La Riviera. Jacquemus SS19

September 24, 2018September 24, 2018 | Design & Culture by Ed

Simon Porte Jacquemus had great luck with the weather. If he presented his spring-summer 2019 collection just a few minutes later in the backyard of the Italian embassy in Paris, the grey clouds wouldn’t have much mercy for La Riviera‘s colours and the very typically Jacquemus, beach-ready attitude. This season, it was a crossover of Simon’s two fascinations: the French seaside (which is a classic theme reoccurring in his line-ups) and the Italian seaside (the new love he discovered this summer, as his Instagram feed suggests). It’s clear that the designer adores passion and heat that comes from the Mediterrean way of summer dressing. Also, this collection again proves that Jacquemus is consistent with his style. Light, knitted maxi dresses with sensual slits; eveningwear that looks so effortless that you wouldn’t mind wearing it on the daily basis; leg exposing silhouettes and a number of cleavage revealing shirts. Of course, it’s all far from anything vulgar – those clothes are carefree, and liberate the body. The newest additions? Instead of XXL straw hats, Jacquemus sent down the runway an enormous, orange basket bag that will be all over Instagram come summer. But there were also tiny-miny bags and shoes with heels that literally looked like earrings. Also, it’s the debut season of Jacquemus’ beachwear, which will be a sure best-seller when it hits the stores. In a way, it’s a regular Jacquemus show, based on the signatures that this young designer has already managed to consolidate in his career. La Riviera is very close to his two previous collections: La Bomba and Le Souk, especially in case of clothes. Not that it’s bad – it’s the wardrobe you dream of every summer. But I kind of miss the more daring Jacquemus, the one that was already on everybody’s lips in the industry, but still wasn’t mainstream hype.

Collage by Edward Kanarecki.

65 Years. Missoni SS19

September 23, 2018 | Design & Culture by Ed

Missoni‘s spring-summer 2019 collection happened to celebrate 65 years of the brand. That’s what you call an anniversary! The show was held outdoors and Michael Nyman played a piano recital just a few steps from the runway. Angela Missoni‘s collection was typically… Missoni: light knits, patchwork dresses and the signature zigzag pattern were all over the line-up. The colour palette was earthy and calm. Shortly speaking, the collection was full of warmth and felt properly grounded. Just like the brand’s reputation that hasn’t changed at all, throughout all those years. Missoni is relevant. Missoni is suited for life (whether it’s a very Italian garden party you’re invited to, a long and tedious travel or a romantic walk down the sea-side). And, what’s most surprising in today’s fashion industry, it’s independent. That’s how you pass the test of time.

Collage by Edward Kanarecki.

Drama. Richard Quinn SS19

September 21, 2018 | Design & Culture by Ed

Although the Queen didn’t attend Richard Quinn’s show this season, the front row at his spring-summer 2019 presentation sparked interest. Art students from Quinn’s high school in London and Central Saint Martins, where he earned his degree, were all here, absolutely stunned and impressed by the British designer’s creations. In recent years, arts programs have been dramatically underfunded in British schools, and this was Quinn’s admirable way of drawing attention to that problem (cutting out art programs is a short-sighted action – it’s the fashion industry, for example, that plays as a very profitable export for Great Britain). Speaking of Quinn’s collection. ‘Dramatic’ is the word that fits it perfectly. Models in velvet ski masks opened the show in black tutus and heels, with a storm clouds projection in the background. Three looks in, and we’ve got 50s cocktail dresses in the boldest florals, gowns with feather trimmings and meticulously embroidered pyjamas. That major sequin work is just ‘wow’. The leopard print that appeared on the ladylike coats and drop-waisted frocks in the end brought the collection proper spice. Quinn conquers the evening-wear niche, that’s for sure. And proves he’s not a one-season wonder.

Collage by Edward Kanarecki.

Tisci’s Take. Burberry SS19

September 20, 2018 | Design & Culture by Ed

London fashion week didn’t see a big debut for a while. But was it worth the wait? Riccardo Tisci at Burberry seemed to be an unlikely choice from the beginning. The brand’s logo and identity changes felt vague and predictable. A post-show, 24 hours only merch shopping via Instagram had to have everyone like ‘wow’, but I guess no one really bothered to buy anything. You might think that 134 looks in a collection have to speak loud and clear about the designer’s vision. That’s what I thought before. Well, maybe that number of looks tried to say a word or two, but in overall it felt like Tisci wanted to seize too much and mention too many things at a time in his first collection for this historic, British brand. The first part of the collection referred to Burberry’s heritage – trench coats, Burbs checks and silk foulards – and played with the notion of conservative, British middle class from the Thatcher era. If Riccardo developed that a bit further and kept the show in these 50 outfits, that might have been a good shot . But then, a dozen of identical menswear looks appeared, aesthetically closer to Prada and 90s Helmut Lang than Burberry. Another ton of womenswear (this time related to the punk movement, unfortunately looking shallow, preppy and… tired) and a portion of men’s unamusing streetwear (think sweatshirts and prints that are very close to Riccardo’s work at Givenchy – this time, however, we’ve got creepy, Victorian families photo instead of Catholic iconography) appeared on the runway. In the end, we had this quite stiff line-up of ladies’ eveningwear. I liked Christopher Bailey’s last seasons at Burberry, but I never really looked at his collections again. Tisci’s debut could have been more focused and gripping, that’s sure, but let’s give him time. And please, narrow down that scope!

Collage by Edward Kanarecki.

Sex in Nature. Christopher Kane SS19

September 20, 2018September 20, 2018 | Design & Culture by Ed

No one talks about sex like Christopher Kane. Especially, in fashion. Last year, his collection was inspired with Cynthia Payne, a South London brothel keeper who entertained the Members of Parliament in her suburban house, and John Kacere’s paintings portraying female bodies. Then, last season, Kane was obsessed with The Joy of Sex, the 70s of blockbuster that was all about illustrated sex education and evocative explanations. In a way, Christopher doesn’t go for straightforward, ‘sexy’ clothes, but goes deeper with the idea of sexiness. Spring-summer 2019 is no different. Titled as Sex in Nature, expect the most unexpected. The show starts and the soundtrack is on. The mating rituals of wildlife animals – as narrated by David Attenborough – are remixed with a recording of Marilyn Monroe speaking about her own sex symbol status. The clothes are equally surprising and multi-faceted. To-be sell-outs, the t-shirts, had such slogans as ‘Foreplay’ (depicting two tussling leopards), ‘Sexual Cannibalism’ (two mantises mating, where the female will devour the male later on) and ‘Horsepower’ (speaks for itself). But there were the less commercial pieces as well. Take the boxy mini-dress belted with a lace belt. Wait, is it made out of C-strings? Kane found that accessory in a sex shop in Tokyo, and here we are with the ‘aroused’ tongues on shoes, dress straps and bustiers made solely out of C-string-like elements. Something surprisiglt sexy was also there in that turquoise velvet dress and exaggerated, big, cheesy-chic diamonds that were used in jewellery, tops and prints. Sensuality, instincts, desire, pleasure. Christopher manages to plant all that in his fashion, and doesn’t get trapped by stereotypes or, simply speaking, by the commonly vulgar, over-sexualised notions.