texture combinations, from mohair knits to heavy velvets. A white lined women’s denim shirt and skirt were mind-bogglingly beaten, twisted, and whipped into what resembled a piece of wearable art. There must be some paranormal force standing behind Glenn’s organic, fluid-like silhouettes.

Collage by Edward Kanarecki.

Organic. Rosie Assoulin Pre-Fall 2020

| Design & Culture by Ed

For her lovely pre-fall 2020 line-up, Rosie Assoulin looks back at her classics – think statement sleeves, zesty colors and eveningwear that’s never fussy – and not only. The designer’s obsession with all things organic – from food to fabrics – has lent a softer touch to even her fanciest stuff of late. The collection’s “picnic plaid” cotton suits; raw-edged linen dresses; convertible cable knits (they became Instagram’s obsession the moment the images went live); candy-color, 100% vegan sandals; jacquard pieces woven with exotic fruits and their prices-per-pound. She added that this wasn’t hand-picked farmer’s market produce; the flatness of the material was instead a clever nod to our strange new habit of ordering groceries online. Another highlight: a floor-length, drop-waist shirtdress in crisp ivory poplin. To make it look even more sophisticated, the designer added extra volume with darts and tiers around the hips, creating something of a low pannier. Thumbs up for the fantastic look-book photos by Stevie Verroca and Mada Refujio!

Collage by Edward Kanarecki.

Men’s – Rave Like You Are Five. Gucci AW20

| Design & Culture by Ed

A huge pendulum ticktocked back and forth, drawing a line in the sand beneath it. The mood felt far more sober that usual. Time for reflection? “Fashion is a sort of clock,” Alessando Michele rightly observed after his  Gucci autumn-winter 2020 collection for men. Michele’s very first show – of a collection assembled in only five days after Frida Gianini’s abrupt departure – was held at the Milan menswear week in January 2015. And who would have thought it’s impact will be this big – not only for Gucci, but fashion in general? Michele referred back to that first collection – the open-back kangaroo-lined loafers that were his first big accessories hit were among the footwear in the new collection. But this was not self-reference for the sake of it. “I haven’t got any nostalgia,” he said. “I don’t cling to the past…. I use the past because the past is a very interesting space.” Grannyish knits and David Bowie-ish metallic flares, Kurt Cobain-ish grungy ’90s denim and a Courtney Love-ish leopard-print coat. Those were the first references that came to mind. And the tongue-in-cheek title of the show – ‘Rave Like You Are Five’? Most of the clothes were styled the way children wear their clothes when parents aren’t around: the way they like, not the way they areobliged to. Michele was also exploring the big idea of the season: an emphasis on the potential boundarylessness of masculinity rather than its long-constructed boundaries. “This is not a narrative that excludes or rules out mainstream masculinity; on the contrary, I want to talk about how complex it is to be a man. And this means growing up maybe in a different way because the world of men is very diverse and full of different elements like the feminine world.” But what I enjoyed the most in this collection was the lack of the Gucci-fied over-the-topness (which the designer signalised for the first time in his spring-summer 2020 line-up). Without all the drowning opulence that Michele made us used to in the last couple of years, you really feel and see his pure aesthetic.

Collage by Edward Kanarecki.

Men’s – Satin 90s. Tom Ford AW20

| Design & Culture by Ed

As told by Tom Ford’s team at his Milan showroom, when the designer was making his name at Gucci in the latter-half of the 1990s, he had a routine when it came to pants. Apparently Ford would loop a strip of leather through the two front belt-loops either side of his fly and knot them to ensure a just-so fit. For autumn-winter 2020, Ford offers his pant-tie – now called an Obi – that was incorporated into the kicky iron-creased pants that accompanied his attractive jackets. The looks is non-chalant, yet at ease. These suits came in a multitude of hues and fabrications – like gently washed denim or the incredible lilac satin(or the Madonna-Gucci-shirt-blue!). When shorn of a matching jacket the pant shape in denim looked as if taken straight from the 90s. Summing up, Ford’s wardrobe is super hot this season.

Collage by Edward Kanarecki.

Men’s – Anti-Heroic Masculinity. Prada AW20

| Design & Culture by Ed

“Let me say what’s the point of this show,” Miuccia Prada started backstage of her Prada autumn-winter 2020 men’s show: “That in the big – not ‘confusion’- but the complication of the current time between the world going wrong or going better, the discussion on sexes, on surviving or not… I thought to give an indication that the only thing that makes me calm and optimistic is to give value to work… to give value to things that matter in your life and your work. And so the creativity is mixed with technicalities, which is a little bit similar to the Secessionist period (boldly colored graphics shared  with the fabric patterns associated with Koloman Moser and other artists of the Vienna Secession) when ideas, creativity, and actual work had to be all together.” And what about the rather anti-heroic, equestrian statue, was this also about the contemporary heroism? “Not heroic, but heroes… I want to give a hope that in this casino (‘chaotic world’) if you do well your job, paired with intelligence, and with culture, then this already is something… It’s to give respect to work, to effort, to fatigue, and to what is difficult.” So here’s some forever-intelligent Prada-ism to delight in. On the set that closely resembled one of Giorgio de Chirico’s metaphysical paintings, Miuccia presented earnest, simple, smart and easy-in-approach clothes that are both classic and modern. Three-piece suits or mismatched tailored separates, portfolios thrust between arm and hip. Rural worker in mid-calf boots and oversized corduroy jacket. Then a more urban kind of Prada man whose clothes have technical touches and piped sport raised graphics on pocket flaps. Scientist-like rubberized coats matched with baggy pants tucked into beaten leather galvanized sole boots (plus rectangular lensed shades). Different characters, different personalities. Yet not so dramatically different clothes.

Collage by Edward Kanarecki.