For his Fall/Winter 2019 collection, Jeremy Scott collaborates with the artist Aleksandra Mir who created hand-drawn blown up renderings of tabloid covers straight from the New York Post and New York Daily News. Scott believes that we are mired in the onslaught of sensational and earth-shattering headlines: we are witnesses, victims, and perpetrators of the unending news cycle.
Scott uses this stark and blatant imagery as a rebuttal to our collective obsession with salacious headlines, false scenarios and click bait drama that incite tensions and ultimately divide us – not only in the political sphere, but in pop culture as well. Scott transforms these striking headlines into clothing that mirrors the frenetic hyper overload of breaking news that inundates our daily life.
The Black and White palette further reinforces the graphic nature of the collection, and silhouettes are outlined and defined by the headlines. Soft and fluid vinyl, blazing headlines, is fashioned into trenches and full skirted dresses, superimposing words upon words and creating new meanings.
Fitted bustiers give way to multi layered featherweight tulle skirts – again transparency and layering playing a significant role in the ensemble. Distressed denim and leather are emblazoned with verbiage and Scott takes something as delicate and beautiful as Swarovski crystal mesh and masks this precious material with bold graphics.
He paints the seesawing economy of yesterday in leather, the catastrophes of today in chiffon, tomorrow’s scandals in sequins, silks and tulle, all the while maintaining an aggressive edge to express the wonder and horror of our times.
At a time when the movement of peoples and the spread of cross-cultural dialogue marks our daily lives more than ever, our interest in telling personal stories at KENZO has never felt more appropriate. For the Fall-Winter 2019 collection, our focus turned to Humberto’s Chinese-Peruvian heritage – the Tusán people whose ancestors arrived from Guangdong province to settle in Peru in the 19th century. Today they number in the millions, and the diffusion of Asian traditions throughout South America is a palpable force.
This rich and colorful exchange of stories mixes with the contemporary realities of alpine life, as extreme conditions see both men and women layering bright, ethnic textiles with modern tactical garments. In our interpretation, the drama of the Andean colour palette (from Cusco to Machu Picchu) meets piles of fuzzy texture and a touch of Parisian sophistication. Couched in the Ayahuasca dreamscape show set by the artist Pablo Amaringo, this collection invokes discovery and exploration through mind, body, and spirit.
Within the women’s collection, hiking gear has an overt feminine twist, as swirling polar fleece comes tailored and swathes of waterproof nylon are given soft volume and drape. Inspired by the import of rice into Peru, knitwear and recycled raffia pieces feature custom KENZO calligraphy, and an archive ‘Earth’ print returns under the cover of clouds.
Pollera and pencil skirts receive the technical treatment, traced with drawstrings and paired with zipped mock-necks or patch-pocket blouses in tonal ensembles. Papery leather shines in roomy parka and anorak shapes, whilst shaggy jacquard faux-furs create wood print and blanket plaid effects. 5-pocket jean and cropped cargos are cut in winter wools or acid-washed denim.
Menswear takes the road less traveled, keeping in mind the military trappings of early explorers. Transformable all-weather outerwear pieces feature harness collars, reversible mesh linings, and detachable pocket gloves. A membrane coating gives pop tailoring extra bounce, as zip-up polar fleece returns in roomy quilted jogging pants (mimicked elsewhere by luxe striped shearling). Worn with plaid felt overcoats and checkered crew knits, straight canvas trousers zip-off in color-blocked panels. In the same way, a three-pocket bag zips out into backpack, tote, and fanny pack shapes.
Blinking from a resin bijoux ‘eye’ clasp, our new KENZO Tali double flap bag is unveiled for the season in a rainbow of colors and crafted in stamped lizard and faux croc leathers or oval ‘eye’ quilting. Held in the hand, on the shoulder, or worn cross-body, it comes printed with the season’s KENZO rice bag motifs and swings with sunglass cases or shaggy shoulder straps.
For men and women, footwear styles see town and country collide, with laced Inka trekking boots and mesh sneakers lifted on stacked soles. Women’s Lima kitten heels fuse faux fur under plastic, whilst squared boots lace up the calf with a scuba sock insert.
Carol Lim & Humberto Leon
An independent view of luxury incites the Berluti collection for Autumn-Winter 2019. Confronted with the absence of historic ready-to-wear archives, artistic director Kris Van Assche approaches his first collection for the maison motivated by a sense of freedom. The lack of preordained rules and codes informs a contemporary wardrobe rooted in the privilege of choice. Presented in the gilded halls of the Opéra Garnier, where classical and experimental arts are staged under one roof, it proposes an adventurous attitude to luxury in which the rough and the noble co-exist.
The collection serves as a meta take on Berluti itself: patina, the signature colouration of the maison’s classic leather shoes is illuminated in new light. Captivated by the old marble tables at which craftsmen hand-dye the patina of shoes in Berluti’s manifattura in Ferrara, Kris Van Assche paints his collection in the multi-hued stains of their surfaces. A wealth of reds, yellows, blues and greens saturates garments in rich colour, no two the same. The dye-splattered marble is further interpreted in print on silk shirts and nylon bags structured in exotic leather.
Interpreted in tailoring, the impression of patina is evoked in calfskin and jacquard suiting, expanding the artisanal core of Berluti into a broader identity. The silhouette is defined, the shoulder stated but never too controlled. It paves the way for an exuberant approach to dress where formal tailoring feature side-by-side with trousers native to motocross. The idea of recalling one material through another further materialises in a purple leather coat stained in the image of patina, a grey shearling coat reminiscent of astrakhan, or a sweater knitted from a thousand metres of multi-coloured leather strings, which reads like yarn.
The maison’s emblematic patina shoes hand-crafted from one piece of leather – the Alessandro, after its founder, and the Andy, after Warhol – are reimagined with sculptural caps recalling the faces of diamonds. The construction amplifies the shine synonymous with the maison, a facet accentuated in another new take on the Alessandro adorned with angular metal plates. The silhouette is transferred to a white trainer executed with the same artisanal principles. A nod to Berluti’s heritage, shoehorn pendants and miniature shoetree key rings adorn the collection.