Razor Sharp. Peter Do SS20

October 31, 2019 | Design & Culture by Ed

Peter Do‘s name-sake label has been making waves since its very start (which was less than two years ago). The New York-based designer doesn’t do fashion shows and presents his collections off-schedule – those are two factors that could easily make him and his brand an off-the-radar outsider But Peter Do has a consistence in his work that many, much more established brands can envy: very clear, clean and minimal aesthetic that’s as precise as a razor. Do, along with Bottega Veneta’s Daniel Lee and Rokh’s Rok Hwang, shares a very specific alma mater that additionally attracts clients: Phoebe Philo’s Céline. But Philophiles won’t find Céline-like pieces at Peter Do, that’s not the point. Spring-summer 2020’s hero piece is an adjustable jacket that separates into a bolero and a backless waistcoat. Another highlight is the single-button jacket that fastens high and off-center on the torso, producing a nipped-in silhouette. The colour palette, mostly black and white, is beautifully contrasted with shades of ochre and rust. What else is sure about Do? Tailoring is key for the brand. And it definitely stole women’s hearts, if Net-A-Porter is restocking the current collection, and such important retail players as Dover Street Market and Bergdorf Goodman already have the Peter Do classics on their racks.

Collage by Edward Kanarecki.

The 2010s / Simone Rocha AW19

October 29, 2019 | Design & Culture by Ed

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.

Simone Rocha‘s woman-for-women AW19 collection.

Talented women with their distinct style rule in London. There’s Molly Goddard, Victoria Beckham, Mary Katrantzou, Roksanda Ilincic, Surpiya Lele. And there’s Simone Rocha, whose autumn-winter 2019 was one of the very best collections I’ve seen that season. Rocha designs for women – and women love her. Seeing her runway graced by women of different ages, colour and body types was a female power moment, yes, but also an ode to the brand’s clients who trust Simone every season. Chloë Sevigny, Tess McMillan, Kristen Owen, Lily Cole, Sara Grace Wallerstedt, Ugbad Abdi… whether models or not, runway veterans or bold newcomers, all those faces are amazing individuals and characters. And, also, it’s an ultimate proof that full-skirted dresses and coats aren’t only meant for 20-somethings, just like organza see-throughs, bras worn over trench coats and opulent headbands. The collection was a study of female eroticism, a debate between being the object of desire and owning it. As the designer put it in her own words, “it was a about intimacy and privacy, security and insecurity”. Rocha looked at Michael Powell’s disturbing films (like ‘Peeping Tom’, the voyeuristic horror), but also returned to her long-time inspiration – Louise Bourgeois. The artist investigates the subject of sex and tenderness in her works, which as well often takes a darker turn. “I found her series of weavings which she’d made with fabric from her own clothes particularly beautiful,” Simone said. The spiderweb embroideries and prints Rocha used for puffball coats and dresses were made in collaboration with the Louise Bourgeois Foundation – could you wish for a more heartwarming artist appreciation moment? Still, while the themes behind the collection might be not exactly joyous and lightweight, the models – we see you, Chloë – were all smiley and visibly proud to be walking that outstanding show. This line-up could not end up in my 2010s favourites!

Collage by Edward Kanarecki. Chloë Sevigny wearing Simone Rocha AW19, photographed by Harley Weir and styled by Robbie Spencer for Dazed & Confused.

Timeless, Artisan and Beautiful. Tuinch SS20

October 23, 2019October 23, 2019 | Design & Culture by Ed

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.

The 2010s / Pierpaolo Piccioli’s Couture at Valentino

October 20, 2019October 20, 2019 | Design & Culture by Ed

Pierpaolo Piccioli‘s Valentino and making fashion FASHION again.

Pierpaolo Piccioli’s couture for Valentino is the only couture that really mattered in the last couple of years. No crazy venues that attempt to distract you from noticing how plain the collection is. Just pure, joyous, glorious haute couture that enchants and truly impresses. And makes Celine Dion cry. The spring-summer 2019 collection was a triumph of audacious colour, beauty and glamour. But also, it was a major model casting breakthrough, with completely diverse models that made the garments even more exquisite. The designer embraced black beauty, having Adut Akech open the show (in a brilliant, pink ensemble) and Naomi Campbell close (in a gown made out of translucent organza in the shade of Chocolate Dahlia). There was Liya Kebede, there was Lineisy Montero, there was Ugbad Abdi. Runway icons, veterans, and newcomers. The entire scene looked like a fairy-tale… that really took place. This couture collection showed to what extent colour is crucial for Pierpaolo, especially in terms of his haute fashion. “You don’t invent beauty, but you can invent new harmonies for colour”, the maestro said backstage. Just read the following: a coral coat worn with a chocolate crepe blouse and emerald gabardine pants. Lilac serape topped a pair of orange pants. Turquoise lace and tangerine silk faille. Green sequins. Pale mauve. Matisse blue. All that worked with voluminous ball gowns that took hundreds of hours to create at Valentino atelier in Rome. A season later, with a 5-star line-up of models including the great Lauren Hutton, each singular silhouette that came down the Valentino runway added more and more meaning to a show that celebrated the opulence of diversity through a “gathering of individuals“, as colours, shapes, headpieces, flowers and fringes came together in one stunning presentation of fashion design and its finest. Piccioli again made you feel ecstatic with his vision of couture. From the yellow tiered wool yarn fringing and Hmong/Miao tribe-inspired headpieces to cartoonish leopard prints and Matisse cut-outs in acid colours, this show was spectacular. The cut, the plumage details, those subtle Yves Saint Laurent references, the out-of-this-world craftsmanship, the magnificience… this collection is so deep in its beauty that it truly touches your soul. Unquestionably, Piccioli is a couturier of Garavani’s heights. And it’s a blessing for today’s fashion to experience his genius. On to 2020s!

Spring-summer 2019 haute couture

Autumn-winter 2019 haute couture

Spring-summer 2019 haute couture

Spring-summer 2018 haute couture

Autumn-winter 2018 haute couture.

All collages by Edward Kanarecki.

Cool Folk. Chopova Lowena SS20

October 19, 2019 | Design & Culture by Ed

Chopova Lowena is currently one of the most fascinating, emerging labels from London. Emma Chopova and Laura Lowena‘s Central Saint Martins MA graduate collection began with them looking at Bulgaria’s mountain dwellers, particularly the women, and the way they dressed. There, they found all the contrasting elements they felt so intrigued with, like intricate handmade folk costumes worn with secondhand western sneakers and sunglasses. Chopova Lowena is beloved for its juxtapositions, subtly combining modernity and nostalgia, luxury and kitsch, craftsmanship and humour. The same spirit of new and old, rare and mainstream, is reflected in their spring-summer 2020 lookbook. Skin-tight layers of tartan-checks printed mesh are paired with their signature Bulgarian pleats in wool and nylon (they sell out super fast and you’ve surely seen them gracing street style slideshows this fashion month). Big, punk-ish belts double as mini-skirts underneath delicate harnesses made from metal hardware. The folky, peasant dresses and blouses with theatrical sleeves are another highlights. Chopova Lowena has an anthropological approach to design, observing traditional customs and revisiting them through a contemporary lens – often through collaborating with craftsmen in small Eastern European and English communities.