So Phoebe. Céline Resort 2018

November 1, 2017November 1, 2017 | Design & Culture by Ed

The rumours of Phoebe Philo leaving Céline are slowly, slowly becoming a fact. Let’s have a moment for pause.

It’s still not clear, whether spring-summer 2018 was Philo’s last collection for the house. But the resort 2018 is a prove that ‘Célinism’ is a self-reliant, important fashion term on its own rights. It’s a kind of secular belief in terms of aesthetical expression . What does it mean? Sensual sophistication (the dresses with lace inserts). Timeless and seasonless items (the trench coat; the big bag). Empowering (over-sized suits). Women, who trusted – and will continue to trust – Phoebe know the principles of Célinism very well.

P.s. I really feel sorry for the designer, who will take her place. What a great challenge will it be to do something ‘better’? And not just to prolong her minimalist trademark? For now, it’s whispered that Philo is heading to Burberry, where Christopher Bailey has departed yesterday after a 17-year-long tenure. If that’s true – we will follow.

Collage by Edward Kanarecki.

Cornerstones. Marine Serre SS18

October 28, 2017November 8, 2017 | Design & Culture by Ed

There’s magical aura surrounding Marine Serre‘s work. Maybe it’s because of the feeling of prejudice-free love that is translated so well in the Paris-based designer’s fashion? In case you don’t know: Serre was awarded the 2017 LVMH Prize, having only one collection under her belt. ‘Radical Call for Love‘ – her first collection – was a visual comment on “urgency and contemporaneity by the tragic events in Paris and Brussels in 2015 and 2016.” Marine’s message was presented in a metaphorical way: Islamic symbols were transformed into logo-like branding and faux-Nike headbands (“it’s political and it’s not political. It’s much more than a crescent moon; it also represents how we all felt”), while carpet-like prints clashed with Byzantine florals. ‘Cornerstones’ is the continuation of the first season, and the 25-year-old designer looks forward to a more practical, not basic, offering. “What’s important for me is to be able to connect to contemporary daily life,” says Serre, “that you need to drive, to run.” That’s why, other than athletic stretch bodies in moon motif, there are denim jackets and go-to leggings. The gowns, that can hardly be classified as dusty ‘cocktail’, looked easy thanks to innovative, pouf-y effect construction. It’s rare to see clothes that really do aim to be ready-to-wear, and simultaneously stand for something.

Collage by Edward Kanarecki.

Le Nuvole. Ania Kuczyńska AW17

October 22, 2017 | Design & Culture by Ed

Ania Kuczyńska‘s autumn-winter 2017 collection, elusively titled Le Nuvole (meaning ‘clouds’ in Italian), is a minimalist heaven at the first glace. But is it just plain minimalism? The Warsaw-based designer is known for encoding various references and personal obsessions in her sharply cut, yet tactile garments. This season, it was a nod to her beloved Italy. Don’t associate that tip too superficially, though, as there is nothing like cliché in Kuczyńska’s creativity. Morning black coffee served in Palermo; a glass of Sicilian wine (well relates to the burgundy colour of the must-have ballet slippers); the shade of navy that resembles the Italian, night sky. Then, there’s also Monica Vitti’s ethereal grace in those silk dresses and feminine blouses. The 3/4 skirts ooze with a Luca Guadagnino film sensuality – yes, think of Tilda Swinton’s character in A Bigger Splash. The expressive silhouette of Ania’s new season pieces reflect the motion of Tarantella – folk dance in the Southern part of Italy, characterized by a fast upbeat tempo. Although that seems like quite a lot for one collection, Kuczyńska pulls it off like no other, keeping it true to her style. The mood, the texture, the silhouette – Le Nuvole is what you call eccelente, in every aspect.

Collage by Edward Kanarecki, feauturing Wojciech Plewiński’s shot from ‘Italia ’57’ series. Photos by Stanisław Broniecki, beauty by Marianna Yurkiewicz.

Teen Spirit. Miu Miu SS18

October 5, 2017October 5, 2017 | Design & Culture by Ed

While at her main line in Milan, Miuccia Prada discussed real heroines and the female gaze through comic-like prints, in Paris she sparked the 80s / 90s teen spirit. Ballerina-length lace dresses, checked lumberjack shirts and college sweaters were like the thrift-shop finds of rebellious students, who are about to spend a night playing in their garage band. But a bit more prettier. That’s precisely something a true Miu Miu girl will fall in love with the next season. I also liked the grunge / prairie girl contrast. But the overall effect is not too sophisticated and rather goes back to Miu Miu’s original roots: those are clothes for a younger audience. What really felt like a ‘moment’ this season was the perfectly balanced model casting: over half of the models were non-Caucasian, which tells one simple thing: yes, it’s possible, fashion industry. Please, take notes from Anita Bitton, the brand’s casting director.

Collage by Edward Kanarecki.

Personal. Céline SS18

October 5, 2017 | Design & Culture by Ed

In the past, Céline wasn’t the same Céline we know today. In 2017, the label is associated as an epitome of minimal, edgy chic. Actually, Phoebe Philo‘s spring-summer 2018 endeavour was to revive the Céline woman of the 70s, 80s. Those were the pre-Juergen Teller times, when the brand’s campaigns were presenting beige-loving, bourgeoisie ladies whom you would rather see on the crème de la crème of Parisian streets – the Avenue Foch.

Does this woman exist in 2017? Well, she’s rather carrying a croco Birkin, than a Céline plastic tote or, let’s say, orthopedic, rubber sneakers. But for Philo, it wasn’t about trying to do something forced or pretentious. Eccentric, charming, yet nonchalant – those are the words that well define this collection, which has both, an embellished sequin evening dress with a turtleneck and a thick-wool poncho for weekend escapes. “It certainly felt personal“, the designer told the press after her show. She surely meant that the line-up wasn’t meant to be single-themed, but more of an intimate, very elusive vision. Whether in an all-beige suit or a boldly striped gown, carrying a blanket or dressed head-to-toe in white, the Céline woman is definitely not unequivocal in her style choices. Just like fashion in the past that was free of ‘influencers’, all that social media dictatorship and trend rushing. It was about experimenting and having that ‘spark’ in your look. You had it, or not. I fear not everyone will be able to pull off these looks – they really do need that personality, not the wallet. But that’s the reason why Céline stays one of the most sophisticated labels existing today.