Valentino

Big Red. Valentino Pre-Fall 2019

| Design & Culture by Ed

While some designers (well, I specifically think about the two that landed in every industry news headline last week) fail to understand and respect other cultures than theirs, Valentino’s Pierpaolo Piccioli doesn’t have that problem. His pre-fall 2018 collection for both, women and men, was presented in Tokyo a few days ago and it was far, far away from getting trapped in stereotypical thinking. The first dozen of looks was a punch of red: parkas, furs, florals, duvet jackets, sheer frocks, shirts, loosely fitted pants, everything in red. The next 30 or 40 looks were mostly black or white, with a few pastel exceptions. The closing looks – made for the red carpet – were all about red, again. But we’re speaking of Valentino red, which is a deep and absorbing shade. Lots and lots of tulle and silk was used for each of these evening gowns. And they did look exquisite, couture-level. Shortly, it seemed to be a regular Valentino collection that could be equally presented in Paris, New York or Rome. That was Piccioli’s goal: to show that today’s Valentino is an international brand, suited for women and men from very different destinations. Still, there were some Japan-related hints behind the collection. They were subtle and well-balanced. Piccioli is drawn to the Japanese art of kintsugi, of repairing the cracks of broken porcelain with a molten gold effect that adds new layers of beauty, “so the most broken pieces become the most precious—the opposite to Western culture. Time adds something to beauty.” Did he mean the ever-changing codes of Valentino? Or maybe that was a light metaphor for the art of autumn layering the designer mastered so well this season? Pierpaolo was also moved by this one aspect of Japanese culture that is extremely alive especially today – specifically “the symbolic act of dressing up. People in the street dress like a ceremony, like a ritual”. Other than Moncler, the designer did two more special collaborations this season – both with Japanese visionaries of their own crafts. Renaissance art appeared in the purses produced in collaboration with Undercover’s Jun Takahashi, which will only be sold in Valentino’s Tokyo flagship store. The playfully surreal self-portraiture of the 21-year-old artist Izumi Miyazaki appeared on loose dresses and parkas – it certainly brought more vigour to the line-up. It’s not the first time when I say this: Valentino blooms with Pierpaolo in charge of it.
Collage by Edward Kanarecki.

Just Gorgeous. Valentino SS19

| Design & Culture by Ed

VALENTINO

The first part of Pierpaolo Piccioli’s spring-summer 2019 offering at Valentino could be read as the designer’s departure from the magnificent, Italian glamour he channeled in the past few seasons. With Kristen McMenamy (scream) and Maria Carla Boscono on the runway, Piccioli sent down an all-black line-up of minimally cut dresses with balloon sleeves, ball skirts and loosely fit suits. It’s been a while since we’ve seen such an impressive use of black, especially for summer. Somehow, the effect was far from solemn. But, if you missed Pierpaolo’s recent fashion galore, here you are: somewhere in the middle of the collection, a colour explosion took place. Valentino red looked less dramatic, but more joyous. Matisse and Gaugin-inspired prints were used for mini-dresses that got as well trimmed with feathers. This season’s use of tulle (delightfully pleated) as well made Valentino’s ready-to-wear top the ranks for the evening occasions. One can’t forget the huge, straw hats that brought even more glory to the collection. Piccioli is growing stronger and stronger as the sole creative director at the house. It’s a pleasure to watch him do wonders.

Slajd1Slajd2Slajd3Slajd4-kopiaSlajd5Slajd6-kopiaSlajd7

Collage by Edward Kanarecki.

#IntaLOVE – July 2018

| Design & Culture by Ed

IMG_5526

@davidluraschi

I am an Instagram maniac and I openly confess that I spend too much time on filtering my feed. But it’s irresistible, when you have so many great accounts to follow! If you are ready for a dose of beautifully curated walls, inspiring photos and delightful shots – see my July recommendations!

@loljacobs / Lolita Jacobs is the Paris-based creative director and stylist, whose Instagram feed is like a livestream mood-board consisting of Françoise Hardy looks and Irving Penn’s still life photographs. But also, once you click ‘follow’, be prepared for having your wedding goals levelled up. The pics of her’s and Jean-Baptiste Talbourdet-Napoleone’s St. Tropez wedding, that took place this month, are heaven. Especially, when your bridal looks consist of custom Jacquemus and Alaia.

@davidluraschi / You might know David Luraschi for his work for Jacquemus – think the spring-summer 2018 campaign photographed on the volcanic beaches of Lanzarote. His latest editorial for Vogue, starring the incredible Adut Akech, placed the talented photographer even further in the spotlight. Keep this guy on your radar.

@maryamkeyhani / With Maryam Keyhani’s feed, you’re entering a fantastical reality of, as Vogue puts it, sculptor, painter, wife, mother, surrealist, and dreamer; but hat lady is certainly near the top of a list. Maryam is based in Berlin and she’s about to launch her headwear line in autumn. Expect the most marvelous headpieces you (or rather she) can imagine. Other than hats, it’s vintage clothing and the way she styles it that makes Keyhani’s account so… addicting. I mean, wouldn’t you wear a huge ball-gown in front of a Louis Bourgeois installation?

@pppiccioli / There are many reasons why you should follow Pierpaolo Piccioli on the ‘gram. First snaps from Valentino campaigns (lately done by Juergen Teller); backstage moments from the shows (think the latest haute couture collection and that ecstatic feather gown Kaia Gerber wore); postcards from designer’s trip to Morocco. Do you really need more to be convinced?

@luncheonmagazine / Luncheon Magazine calls itself a ‘cultural serving’. Well, there’s no other more precise way to describe it. From the magical spread featuring the photos of Renata Litvinova by Gosha Rubchinskiy, to a detailed text on Euan Uglow by Paul Smith (yes, this Paul Smith), the latest issue of Luncheon is a feast. In all aspects: visual and intellectual. Check out Luncheon’s Instagram for some delightful teasers and peeks at their London events.

AND, if you want to follow one more account on Instagram… why don’t you follow, ta-da, @designandculturebyed?

 

Beauty. Valentino Couture AW18

| Design & Culture by Ed

Slajd1-kopia

“With ready-to-wear, your vision of beauty relates to the times you are living in,” Pierpaolo Piccioli stated after his brilliant, magnificent and remarkable haute couture collection for Valentino. Then, he concluded that “couture involves a deeper and more intimate perspective, to go further into your own vision of beauty.”

‘Beauty’ was definitely the keyword behind that line-up of gorgeousness – by that I mean everything, from Guido Palau’s major hair to the closing orange gown worn by Adut Akech (yes, it’s the same piece Beyoncé snatched to one of her On The Run II concerts, week later after the show took place. That’s quick). No wonder why Valentino Garavani, the man of the brand, was so moved and all in tears by the end of the show. Piccioli pulled of the opulent Italian style in a masterful way, like the founder of the maison did back in the past. Floor-sweeping kimono coats; over-sized shirts with equally XXL collars; skirts and jackets covered in bejewelled prints referring to Greek mythology; ruffled coats in signature Valentino red. The list seems to be endless, just like the number of pink feathers used for that ecstatically fantastic dress Kaia Gerber walked the runway in. But Pierpaolo is known for injecting contemporary elements of the wardrobe to the most exquisite collections of his. Some of the dresses were in fact cut like a t-shirt, while sheer silk blouses with embroideries looked unexpectedly casual with Bermuda shorts. Modernity also came to this collection through colours the designer chose. Of course there were all the rich emeralds and fuchsias. But the dirty shade of pastel pink, softness of pistachio and the depth of burgundy rescued the collection from visually being too over-the-top. The collection, the way it is, somewhere between the old glamour and present sense of style, is perfect.

With John Galliano’s Maison Margiela, I think the verdict is quite clear – we’ve got the ultimate winners of this season’s couture. Now, let me die knowing that I won’t put my hands on all that radzimir and taffeta…

Slajd1Slajd2-kopiaSlajd3-kopiaSlajd5Slajd4Slajd6Slajd7Slajd8

Collage by Edward Kanarecki.