Killer. Tom Ford AW17

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Although Tom Ford has resigned from the see-now buy-now business strategy, that doesn’t mean he feels dissapointed – his autumn-winter 2017 look-book is the best prove for that. Atrakhan scrotum bags, metallic square-toe heels, empowering fur coats, sequinned turtlenecks, multi-coloured tights, PVC jackets… those are the clothes to kill and to kill for. ‘Cocktail dress’ sounds pretentiously, but according to Ford it’s a timeless go-to piece for every evening event. Whether in black velvet and with over-sized shoulder-pads or as a kimono hybrid, the designer goes burning hot this season with lenghts and silhouettes.

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Collage by Edward Kanarecki.

Post-Apocalyptic. Dilara Findikoglu AW17

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Wether you’re thinking of a Bulgakovian witch sabbath at the top of the hill or of a medieval painting presenting hell full of sinners, Dilara Findikoglu‘s show-stopping garments certainly are for very bad, bad girls (and above all,  for red-haired femme fatales à la the designer herself). For her autumn-winter 2017 collection, the Turkish designer went for anything that felt rebellious and bizarrely out-of-this-world at the same time. A tattered, worn-out-looking tartan coat held together by safety pins was a clear nod to punk; witchy symbolism and mystic illustrations present in embroideries covered Tudor-esque capes and semi-armors. Although Dilara has a soft spot for historic costumes – and especially their exaggerated silhouettes – she’s not interested in making glossy couture. Findikoglu rather sees her “new world order” clothes on a Marilyn Manson bride and bold characters, who are tempted by her truly unique aura. The models, transformed into fantastical female goddesses with horns and other charming oddities, looked as if they came out of a Hieronymus Bosch canvas. Exceptional.

Collage: Edward Kanarecki for Design & Culture by Ed. Images: Fernando Uceda / Lucie Rox / courtesy of Dilara Findikoglu.

Beach, Lips and Jeanne.

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Jeanne Damas is the synonym of today’s Parisian woman. She reflects contemporary French chic and stays far from a book-writing cliché. No, she’s not a Frenchie wannabe with a baguette, a là the ones you see all over your Instagram explore page. In other words, when I hear ‘Jeanne’, I simultaneously think ‘Jane’, ‘Françoise’, ‘Isabelle’. If you know what I mean…

Now, after a brief moment of admiration for Jean, here’s the thing. Rouje is her womenswear label and it’s a love letter to flirty dresses, romantic floral shirts and high-waisted denim. Spring-summer 2017 is Jeanne’s second season and it has just dropped on her on-lineon-line page, accompanied by dreamy, Mediterrean-hot look-book (starring the designer and her friends). Red-lips, a fruit market near the shore and vintage sunglasses: oui, it’s perfect.

Ania Kuczynska’s Wave

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Ania Kuczyńska‘s latest capsule collection entitled Black Celebration 1986 is an intimate exploration of memories and associations, likely kept in deep, black-and-white tones. This Polish designer, who’s the founder of Warsaw’s beloved eponymous label, continues to combine and fuse inspirations in the least expected ways. The name of the collection might ring a bell – of course, we’re speaking of Depeche Mode’s most (as for me) melancholic album, which might be a perfect backdrop for these elusive, analog snaps by Stanislaw Boniecki. But Ania goes further, nodding to new wave tendencies in Polish film and music (from Roman Polanski’s intriguing dramas to Krzysztof Komeda’s cinematic tunes). New wave era had a magnetising, truly absorbing aura – the same feelings surrounds Kuczyńska’s garments. Unisex turtlenecks à la the existentialists; below-the-knee pleated skirts; t-shirts with shoulder-exposing cuts. It’s not about pursuing the newness, but rather, focusing on essentials, perfecting them. Kuczyńska’s house codes evolve – and this collection is a beautiful addition to her creative language.

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Walk The Path. Louis Vuitton AW17

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The last few days of Paris fashion week were rather unimpressive, and that’s a pity, as the season had many great moments. While Miu Miu was quite a joke, Nicolas Ghesquiere‘s collection for Louis Vuitton made me think of the designer’s past. His work at Balenciaga was unforgettable – the vision of future wardrobe, über-cool spontaneity, memorable shoes. His very first collections at Vuitton were incredible, too. But for the last few seasons, Ghesquiere seems to rest on his laurels: biker-girl gears, satin dresses, sporty knits. Same story of a “contemporary girl”. Maybe he didn’t want to introduce anything new this season? Designers slowly start to turn their heads towards being permanent in terms of fashion. But Nicolas’ autumn-winter 2017 collection wasn’t classic. It didn’t have a spark. Well, yes, it was presented at the Louvre. But shouldn’t the clothes be in the spotlight? Big, corporate brands like Louis Vuitton tend to put pressure on things like settings, handbags, etc., but it hurts to see how Ghesquiere’s bright talent begins to drown.

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