Eli Russell Linnetz is more than a designer – he’s a a storyteller. For his ERL collections he creates mini-narratives. This season’s stars an architect looking back on his youth. In the look book pictures, which Linnetz casts and shoots himself, there’s a dad and three boys – “mom’s left and it’s just the guys”- surfer and skater kids from the neighborhood, and a love interest. They wear a mix of Venice-Beach-cool essentials like tie-dye tees, peasant dresses, grungy flannels, and corduroy flares airbrushed at the hems with beach scenes. Then there are the ERL staples—waffle-weave long johns, star-dyed denim, striped mohair sweaters, tube socks. The comic strip pants and matching bedspread that open this slideshow will be as collectible as the vintage 1950s comic book he lifted them from. A collage print of surfers at sunset turns an otherwise basic slip dress into an object of interest. And the clash-up of neon camouflage puffers, shirts, and skate pants is hard to resist. There’s a lot of potential for ERL and Linnetz, a creative who has his feet planted both in Hollywood and the fashion business. His collaboration with Dior’s Kim Jones last spring established his name in the industry even further. Linnetz’s next step? Directing his first feature-length film. When he gets around to making that project, he’ll naturally be designing its costumes too. Expect the unexpected.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram!
ERL is on everyone’s lips. Although Justin Bieber and Dua Lipa wear it on the daily, and Chloë-the-queen-of-style-Sevigny shared her love for the new collection on her Insta-stories yesterday, it still feels somewhat niche and off-the-radar. It’s not available in every store yet, so there’s a feeling of appeal-driving deficit. Eli Russell Linnetz’s name causes conversations – and you hear a spectrum of feelings, from delight and reluctance to excitement and skepticism. One thing’s sure: ERL is thriving, and it’s just the start. The California-based brand, now in its fourth full season with Dover Street Market Paris, is not just clothing – it’s everything. A way of being, of putting an ab-skimming tee with tatty, low-slung vaguely Hollister-ish jeans, sure, but also a method for re-assessing your life and your style. Theatricality, time, and obsession are important tenets of ERL-ism, emphasis on obsession – these are some maniacally pored over garments. “Cross-dimensional hitchhiking, making the way to California” and “a romantic blowing in the wind journey across all parts of America” were two ways Linnetz described his spring 2022 mood. He’s taken his surfer boys and plopped them in a pickup truck, scanning through the hayfields and mountainsides of mid-America, with pit stops at prom and football matches along the way. The ERL dude’s got a new passenger too: Linnetz is launching womenswear, and it’s an equally manic trip through the codes of casual American style. Tiered do-si-do skirts in acid trip colors clash with girlish cotton tops and school picture day knitwear, dotted with embroidered flowers. Most of the collection is shared across the genders, giant shearling pieces and wide wale cords offering something humble, while radioactive tuxedos and Fogal tights printed with archival Rudi Gernreich patterns looking aggressively kitsch. Linnetz photographed the pieces himself, in his Venice Beach studio, on street-cast models. Earnest-faced, obvious hunks and wallflowers who skew young, almost disturbingly prepubescent. Can a real guy ever look as good in an orange V-front cable knit polo sweater? Can a real woman capture the kookiness of a half-blazer half, floral top? ERL is tapping into the American Dream of a new generation: to become the character you say you are.
Believe it or not – I can’t! – but we’re heading towards a new millenium. So, how do you choose the most important collections, designers and labels of the decade? The ones that made an actual impact in the 2010s? Well, it’s not an easy task. It all began in September 2009 with New York’s spring-summer 2010 shows and ended when the autumn-winter 2019 haute couture shows wrapped in Paris. Few thousands of shows, by the way. There will be 19 posts (that’s really the only possible minimum!) reminding about the best – and if not the best, then strongly influencing – moments in fashion.
Hedi Slimane‘s Saint Laurent.
Hate it or love it, but Hedi Slimane’s time at Saint Laurent was one of the most influential moments in fashion this decade. The designer not only completely rebranded the brand (from the name – no more Yves – to the worldwide store appearances), introduced new “brand ambassadors” (Courtney Love, Beck, Kim Gordon, Joni Mitchell AND Marilyn Manson, all photographed by the designer for ad campaigns) and infamously called out the critics just for being honest (the Cathy Horyn beef!), but also polarised the fashion industry into two camps: Hedi fanatics, who go crazy for his Celine today, and Hedi sceptics. The designer implemented a youthful, rock & roll and very L.A. mood to the label, sending down baby-doll dresses, vintage-looking floral frocks, super-mini skirts and heavy boots with the attitude of the most rebellious girl in town. One of the most memorable collections he “designed” for the house? Definitely the autumn-winter 2013 show. It was inspired with the lifestyle of Venice Beach, California, and nodded to Yves’ The Scandal Collection from 1971, which was called “notorious” and “disgusting” by its guests (but in the end became iconic). As Tim Blanks pointed out about this Slimane collection, “almost nothing looked new”. Sloppy cardigans, plaid shirts and sparkly dresses accessorized with strings of pearls and black bows. While grunge was long dead, Slimane brought it back to life, and what’s the most ironic – the entire collection was sold out, even though the price tags were far, far from the thrift store originals. Of course Marc Jacobs’ final Perry Ellis collection was first, but Slimane appeared to be in the right place and right time with this line-up. I’m still on fence with Slimane’s era at YSL, but one thing’s sure: it was much more disruptive (and naughty) than Anthony Vaccarello’s work today for tha maison.