Maryam Nassir Zadeh‘s resort 2023 collection looks like the inside of a well-packed luggage that’s on the way to a summer-perfect, beachy, breezy, always-sunny destination. Sheer camisole tops and slouchy pants that feel just the right kind of vintage-y. Over-sized t-shirts, wrap skirts and denim bermudas in faded neutral colours, looking as if left exposed to sunlight for days. Charming accessories that seem off-and-odd-but-oh-so-good, like the blue taffeta bracelet-scrunchie, funky ornate belts and necklaces with big, ceramic beads. Groovy, hand-made macrame appeared in form of sachets and eclectic inserts, (not) randomly placed on a men’s leather biker jacket’s back or at the pants’ waist. And of course the latest addition to Nassir Zadeh’s brand: the blue towel with MNZ’s logo, made from the finest frotte, resembling the one that would lie by the pool in some lovely, off-the-track boutique hotel by the French Riviera or somewhere in Sicily.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram!
Summer is coming so, so soon! How about a timeless Prada wardrobe reimagined, in hypercolor? Energetic and kinetic color – joyous, uplifting, free. Emerald, orange, vermillion, yellow – contrast with graphic black and white and soft greys. Motifs are direct – geometric stripes and bold checks, simple and linear. Tactile and precious silks, fine cashmeres, leather and kid mohair are used for relaxed styles expressive of summer – silk pyjamas, full skirts, abbreviated shorts and bra tops. Bodies are streamlined, dynamic, moving freely. Accessories are modern Prada archetypes – the Triangle handbag, baseball caps, bucket hats – recolored, therefore reenergized.
I’m beyond happy to (finally) post my favourite moments from the Santorini trip I took back in June! I’ve never been to Greece before, but this gorgeous and mysterious island of the Cyclades made me realise what’s so unique about the so-called “Greek holidays”. The whitewashed villages huddled on the cliff around the volcanic crater aren’t just a postcard view, but stunning reality here. The history of this island is rich, yet violent: the abrupt eruption buried Akrotiri around 3,600 years ago, the centre of a great Bronze Age civilisation, whose streets, squares and frescoed homes were astonishingly well-preserved beneath a cloak of ash. Archaeologists have unearthed poignant details of lives interrupted: pots of barley, a basket of sea urchins, a golden ibex in a clay chest, perhaps an attempt to appease the wayward gods. Of course, like anywhere with an active volcano on the horizon, that could happen at any time. Perhaps this underlying vulnerability is what gives Santorini its raw intensity, its quietly devastating beauty. And of course, Santorini, with its blazing sunsets, is known to be one of the most romantic places in the world. So, for a great starter, here are some of my sun-drenched shots, just to convey the ambience of this gorgeous, close-to-nature, and even spiritual place.
I’m always obsessed with a Prada collection. Sometimes, I’m completely absorbed in her take on bourgeoisie and conservative dressing. Another time, I drift away in her more surreal styles. But lately, Miuccia Prada‘s spring-summer 2005 keeps popping over and over again in my mind. It’s like a scent of summer holidays, which are the perfect balance of heavenly relax and active experience of discovering. Back in the day, Miuccia acknowledged that this collection was a leap from her more demanding line-ups. “A vague idea of birds; birds of vanity, like peacocks, parrots, and swans,” was a starting point in her restless search for change, she explained. “I also wanted to move toward something more young and sporty, tall and narrow.” To bring the audience into her new reality, Prada stripped her familiar clean, boxed-in stage set down to the bare industrial walls, then projected Rem Koolhaas’ mind-scrambling collage of live news images onto them. It was a lot to take in before the show even started – but that, one suspects, was exactly Prada’s intention with the clothes, as well. There was so much going on. A rhapsody of colour, an excess of textures. But also, a different silhouette (short hemlines, worn mostly with flat sandals), a return to one of her favorite palettes (brown-ochre-rust), and as always, lots of artful eccentricity, like peacock feathers (I saw this dress at Didier Ludot vintage store in Paris and its magnificent) and knitted flowerpot hats. There was also a Jamaican dance hall vibe, with reggae on the sound system, Rasta stripes in the knitwear, and Caribbean crochet in the raffia hats and cardigan coats. And, oh, please note how relevant it is! That’s the power of Prada.