Woman

L’Amant Double. Prada SS22

| Design & Culture by Ed

The Prada spring-summer 2022 show was the first chance to see Miuccia Prada and Raf Simons’ work on an IRL catwalk. Their collaboration began just as the pandemic descended, and with only videos to tell the story, it could feel at times like the project was in its beta phase. Eighteen months later, with vaccines reopening the world, the brand staged two simultaneous shows, one at home in Milan and the other at Shanghai’s Bund One. At the Fondazione Prada, large LED screens were placed around the runway, and via the live feeds we could see different models striding by in the same looks. As Simons put it, it’s about connecting the world. Clothes-wise, I’ve never been so on fence with a Prada line-up, but I guess if a collection this season makes you question things, then it does the work. Collectively, people on the streets and people inside the fashion industry are embracing sexiness. There’s a diversity of opinion about what’s sexy, but generally speaking, clothes have gotten tighter, smaller, and more see-through as we begin emerging from this COVID-19 crisis. The young generations display a new kind of body positivity that can be frankly startling for older types who didn’t grow up as free. Ultimately, though, their boldness is heartening. “Seduction, Stripped Down” is the name Prada and Simons gave to the collection. In her notes, Prada said, “We thought of words like elegant – but this feels so old-fashioned. Really, it’s about a language of seduction that always leads back to the body. Using these ideas, these references to historical pieces, the collection is an investigation of what they mean today.” The historical ideas in question are the familiar tropes of womanhood, like bra cups and corsetry boning, made unconventional by how they were presented: on simple, even plain, sweaters or as details on denim coats. Duchesse satin sheaths read as almost demure until the dresses turned to reveal they were unbuttoned to the lower back, exposing peekaboo flashes of lingerie. The long evening column also got a rethink; it was sliced above the knee, but a bow in back extended to the floor. “That feels modern,” Simons stated. The hard/soft interplay of raw or distressed leather jackets and tiny duchesse satin miniskirts trailing trains counted as the collection’s most talked about details. Well, I can’t stand those trains, and I feel like they’ve polarized the entire industry. It’s not easy to redefine sexy, as we’ve seen elsewhere this week. Does this word even mean anything in fashion today? Miuccia and Raf did “sexy” in the Prada-ist “ugly chic” manner, balancing cumbersome and sleek, lace with leather, the wrapped and the untied.

Collage by Edward Kanarecki.

I Feel Like A Butterfly. Blumarine SS22

| Design & Culture by Ed

In just a few seasons, Nicola Brognano (with Lotta Volkova’s styling help) has flipped and twisted one of the sleepiest brands in Milan and transformed it into a 2000s-era e-girl nostalgia heaven. Blumarine last had such success in the end of the 90s and the beginning of the millenium, when nothing seemed better than rhinestone butterflies, sexy ruffles and lots, lots of denim. It’s 2021, and ironically, that’s what the TikTok generation loves and needs in their lives. Yet when asked backstage about his inspiration for spring, Brognano said “no one in particular really“. He knows that what matters is inundating social media accounts with the brassy swagger of all the skimpy, hotter-than-hot pants trotting on stilettos on the catwalk today, as well as the risqué fringed and beaded bikinis barely covered by a cropped cardi trimmed in regenerated mink or crocheted in fluoro recycled poly, or the see-through chiffon cargo pants with midriff-baring matching tops in eye-popping Day Glo colors. The co-conspirator in Brognano’s implacable turnaround is Volkova, who was busy backstage before the show shepherding models into a not-too-orderly lineup. Dressed in a whisper of a dress in pale pink stretchy gauze and chaperoned by her gallant, elegantly groomed black poodle Dimitri, Lotta fired off a barrage of her own takes on Blumarine’s new fundamentals: “Military Fairies. Sexy Butterfly girls. Frivolous and fun early Y2K mood when social media wasn’t on the horizon. Denim patchwork queens. Trippy, psychedelic, neon girls. Red carpet denim prints, red carpet bandanas. Low-waisted mermaids.” Love it or hate it, but that kind of Blumarine seems to be timeless.

Collage by Edward Kanarecki.

That Girl. Fendi SS22

| Design & Culture by Ed

Kim Jones’s spring-summer 2022 collection for Fendi was a line-up of classically-flavored silhouettes and color progressions played against an irresistible decorative sample of archive Antonio López illustrations. The models glided out from backstage down a runway whose arches echoed the house’s Roman home, the Palazzo della Civiltà. The big reveal of this collection, the decoration, rotated around the vintage Fendi logo drafted by López during his period of collaboration with Karl Lagerfeld. Said Jones of López: “He was a big, big fashion influencer for a lot of people, but is not so talked about. He had this relationship with Karl and with Fendi, and he helped shape so many strong visions of women, because he loved them: that feels very authentic and topical.”The illustrations drawn from the López estate’s archive originated, Jones said, as the 1960s transitioned into the 1970s. Here his work was introduced via oversized brushstrokes, then zeroed-in upon via one particular drawing, a rouge-lipped profile of Jane Forth that was abstracted into the pattern that contoured four vivid intarsia and jacquard looks. Color became more impactfully calorific as further illustrations of wavy-haired and cherry-lipped rainbow-framed women were worked into kaftans, a fringed tapestry-woven Baguette, intarsia leather thigh-highs and silks. Plexiglass jewelry by DelfinaDelletrez was shaped in gold-edged transparent lily leaves, another López signature. Many looks remained illustration free, yet even without the figurative signposting, these outfits echoed the aesthetic of the period in which López was working. Just like Jones’ debut collection last March, this was… a proper-looking collection. Quite dangerously, Kim leads Fendi to that type of predictably classy, beige-y, luxury Italian brand category, which Lagerfeld avoided at all costs.

Collage by Edward Kanarecki.

Surf & Turf. Chopova Lowena SS22

| Design & Culture by Ed

In their South London studio, Emma Chopova and Laura Lowena cut their trippy, sunny spring-summer 2022 collection featuring plenty of tie-dye, surfer-psychedelia nods and details referring to Germanic heritage. Chopova Lowena‘s maniacally structured dresses are almost peerless in the market, and to wear them you have to be ready to attract attention of every kind. Trachten bustiers inspire fitted bodices with cut-out neckline details that carry into the brand’s debut swimwear. Graphics are hand-drawn by Chopova and Lowena, sketchy smiling suns and happy fish blown up large on one-pieces, tees, and leggings. While the pair are best known for their carabiner skirts, the Chopova Lowena universe is expanding. Their wide-leg trousers and button-up shirts and jackets are available in a larger range of sizes and in beautiful marbled and flocked prints for guys, girls, and everybody. A fluffy fil coupé blows up their silhouettes and bags into new eccentric shapes, while knit socks, pop-top crochet bras, and enamel animal earrings ensure every corner of the body is covered in a tiny, funny spark of joy. Even as the Chopova Lowena world grows its reach to all genders and ages, the designers are wise to never shake their girlhood: that state of becoming when you are aware of everything, sensitive, strong, and fearless. As other brands cynically mine Y2K nostalgia, Chopova and Lowena are designing for a generation born from it: clothes for those who want to be silly-pretty, soft, emotional, and punkishly themselves.

Collage by Edward Kanarecki.

Humor is Key. JW Anderson SS22

| Design & Culture by Ed

Juergen Teller, in all his near-naked glory, fronts JW Anderson’s spring-summer 2022 lookbook. The photographer had convinced the designer that he should shoot himself thus in his underpants with tires. For what is surely an in-joke satire on the Pirelli calendar (and the Italian tire company’s pin-up tradition), fitting right in 2021. Jonathan Anderson has collabed with Teller to produce printed matter, posters, and portraits of contemporary artists to send out in place of fashion shows during the pandemic. For the designer, the relevance of Teller’s work to the current zeitgeist is that there is “no retouching and no filter. You show things for what they are. You show being body-positive. You have to say, well, this is who I am.” Teller’s well-known, art world-sanctioned predilection for naked self-portraits predates the so-called post-pandemic situation by a long chalk. To Anderson, handing him free rein to work with models on the calendar project for spring 2022 satisfied his instinct for “something very blunt” and the fact that “you have to have humor.” Anderson continued: “Before the pandemic, I was showing a lot to gravitate attention. But what I’ve learned is that you have to have a very focused edit. You make your own pace, show what you want to show. My biggest fear is coming through the pandemic and not having changed.” He’s noticed “how excited girls and guys are, coming through this being more body-confident.” What that boiled down to is the “precision” of pieces like the semi-transparent, circular-embroidered, handkerchief-hemmed dresses and a tan leather shift, fastened with buckled straps. The crafty quirkiness of JW Anderson’s signatures is there, all right, in details like strands of upcyled plastic woven into shoulder-strap fringes and mesh mini-dresses. Looking forward, he says he’s serious about the “reset” everyone was talking about a year ago. His Instagram page was cut to three pictures on the day of the collection’s launch. “I don’t want to come through this pandemic being the same JW Anderson as before.” Quite a teaser for what may be to come.

Collage by Edward Kanarecki.