It’s the official start of fashion month, which of course won’t be the usual, hectic marathon we know from the pre-COVID times. Look-books and videos are here to stay, and much less brands will show in the traditional schedule. New York Fashion Week is having a hard time, cropped down to just two days. Many designers are reflecting on the way they used to work and put sustainability as their main priority. Victoria Beckham‘s autumn-winter 2021 is a fine edit of both pre- and main collection. It’s all about unmistakable wardrobe essentials with versatile intentions – meaning easy day-to-night transition pieces. After the financial shockwaves of the epidemic, this season marked Beckham’s pared-down foot forward in general. “I sell clothes,” Beckham told Vogue. “I don’t sell so many shoes and bags that my collections are just about ticking a fashion box. They’re about creating clothes that people want to wear and can really wear. That’s why commerciality is not a swear word to me.” The look-book she released today demonstrated what a consolidated Victoria Beckham woman looks like. Rather than introducing new complex cuts or ambitious experimentation, familiar VB garments bore testimony to a certain studiousness: they’ve been simplified and perfected. Prairie and flapper dresses were streamlined, her slinky long-sleeved everyday dresses were recut for a t-shirt-like ease, and tailoring looked as optimized for comfort as it must have felt. For anyone hankering for more bling-bling, there were those knee-high silver sparkle boots and some rather subversive floral prints. In one instance, the latter clashed in a mad floaty dress that evoked some of Beckham’s more directional collections. “We never want anything to be boring,” as she put it. The morale of this collection is that less is more, if the quality and design is at its best. “People ask me if I think people will buy less when we come out of lockdown, and I hope they will! We want to sell clothes, don’t get me wrong, but I hope people will want to invest in pieces they really want to wear. Buy a piece and get your wear out of it. Don’t just buy it for one season,” Beckham concluded.
“Live” collage by Edward Kanarecki.
I’ve discovered Veronique Vermussche
‘s label Tuinch last season
and I tell you, this is love at first sight! Each season, Vermussche travels from Belgium, where she lives, to the mountains of Kashmir and Tibet on to procure world-class cashmere from local artisans she’s built long-standing relationships with. For spring-summer 2020, meet some of the most luxurious knitwear goods you’ve ever seen. The collection brings hand-knitted skirts and dresses to the line-up of timeless sweaters that will serve you for years to come. The open-weave wrap-knit sarong skirt, complete with leather detailing, is the collection’s biggest highlight, just as the tasseled cotton-wool cape. It’s a summer look-book, so no wonder why the designer tries mixing linen and silks with her ribbed cashmere knits and wool maxi dresses. The warm, earthy colour palette is eventually contrasted with pastel shades that pop up in the details. Artisan, top notch quality and seasonless: that’s sustainability, too.
Collage by Edward Kanarecki.
There’re no other American brand like The Row. The New York-based label is far from ‘contemporary’ or ‘casual’. It’s a luxurious of reflection of Mary-Kate and Ashley Olsen‘s aesthetic, which rather targets mature, intelligent individuals, rather than Insta-models. When the designers started The Row (named after London’s Savile Row, not by coincidence), the sisters didn’t look to any brand for inspiration. It’s has always been about quality and fit for them. The Row is a pretty young brand, though – but thanks to its philosophy and minute attention to detail in anything, it quickly appeared in the league of such minimal-luxury brands like Céline, Lemaire, or even Hermès.
No wonder why – just have a glance at The Row’s resort 2017 collection, and you will understand why the label has become fashion industry’s obsession. The look-book of just 13 images features (un)usual models: nearly 50-year-old Frederique Van Der Wal, iconic Audra Avizienis, intriquing Olga Sherer and a newcomer, Jada Joyce. Those four women represent different ages, and that’s the silent message behind the collection. The coats and other outerwear pieces are timeless, just like black cashmere turtlenecks or fur-lined suede loafers. Sensual lingerie isn’t an intepretation of the slip-dress trend, but a new addition to the brand’s range. Impossible not to love it.
I am in love with the brand I am going to present you now – it’s Crista Seya. I mean, there are many labels which perfectly mix minimal with luxury. The Row, Lemaire, Hermes are all known to us! But surely, Crista Seya might be counted to that list. Her collections are divided in four editions, and in each the clothes are constantly available on request. Beautifully tailored shirts, awesome camel pantaloons and khaki ponchos – a dream. The white shoes from series 3 (a lot of normcore beige) are handmade in Buenos Aires, made from so-called kid leather and a cool “cut-out-edge” heel. The clothes from Crista Seya are fulfilled with everyday objects. Artisan vases, leather horse-necklaces, hand-dyed cushions. I mean, what’s better than a label which knows how to make your wardrobe and your home?
So here we are. The excitment is gone. Nicolas Ghesquiere debuted at Louis Vuitton. The ex-designer of Balenciaga is the new ancestor of Marc Jacobs… And even wrote a letter to the guests (see the next pictures). But was it worth to put such ambitious, creative and independent designer to this powerhouse? In reality the collection looked unfortunately like a Balenciaga show (before Alexander Wang came to the house). But, much more tamed of it’s creativity. The clothes looked timeless, but if somebody of LV wouldn’t put the monogram belts and bags into the looks, it would be called out as old, good Balenciaga made by Ghesquiere. The collection felt a bit rock’n’roll (these slim leather trousers) and modern at the same time. It all looked wearable, and these prints really reminded me of something… But the biggest sensation of the show was Petit Malle, or the little trunk. As the name suggests, this bag was a miniature version of classical, Louis Vuitton trunk… and it looked cool. Like the collection. It was very Ghesquiere, but not too Louis Vuitton. It’s hard to say if I am yay or nay… and your opininon?