// KOMONO X ANTWERP FASHION DEPARTMENT //
KOMONO is proud to announce its official partnership with the fashion department of the Royal Academy of Fine Arts Antwerp. For centuries, Antwerp has been the home to innovative fashion: from intricate lace to the game-changing Antwerp Six. Today, Antwerp remains a key city within the global fashion scene with the Royal Academy as the main incubator for new talent and innovative design. KOMONO has spawned from this hub of creativity and aesthetics, and brings the essence of Antwerp to the world.
KOMONO will work together with a selected number of master students in the creation of a capsule eyewear collection linked to the students’ personal work. Our mission is to aid the students’ exploration of innovative forms, their search for new colour combinations and their pursue for the original treatment of materials – and this related to the eyewear category. Workshops, given by our designers and product developers, will develop the students’ skills in 3D drawing/printing, tech sheets, material knowledge and manufacturing. The students will be given complete transparency and accountability as they will be involved from blank page to finished product.
Read more on the Antwerp Fashion Department collaboration.
// RAW ARTISTRY AT S.R. Studio. LA. CA. //
One of the key highlights of this anniversary edition of Pitti Uomo in Florence, Sterling Ruby’s debut show had the right mix of refinement, primitivism and boldness, with striking use of patchwork, bleaching and printing. Turns out the American artist has been fascinated with clothing since his teenage years and the level of craftsmanship and attention to detail was impressive.
In the 1990s, there were several moments of rapprochement between fashion and art, most famously with Helmut Lang ending on the cover of Artforum in October 1995. Ruby’s show felt like a seminal moment, too, giving his presentation the edge of a performance. There was a nomadic and savage feeling in his silhouette, from prairie-inspired frocks to asymmetrical ponchos, worn with matching loose pants. A fully bleached pink denim ensemble, composed of a shirt and matching jeans, looked sharp and relevant, while woven knits and faux-fur trimmed separates had a naive and innocent charm.
Rich in textures, colors and contrasting volumes, the collection had real energy, which the audience felt straight away. The American artist will not go for the seasonal format, but it seems that he will return with a second collection at a later stage. He partnered with SSENSE exclusively and the less intricate pieces are now available online. Ruby also managed to feature strong messages on his clothes, which gave us food for thought. A long, elegant black dress, printed with two burning candles, seemed like a beacon of hope for humanity’s future. This was an accomplished proposal and the clothes were instantly desirable.
// YOUTHFUL OPTIMISM AT MSGM //
Celebrating his brand’s 10 th anniversary within the Pitti Uomo schedule, Massimo Giorgetti was in a cheerful and energetic mood, balancing trendy tailoring and fuss-free sportswear with graphic prints and vibrant colors. Not willing to indulge into any kind of retrospective -Giorgetti would rather look forward than dwell on the past- the Rimini- born designer charmed his audience with an upbeat collection that took water as its main inspiration, evoking gorgeous summers outdoors and lazy holidays by the seaside.
Giorgetti surfed on the current wave of early 1990s inspired tailoring, which was a prominent story during the menswear shows seen in Florence. If the collection’s jackets and pants were completely on trend, a MSGM line-up wouldn’t be complete without clashing prints, joyful shades and unexpected combinations. An exclusive bandana motif looked great and refined -wickedly mixed with animal print- and tie-dye effects were strong and alluring. Giorgetti kept the silhouette relaxed and easy, with boxy shirts and roomy shorts.
One of the best things about the brand is that it offers relevant fashion at an accessible price point, and MSGM showcased its new underwear line in the finale, which also a 1990s flavor. There are plenty of MSGM men out there who love individuality and clothes that emphasize self- expression. Now, they will be able to sport the brand inside and out.
// URBAN ELEGANCE AT GIVENCHY //
Clare Waight Keller presented her first full menswear collection in the lush gardens of the Villa Palmieri in Florence and her vision of today’s modern man came to life with ease and confidence.
Inspired by the nonchalant attitude of French poet Charles Baudelaire -and the sharp style of young Korean men- the British designer focused on reinterpretations of the suit, which turned into a key message within the collection. The first look was a pale blue one worn against bare skin -and underneath a matching 3 button coat- with simple white sneakers, underlining the laid back mood of the presentation. A slouchy, double-breasted jacket worn with loose pants looked fresh and masculine, while tight, high neck tops in contrasting shades also gave the tailoring an interesting twist. Waight Keller playfully combined sportswear classics with more formal shapes, expressing the desires -and contradictions- of contemporary men.
An exclusive collaboration with Onitsuka Tiger led to brilliantly colored and graphic sneakers, complementing her strong lines and reminding us of our beloved 90s. There were, in fact, nods to The Matrix and Brit Pop mavericks within the show’s styling, which made the collection relevant. The brand’s more evocative and luxurious side became evident in the designer’s use of jacquard coats, rose printed tops, romantic flower prints and silver beads used as embellishment. One can be pragmatic and poetic at once.
// UTILITY DELUXE AT SALVATORE FERRAGAMO //
Showing his sleek and precise collection within Florence’s magnificent Piazza della Signoria, Paul Andrew made the wise decision not to compete with its baroque surroundings, opting for elegant and fuss-free clothes instead.
Andrew had utility garments in mind, albeit elevated with ultra-refined fabrics and beautiful finishes. Work wear and military shapes looked current and stylish, relieving us from the usual sportswear styles and over-embellished tricks. His take on tailoring was confident and desirable, but the attitude was always relaxed. For instance, he paired a distinguished, 3 button pale green suit with casual suede espadrilles and cool sunglasses. The overall mood of the show stuck to this “let’s not try too hard” formula and it definitely paid off.
Biker detailing complemented sleeveless jackets for men and overalls for women, reminding us of Bryan Ferry’s nonchalant elegance. It was no wonder that Roxy Music’s “Love is the Drug” opened the show, as you could imagine the British singer rocking every piece. Andrew used paper thin lambskin in sensual ways, such as a tight-fitting pair of caramel colored jeans, which were styled with a ribbed, buttoned-up knit top. For women, he also used crochet knitting, nicely avoiding the bohemian trap to turn it into a modern technique.
Hooded parka jumpsuits were worn by men and women alike, often layered under short lightweight jackets. To make a point that his clothes for the House were timeless, approachable and flattering, Andrew had an amazing casting, spanning several generations, ethnicities and attitudes. His color palette was also enticing, from warm oranges and soft pastels to soothing purples and royal blues. Ferragamo fans will be pleased to know that there are gorgeous -and rather large leather bags- to lust after next season, in striking shades of aubergine, terracotta, green and tan.
// REBELLIOUS MINDS: A REVIEW OF SHOW 2019 ROYAL ACADEMY OF FINE ARTS ANTWERP //
Antwerp fashion has often been linked with the idea of the avant-garde and a taste for provocation, as well as a refusal of the status quo. That spirit was very much alive during the show delivered by the Royal Academy of Fine Arts last weekend. Many collections were defined by their subversive appeal, as well as references to the 1990s and the 1970s, two decades famous for their social protest, sexual emancipation and extreme clothing. On the one hand, the runway was a stage for gender fluidity, personal expression and a desire for equality between the sexes, which referred directly to the “Me” decade. On the other, cross-dressers, electro hedonism and fetish-inspired clothes took us back to the risque frisson of the 1990s, and it was logical to see the students gravitate between those two spheres.
The 4th and final Year is the moment when graduates have a chance to shine, combining the strength of their inspiration with their technical abilities. 4 collections stood out, due to their precision and confident point of view.
Maximilian Rittler’s “Rock Me Amadeus” was a brilliant tribute to the spirit of rock-n-roll, which the graduate fused with an interest in the Baroque and the 18th century. Recreating stripes with zippers -and using animal print to striking effect- the Austrian walked away with the Christine Mathys prize, awarded by Dries Van Noten himself.
Nick Haemels’ “Between the Colored Lines” brought Mondrian’s architectural paintings to mind, as well as Sol LeWitt’s wall drawings. Haemels crafted beautiful men’s garments, which were making a powerful statement, while remaining surprisingly wearable.
Nel Maertens’ “Arts with Benefits” played with the idea of art in fashion through the use of painting. Collaborating with two young artists from Ghent, Maertens was looking for ways to bring the human touch into clothes, from buying knitwear yarns that were dyed by hand to reinterpreting fashion ads and iconic images with the painter’s bursh. If some of his painted accessories had a naive quality to them, they also featured powerful slogans or political situations, which reflected a critical stance towards the industry.
Representation was also key within Quinten Mestdagh’s collection, focusing on refined and dramatic womenswear clothes, which were strong and charismatic. Naming his presentation “Default by Bliss”, the Belgian graduate paired medieval aesthetics with portraits of royalty and a pixelated Kate Moss. Mestdagh’s work may also have been a comment on our obsession with celebrity culture, reinforced by our daily use of social media. With religious and social tension growing across Europe, as well as conservatism spreading around the globe, it was tempting to think that his nod to the Middle Ages was not an innocent gesture.
/ Words by Philippe Pourhashemi /
/ Runway pictures by copyright ©catwalkpictures /
// RIVE DROITE //
SAINT LAURENT RIVE DROITE, a creative and cultural destination curated by Anthony Vaccarello, is opening in rue saint Honoré, Paris the 8th of June.
Named « RIVE DROITE », as a nod to SAINT LAURENT rive gauche line, that helped democratizing fashion and luxury in the sixties, the space introduces a brand new retail destination for expression, exchange and lifestyle, conceptualized by Creative Director Anthony Vaccarello.
SAINT LAURENT RIVE DROITE will showcase a wide range of products including exclusive pieces, limited editions, library, vintage, music, photography combined with art, performances, exhibitions, events and cultural exchanges.
Through an extensive and diversified offer from different creative and design fields, Anthony Vaccarello imagines and embraces new ways of enlarging the universe and DNA of Saint Laurent.
Located in 213, rue saint Honoré 75001 Paris, and extended at 469 Rodeo Drive, Los Angeles, SAINT LAURENT RIVE DROITE represents an amusing and chic version of today’s Saint Laurent universe.
// ROCK’N’ROLL HEDONISM AT SAINT LAURENT - Men's SS20 //
Anthony Vaccarello was in a sensual and seductive mood with the menswear show he unveiled in Los Angeles last night for the iconic House of Saint Laurent.
There are, in fact, several connections between the brand, Vaccarello himself and the city’s spirit, which brings bohemian nonchalance to mind. The Belgian has been traveling to California on many occasions since his teenage years, and he used a striking beach backdrop to showcase his precise vision of the Saint Laurent man.
Referencing Mick Jagger’s androgynous silhouette and his provocative style in the early 70s, the collection focused on glamorous tailoring, which was sharp but often embellished to give it a fresh and precious feel. While black dominated the color palette, shine and transparency were key within the show, keeping the simplest looks enticing. A double-breasted glitter pinstripe suit looked chic and effortless, while sheer caftans, harem pants and burnoose capes recalled Saint Laurent’s heady Marrakesh period, which was filled with laughter, parties and sumptuous decadence.
The strength of Vaccarello is to take that vision and bring it into modernity. Jackets were paired with tight, cut-off denim shorts, while bombers were covered in sequins, but worn with simple sneakers. A black shrunken waistcoat -embroidered with black beads- was styled over a crystal embellished satin shirt and paired with black skinny jeans. Mingling with the press after the show, Vaccarello confessed he had tried every single piece on and that he couldn’t wait to wear most of it. Now, that’s always a good sign.
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/ Words by Philippe Pourhashemi /
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// LAST ROUND //
The official announcement that Romain Kremer left Camper - where he acted as Creative Director since 2014 - was made public today.
Kremer had worked with the Spanish brand since 2009 and was known for his innovative and progressive taste. With strong campaigns, surprising collaborations and a fresh point of view, the French designer rallied a new audience around the brand, while respecting its core values.
We wish him success for the next chapter of his professional life.
// THEATRICAL FLAMBOYANCE: A REVIEW OF LA CAMBRE MODE[S] SHOW 2019 //
In a global climate of fear, political unrest and uncertainty about what’s coming next, the graduates of La Cambre Mode[s] in Brussels decided to embrace the lyrical, expressive and opulent side of fashion last weekend, delivering a show that was energetic, inspired and powerful. The creativity nurtured by the school usually leads to striking and impressive results, enhancing the individuality of each student. This year, it was lovely to see graduates purely enjoy fashion and go for it. Gangsters, rock stars, dissidents and rebels were some of the evening’s key protagonists.
The menswear collections clearly stood out, with some bold and directional proposals. Is it because we are tired of seeing so many generic -and meaningless- womenswear shows that menswear suddenly feels fresh and transgressive? From Loubna Ouaqqa’s flamboyant bad boys to Claire Delahousse’s punk renegades, it was fascinating to see 3rd year female graduates reinterpret the male wardrobe and add their own take on gender fluid looks. Presenting a stunning collection -and although still in his 3rd year- Mathieu Goosse offered dramatic shapes, refined fabrications and strong lines, which echoed traditional Couture while remaining current. The 4th year graduates also had strong messages to deliver, from Abdel El Tayeb architecturally-minded frocks -he walked away with 3 prizes- to Marguerite Tenot’s luxurious brocades and unique sense of prints, which struck a fine line between deranged and elegant.
Surprisingly perhaps, the 5th year graduates were much more subdued -and rather strategic- in their offerings, which in the end felt like an anti-climax. Even though some of the collections were beautifully put together, technically accomplished and artistically inspired, from Louis Appelmans’ exquisite tailoring to Marguerite Barroux’ deconstructed femininity, they failed to convey the necessary emotion and excess, which had been building-up throughout the presentation. We all know that final year collections are walking portfolios for the graduates -and in that sense they delivered the goods- but more madness and spontaneity would have been welcome. After all, our world has reached new heights of insanity, and fashion should have no qualms reflecting it.
/ Words by Philippe Pourhashemi /
/ Runway pictures by copyright ©catwalkpictures /
// DAWN TILL DUSK //
Shot by Belgian photographer Quentin de Briey, the campaign features a series of intimate and unmediated analogue portraits with a distinct grainy, caught-in-the moment atmosphere.
Capturing a certain, undefined moment in time and place, the series celebrates the duality between nature and man-made landscapes. Up-close and personal, KOMONO evokes raw sensibility for its Summer 2019 collection and highlights this season’s essentials in eyewear and watches.
The sub collections are all based on a momentum of the day. Luminous represents the reflection of the sunset on the sea, while Stardust is based on the night sky in a unique way.
The full collection is available on komono.com.
// SAINT LAURENT / SELF03 BRET EASTON ELLIS //
From self, personality, to Saint Laurent.
The intention of the project is to capture different aspects of the Saint Laurent personality, underlining the complexity of various individuals through the eyes of artists selected by Anthony Vaccarello. It represents the freedom of self-expression and conveys many different facets of the Saint Laurent attitude.
Creative disciplines across art and fashion reinforce and fuel the concept of diversity and individuality.
Self is formed by a heady mixture of attraction, ambivalence and mystery generated by photographers, artists, and filmmakers.
Bret Easton Ellis is the third artist whom Saint Laurent worked with for this project, following Daido Moriyama and Vanessa Beecroft.
The video curated by Anthony Vaccarello will be digitally disclosed in parallel with Tribeca Film Festival, taking place in New York from April 24th to May 5th.
Directed by #Bret Easton Ellis “The Arrangement” captures jealousy and obsession. A utopia is still a possibility, and the purity of love is still an option. The short movie is exploring this idea by juxtaposing the elegance of the characters world with the turmoil and dreamy confusion they are experiencing.
// SAINT LAURENT DENIM #YSL23 BY ANTHONY VACCARELLO //
// CAMPER Toðer first Women's Kiko Kostadinov //
Featured as part of the designer’s debut S/S 2019 womenswear show in London, Kiko Kostadinov returns to Camper for a new Together collaboration that offers a glimpse into the future of textures and typologies.
Leading the womenswear collection under the Kiko Kostadinov brand, twin sisters Deanna and Laura Fanning combine innovative cutting, bold contouring, and an engineered approach to knitwear that aims to engage with the female form. Based on Camper’s Brooke heel, the young designers take a TWINS-inspired approach to the project, using asymmetry, unexpected materials, and extreme panelling to present a feminine style that is both audacious and elegant.
Available as both an ankle boot and a knee-high boot, the new collaboration reflects Kostadinov’s dedication to push the boundaries of contemporary design, rewriting the rules on women’s footwear with a powerful look that radiates sci-fi and futuristic.
Both styles will be introduced during London Women’s Fashion Week, with an exclusive preview happening at Dover Street Market London. Launching globally on March 19th, the collaboration will be available online at Camper.com and CamperLab stores in London, Paris, and New York City.
// Iridiscent by CAMPERLAB //
/ Creative Direction and Styling by Romain Kremer /
/ Photography by Salvatore Caputo /
/ Production by Pandora Graessl /
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// LUTZ / FW19 Backstage //
/ Photography by Merel Hart /
// BALMAIN / FW19 Backstage //
/ Photography by Merel Hart /
// HERMES / FW19 LiveStreaming //
// SECOND ROUND //
Camper and designer Kiko Kostadinov team up for summer to present a selection of rugged styles based on the brand’s iconic, outdoors-inspired Teix boot.
For his second collaboration, the Bulgarian-born designer focuses on protection and functionality, presenting five men’s options with bold color blocking and easy-fit closing systems. Continuing his exploration of the “new outdoors” concept, Kostadinov channels his industrial inspiration into three distinct typologies this season: a low-top shoe, a thick-strapped moccasin, and a semi-open sandal. Chunky silhouettes and a safety-color palette of orange, yellow, and black further highlight the workwear approach behind the provocative designer’s latest Camper offering.
This time, Kiko Kostadinov has selected artist Eric N. Mack to create the imagery. The New York-based creative works with a variety of mediums, including paint, textiles, photographs, collage, and sculpture. Often working with recovered materials.
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