Pre-Party. Molly Goddard SS19

September 16, 2018 | Design & Culture by Ed

For me, London fashion week kicked off with Molly Goddard‘s wonderful spring-summer 2019 outing. Goddard is known for her carefree way of staging a show – his season, we’ve had a Mediterranean vacation of sorts. Market stalls were set up alongside the runway, designed by her talented set-designer mother, Sarah Edwards. Some of the models, other than wearing frivolous daisy dresses and sweet gingham print short-sleeved coats, carried a salad. “It’s that moment when you’re ready for the party, but your mum asks you to go to the market”, the designer said backstage. All dressed up, but still in the ‘organising’ mode. Other than Molly’s beloved, signature tulle (which seemed be more down-to-earth that usual, not that colour-explosive), there were lots of pieces trimmed with frills. Take Edie Cambell’s second look, that white, mini-shirt-dress cut with a plunging neckline, with the meringue-ish detailing at the hem. That’s a perfect summer dress, no?

Collage by Edward Kanarecki.

Dolls. Marc Jacobs SS19

September 15, 2018 | Design & Culture by Ed

On the last day of New York fashion week, Marc Jacobs sent out a line-up of human-size dolls. But no Barbies here – rather, those old-school dolls dressed in delightful, dreamy dresses every girl used to want in her life. Many considered Jacobs’ collection as ‘too much’, while I thought it’s just the right amount of fun, glamour and honest fashion joy. At some points dangerously saccharine, the collection was a nod to Karl Lagerfeld’s early years at Chanel and Yves Saint Laurent’s voluminous, multi-coloured moment in the 80s. It’s Jacobs’ second season of going fashion-history-heavy, but this time the result is much lighter and not that exaggerated. While fashion insiders note how badly Marc does in his ready-to-wear sales in the recent seasons, it’s visible that the designer doesn’t really care about that and continues to keep New York’s fashion on track with his mind-blowing outings. I mean, we can’t just stare at baggy pants and Phoebe Philo knock-offs, right? With a few exceptions, that’s what New York’s fashion is like today.

It seems that Marc Jacobs, Rodarte sisters, Pierpaolo Piccioli from Valentino and Alessandro Michele from Gucci are the last people who still dream in fashion, in that ‘romantic’ way. But still, Pierpaolo does that solely in his couture (that’s commercially backed up by ready-to-wear). Alessandro is having his ‘hype’ period that might end sooner or later. With Rodarte, I will never understand how that brand sustains itself financially. Where’s Marc in all that? Maybe the beauty line will keep him in business, because his clothing becomes shockingly rare to spot in the stores. Whatever it is, I hope he won’t be exiting his brand anytime soon.

Collage by Edward Kanarecki.

Passion. Maryam Nassir Zadeh SS19

September 15, 2018September 15, 2018 | Design & Culture by Ed

Take a look at Maryam Nassir Zadeh’s spring-summer 2019 collection, and then at her Instagram posts from this summer. You will instantly understand, that the designer’s fashion is ultimately all about her, and her style. Whether in Italy, Greece or New York, Zadeh’s everyday style is equally spontaneous and idiosyncratic. Whether it’s a zebra bandou, a maillot or a wraparound triangle top – clothes that you rather associate with beachwear – the designer incorporates these summer pieces into her daywear. With a flamenco-ish skirt or a pastel-pink camisole. Or even a beige, loosely fitted blazer. What I especially loved about this collection is the passionate, Pedro Almodovar-esque colour palette. Think juicy red and deep blue. Maryam’s brand is embraced by her pack of friends and beloved female artists (like Ana Kras and Hailey Benton Gates, who walked the runway), and women who are very much like them. That’s why, without much fuss and PR presence, Maryam Nassir Zadeh’s clothes (and leather goods) are in constant demand.

Collage by Edward Kanarecki.

Real. Proenza Schouler SS19

September 14, 2018September 14, 2018 | Design & Culture by Ed

Similar to Rodarte, Proenza Schouler returned to New York fashion week after a stint in Paris. Jack McCollough and Lazaro Hernandez immediately switched everything, from sensibility to the production of the new season clothing. No more feathers, meticulous embroideries and laborious craftsmanship. The feeling is New York, not Paris. Real, laid back. And that’s something that works for Proenza Schouler best. Even though I loved their last two collections they did in Europe, it was quite perceivable that the ‘prestige’ surrounding the French capital might not entirely be their cup of tea.

Their collection happens to be one of my favourites from what we’ve seen up to date in New York. First, the simplicity: most of the pieces were made in either cotton or denim. This also means that the price point will be much lower than the current collection that’s in stores. Military-style jacket with a high collar looked so good with wide-leg trousers, and a drop-waist dress in bleached denim is exactly what every summer wardrobe needs. The over-sized, tie-dyed shirts with random snapshot of New York had that art gallery feeling I always adored in Proenza Schouler, New Yorker mode. Oh, the bags. The bags! So big and comfortable. Perfect. I bet that from all the brands that show in New York this season, Proenza Schouler might expect the biggest success in retail. And not because of some shallow ‘fashion’, but well-made, contemporary-looking clothes women will wear everyday, for different occasions. That’s actually the core of the brand since it’s first days – to deliver remarkable, sort of edgy styles to intelligent, self-aware females.

Collage by Edward Kanarecki.

Heavenly. The Row SS19

September 14, 2018 | Design & Culture by Ed

No fashion show this time, but a peaceful, tranquil showroom presentation accompanied with a look-book starring Saskia De Brauw. That’s how Ashley and Mary-Kate Olsen reply to New York’s fashion week fuss. Oh, the clothes. The Row is heavenly. Majestic. Angelic. But don’t think of any opulent embroideries or ornamental details, no. Rather, a voluminous dove-gray silk dress. Tweedy coat with the frayed edges. Robe-like gowns with regally upturned collars. All hand-made, kept in the highest possible quality of craftsmanship. Those garments don’t look still and statuesque, but flowing. I’m absolutely in love with this one look where a huge bag works as layer of clothing worn over a minimal, sleeveless dress. Editors tend to say that clients who adored Phoebe Philo’s Céline should go to The Row. Well, I wouldn’t go that path of logic. The Olsen twins gradually create their own vocabulary, that is less and less Philo-esque. They finally create distinct clothing that speaks for itself; it says ‘The Row’, not ‘Philo appreciation sample’. Also, a big shoutout to The Row’s new menswear line that launches in October. Mostly with a Made in Japan tag, the men’s garments (just a few preview images were released) will be as exquisite as the women’s. The price range, that starts from $4,000, speaks for itself as well.