#2016 – Simone Rocha

December 20, 2016July 22, 2020 | Design & Culture by Ed

I always praise Simone Rocha for being an independent fashion designer, who doesn’t fall into the trend of having pre-collections. And that’s truly rare in today’s industry. Two collections a year gives Rocha the time and space for the creative process, which is so in demand at the moment – very few can deliver it under this unbearable pressure. But 2016 wasn’t only a highlight for Rocha in her professional life, but also in her private life. Being a new mom and working in fashion simultaenously is a big achievement. Surprisinly, this meant creativity boost for autumn-winter 2016, letting Rocha look deeper into the meaning of “baby-boom”. “I started to do this wrapping and swaddling with stoles. There’s something a bit surgical and matronly going on—sick-y nudes, the lilac of the uniforms that nurses used to wear. Medical aprons; knitting as women do when there’s a baby coming; schlumpy, relaxed shapes—and a little bit of trauma!” Yep, this doesn’t sound like your average post-pregnancy reflection.

Indeed, the autumn-winter 2016 collection had a lot to do with nurse uniforms, being psychedelically revamped with a various shades of pink. The fur stoles and fluffy Mary-Jane flats gave the feeling of babyish innocence, but that can’t be said of the darker dresses and coats – Rocha’s “matrons” with strict black bows lurk from the Victorian history of hospitals that up to now haunt Irish tales and stories. The woman behind AW16’s plot is both, sweet and sour – she might be a Lolita, Mary Poppins or Jane Eyre one day – and she is blooming just as the designer herself.

Staying true to her romantic spirit, Simone Rocha staged her spring-summer 2017 show in Southwark Cathedral, where the models walked down the gothic aisle. The venue matched the charming sublimity of Rocha’s latest line of delicate textures and girlie silhouettes, and it smoothly worked with the collection’s British accents and the designer’s long-term inspirations. Voluminous poplin-cotton shirts were layered with Prince of Wales checks; a classic trench-coat has never looked like a Louise Bourgeois sculpture before. While working on the collection, the designer took a glance at baptismal gowns and communion dresses, reworking them in authentic broderie anglaise lace. But don’t expect to see a traditional wedding dress here. Simone Rocha’s fascination with perversion oozes in those not-so-bride-ready gowns. Although we’re talking about sacred and holy, the designer’s pieces are far from innoncent. Sheer organza sheath with elongated sleeves shyly exposed nipples, while a tulle skirt with embroidered flowers showed some leg… accidentally. Note the models’ patent wellies and synthetic-white, rubber gloves. Red lips and wet hair. Rocha’s Catholic girls coming from good village families are naughty. In a very elusive, gentle way.

What will 2017 mean for Rocha?

Your wardrobe needs… Simone Rocha buckle heels, Simone Rocha embroidered tulle top & Simone Rocha ruffled skirt.

So Fetch, Fake & Fine. Gucci Pre-Fall’17

December 15, 2016 | Design & Culture by Ed

Observing Alessandro Michele‘s creative narration at Gucci is absorbing, even if you know you would never ever dress like that. Or maybe… you would? Looking like a charming, yet edgy granny entire week is hard – but for one day, a bunny-embroidered cardigan, layers of floral brooches and a patchworked midi-skirt sound quite mind-blowing on the background of your daily-routine wardrobe, even if they are far from the term ‘new’.

Alessandro’s pre-fall 2017, forgetting the beautiful chaos, tells one clear thing: brands like Gucci, to stay on ground in 2016 (and 2017, which is ahead of us), should recycle. And I’m not speaking about ecology right now. Keeping the consistency of collections; forgetting others and going your own aesthetically path; enriching every single detail, from branding to logi size on a shoe’s buckle. Similar eveningdress silhouettes, but in new colours, are on demand, and all the time in stock. Last season’s floral prints and this season’s Donald Duck become unexpected friends on an adorable blazer. Instead of creating a new ‘it-bag’, why not revive an oldie from the archives? Just like the shoes (extra-dramatic this season, but that’s not a surprise anytime with Michele). Working with such scheme is quite likely a guaranteed success, and Gucci’s monthly turnovers are the best prove for that. But will this take on nostalgia and chic kitsch get boring at some point? Becoming bored is a human’s nature, sorry.

Ignoring reason – this so fetch look-book was shot in Rome’s two historical locations. First is the Antica Libreria Cascianelli, an old bookstore specializing in art history. The second is the Antica Spezieria di Santa Maria della Scala, a 16th-century apothecary. Mind-blowing. And whatever I’ve written in the paragraph above – Alessandro Michele keeps on surprising and the look so fake tights with GG logo are really the thing.

#2016 – Glenn Martens

December 14, 2016July 22, 2020 | Design & Culture by Ed

Y/Project is a prove that Paris looks forward to labels found by new-gen talents. Glenn Martens‘ vision blurs between the terms feminine and masculine, but also, reflect on the generations’ love for pastel-pink trashiness, Cher’s good, old looks and this neo-goth, neo-grunge mood (which appears repeatedly). But you can’t compare Glenn Martens’ label to the fashion collective Vetements – the philosophies of these two brands are totally different, just like the approach. At Y/Project, drama plays a role – bishop sleeves worn loosely with pencil skirts; sheer robes with ruff-like collars ooze with ethereal elegance, but with a modern-day twist. The list of must-haves keeps adding up, and curiosity of what’s to come at Y/Project is absorbing.

While others re-invent heritage, French brands or mess around with underground rave culture, Glenn is somewhere in between reviving Marie Antoinette dresses and developing a 21st century gear for cool women (and men). For spring/summer 2017, the designer nails denim pants, which are very much into elongated silhouettes. Velvet body-con piece or a pony-hair top subvert the term “elegance”, just like unconventional evening wear which focuses on exaggerated, sleeveless parachute dresses. The models wore layers of pearl necklaces, ironically contrasting with the so-in-demand street-wise hoodies. Following the anti-fashion maxim, the uglier the better, Glenn sent out a line of the most trashy mules and stilettos you have ever seen. “They’re from Chinatown,” he said backstage, without an attempt to conceal this fact. I doubt a modern-day princess would immerse herself in those cumbersome clothes – but a Parisian skate-girl, for sure.

Before Y/Project, Glenn had his own, namesake label. According to him, after few seasons he had a feeling he “slightly burned out”. Then in 2013, he came in as creative director of Y/Project, just after the death of the brand’s founder – Yohan Serfaty. Y/Project used to be all about darkness and leather (think Gareth Pugh and Rick Owens aesthetics). Martens’ revamp lead the brand to a new client, and a new image.

It seems that 2016 is the year, when we have all really discovered Glenn. I bet 2017 will be a bomb for the brand, too!

Your wardrobe needs… Y/Project t-shirt, Y/Project belt, Y/Project extended jeans & Y/Project tweed bustier dress.

Y/Project SS17

#2016 – Lemaire

December 11, 2016 | Design & Culture by Ed

Christophe Lemaire and Sarah-Linh Tran are a love couple. Simultaneously, they are two creative minds working under the same roof – Lemaire. It’s a pleasure to see how their designs for women and men evolve from season-to-season, and become quintessential in Parisian wardrobes.

At Lemaire, style is a conversation between feminine silhouettes and masculine forms: there’s a soft, middle point in-between those two universes. Also, it’s a sense of individuality, and attitude. Christophe and Sarah-Linh understand that through nonconforming styling, one-of-a-kind accessories (take the wooden-bags) and even the statement show-closing, which involves models to walk around the venue randomly, in a real-life motion. For spring-summer 2017, the designers proved they aren’t only masters of total-looks; they know what’s clothes-making. Crinkled dress worn over over-sized pants; peculiar volume cognac-brown coats. A dancer’s tank-top, pleated skirt and knitted, dove-grey tights – that’s the most sensual look of the season. If you ask me, I live for such fashion moments.

Christophe Lemaire‘s utterly French outing for his autumn-winter 2016 wasn’t just about models, who presented the clothes. The girls at Lemaire show glanced at the audience in a naturally captivating way – as if they weren’t models, but women who wear Christophe’s seductive dresses, felt wool pants and low-heeled shoes on daily basis. The approach stays always the same, with just a few additions to the line.

Lemaire leaves me wanting more. I want to see even more of it in 2017!

Your wardrobe needs… Lemaire red wool sweater, Lemaire camera bag, Lemaire cropped pants & Lemaire trench coat.

#2016 – Marc Jacobs

December 10, 2016July 22, 2020 | Design & Culture by Ed

New York Fashion Week might impress and surprise, but leave “shocking” to Marc Jacobs, who always ends the city’s schedule with a spotlight-stealing collection. For spring-summer 2017, Jacobs presented an ecstatic rave of his latest obsessions, inspirations, collaborators and, of course, aesthetic. At the Hammerstein Ballroom, Stefan Beckman built a huge stage splattered with grease, lit up by more than a thousand little bulbs. A perfect space for an off-beat, underground party filled with techno-music and thirsty-for-fun people. The association was right – it was the venue of the most youthful collection of the season.

Autumn-winter 2016 was all about gothic culture in fashion, mixed with an aristocratic, soigne mannered dames and grunge, off-duty slouchiness. Chokers and all those extravagant embroideries on cardigans and dresses… then, the queens of darkness came out (Molly Bair slayed the runway – even Lady Gaga couldn’t keep up with her) in their voluminous, black ball-gowns with astrakhan capes. Laser cut floral PVC skirts and crotchet collars styled with elongated college sweatshirts had this striking contrast of old-school and the vintage tendency. The effect? Over-the-top, as usual at Marc Jacobs, but this season it was even more outstanding.

This year belongs to Jacobs not only thanks to his oozing with fantasy grandeur. You’ve surely spotted the platform shoes which strike you in every second fashion editorial. Polished black for winter; suede pink for summer. You’re a head taller in these killers. If 2016 isn’t the year of Marc himself, then it’s the year of his literally major footwear.

Your wardrobe needs… Marc Jacobs platforms, Marc Jacobs ‘MTV’ t-shirt & Marc Jacobs pink tulle skirt.