style

Last of Karl. Fendi AW19

| Design & Culture by Ed

The news of Karl Lagerfeld’s passing away broke more than a week ago, and writing about his very final collection for Fendi seems like a struggle of using the right tense. It’s unbelievable he’s no longer here, with us. I always thought Karl will be present, forever. And just like that, it’s a season without him and his guaranteed, confident presence. Fendi’s autumn-winter 2019 was a tribute that wasn’t entirely a tribute, since Lagerfeld worked on majority of the collection – even though he was aware that his health is dangerously stumbling. After the models walked the runway, Silvia Venturini Fendi took a grieving bow. Karl’s last instruction given to Silvia was: “I want the bow” at the neck of the opening look. That was a nod to his own, unmistakable look. It’s difficult to write about the clothes from this collection as if this was just another Fendi collection. There was lightness in the pleated skirts. There was impressive craftsmanship involved, like the laser-cut “lattice” jackets and dresses. And, of course, there was the FF type face used on pretty much everything. It came from Karl’s calligraphy for the house from 1981. The models – most of them owe the designer their success by being his Fendi or Chanel muses – were visibly very emotional, but they walked their best, for Karl. Since 1965, he’s been at the helm of the brand – it’s probably the longest relationship between a brand and a designer in history – and now he’s gone. Venturini Fendi is taking the lead of the brand’s creative direction, but let’s leave the questions regarding the future of the brand for later. Rome, the city were Fendi was born, is in mourning: the brand’s flagship store on Via Condotti covered all of its window displays with Karl’s sketches of his designs for the house. Chanel faces the painful loss too, so does Paris.

Collage by Edward Kanarecki.

Artisan. Moncler x Pierpaolo Piccioli AW19

| Design & Culture by Ed

Moncler continues its successful ‘Genius’ concept and keeps on inviting designers to reinterpret the famous duvet. Valentino’s Pierpaolo Piccioli presented his second line-up for the brand and it’s as good as the first one. The statuesque, floor-sweeping puffer dresses are here again, but this time they’re covered in prints made in collaboration with model Liya Kebede, and her sustainable and socially responsible label Lemlem. Graphic vibrancy of Lemlem’s contribution did wonders to the exaggerated volumes of Piccioli’s creations. Now, they look even more bold, especially when kept in colour (just see all these yellows, oranges and pistachios…). But coming back to Kebede’s Lemlem, it’s produced by artisan seamstresses in her native Ethiopia, who apply traditional patterns to everyday, approachable clothes. Re-creating the Lemlem fabrics in nylon not only gave additional work opportunities, but as well raised awareness of the brand’s actions. With grace and, very much in Piccioli’s manner, beauty.

Collage by Edward Kanarecki.

Stable. Jil Sander AW19

| Design & Culture by Ed

The pursuit after ‘new Céline’ is getting intense, and people say Jil Sander might be the right candidate to fill the gap. But the brand’s designers – Lucie and Luke Meier – aren’t copying Phoebe Philo, and have no intentions to. They do their thing, with Jil Sander’s soft minimalist spirit in mind. The Meiers’ vision of the brand is consistent since their debut few seasons ago. Tailoring with relaxed fit, comfortable, big bags, earthy colour palette with eventual splashes of pastel. This season, the couple nailed the topic of dresses. Whether we’re speaking of a loosely fitted chemise or an ankle-length black gown, it’s the sensual v-neck cut that feels refreshing about them. Jil Sander’s fashion was minimal, true, but simultaneously feminine – that’s a statement the Meiers highlight every season to end the stereotype of cold, stern image the brand got drowned in. Still, a scarf would be more than welcome for all those revealing cuts, since it’s an autumn-winter collection. Wait, we’ve got a duvet jacket – every brand has one this season – that will keep you warm. Jil Sander is stable – it doesn’t ‘wow’ you, true, but the collections please with their well-balanced content. I think it’s in good hands. 

Collage by Edward Kanarecki.

Good To See You Back. Zanini AW19

| Design & Culture by Ed

Marco Zanini, how good to see you back! This truly talented designer of Italian-Swedish origins had his stints at Rochas (those were truly brilliant seasons comparing to today’s state of things at the brand) and Schiaparelli, then did a few capsules for Santoni, and disappeared from the radar for a while. Now he’s back, better than ever, completely free, with his own namesake brand – Zanini. What it’s like to be on your own? “Finally, independence!” he told Vogue. “Of course, it’s a gamble, but this way feels more conscious, more authentic.” Zanini is thinking small, and proudly so – two collections per year, well-edited line-ups, quiet showroom presentations. But sometimes, less is really more. His debut collection can be described in one term: exquisite. Beautiful, beautiful tailoring and coats that you will make you drool. Cozy knitwear and beanies made in collaboration with his sister, Miki Zanini, who’s an avid knitter. The designer was in Japan last summer, and he came back with kimono silks that he’s cut into seamless bias dresses, airy and laid-back, but surprising with their construction. He can produce them in limited editions of two, a small number, but true to Marco’s intimate approach. “A lot of us are looking for something special, not overexposed.” That’s a fact. At a first glance, you might say that Zanini is the Milan alternative of The Row – one-off, logo-free, top-notch quality garments. But comparing to the Olsens and their uncompromising minimalism, Marco’s brand radiates with warmth and tactility. Summing up, Zanini is one of the best things I’ve seen in Milan this season.

Collage by Edward Kanarecki.

It’s a Ball. Richard Quinn AW19

| Design & Culture by Ed

Since the Queen herself took a seat front row at Richard Quinn’s show exactly a year ago, the designer’s show is a must-see show in London, that’s for sure. While the majority of the looks were all about Quinn’s signature, bold floral prints, the first looks were coats in tartan plaid and houndstooth – nothing more British than that. But then, when you go through the next looks, you might realise they don’t differ strongly from this what we’ve seen in the last seasons from Richard. What seemed to be a novelty was black latex, used for long gloves and tights that peaked from underneath the over-sized ball dresses and equally voluminous lady-like coats. I thought it looked restricting and uncomfortable on the models, through. Couture touches are Quinn’s specialty: black tulle went with gorgeously embroidered dresses and the feathered ‘hoods’ that closed the show were the ultimate highlights. Still, hope to see the designer slightly change his repertoire next season, as he gets repetitive.

Collage by Edward Kanarecki.