Death in Paris Store is a lifestyle brand, which was founded in 2013 as an extension of its existing graphic design studio, that focuses on designing modern, structural and effortless accessories. What I like the most are the whimsical and subtle details on everyday objects such as the transparent stripe on the traditional shopper or the little envelope on the messenger bags – neither overplayed nor bland designs. And the campaign shots.
LVMH prize winner Simon Porte Jacquemus is not a guy to be taken lightly. He plays jump rope with the line between commercialism and conceptualism, fashion and art, obscene and modest, young and mature with every single collection he brought forth, without a degree in fashion design I might add. For this particular collection, which was shot at his family home in the lavender-filled countryside of southern France, he took his late mother Valérie as an inspiration which means there’s a lot more emotion and less aggressivity in the looks. However he still relied on his magic recipe of asymmetry and geometry, coming up with a collection that I not only admire but also covet. A LOT.
I don’t care how consumable it is or how superficial people find it, fashion is a form of art. And I don’t care how many millions you spend on a stage of supermarkets or icebergs or casinos where Kirsten Stewart is the dealer and Kendall Jenner is a bride in a suit, this collection is what I call breathtaking couture. Always my favorite when it comes to conceptual fashion and couture with no commercial worry (along with Hussein Chalayan of course), Viktor Horsting and Rolf Snoeren took it to a new level yesterday with their “Wearable Art” collection, very literal this time, and proved they really meant it when they decided to cease their ready-to-wear businesses to focus more on couture. As they were demonstrating how an outfit could transform into an artwork – or vice versa- they came up with an unquestionably artistic collection and a breathtaking show.
There was a time when it was September that I started shopping for new season, thus went bankrupted year after year around the same time, and I made my peace with it. I saved up, unlike other people who spend all their money on June sales, I held myself back all summer long and went nuts when autumn hit. And as you can guess most of those aforementioned savings went to Zara, but I guess Zara is unwilling to wait until September to clean me out – the new Studio collection already hit the stores and I’m hopeless. The slit skirt, the midi white structured tunic, flare pants, frilled crop tops… where do I begin? How do I stop?
Is it just my wishful thinking mind that’s unfortunately too closely attached to my wallet or is the latest Elizabeth and James Resort 2016 collection a toned down, more wearable and a lot more affordable version of The Row? There’s no reason why not, the repeating success of the brand inspires almost every other collection in the world, why shouldn’t it influence one of the house’s own brands? Not that it was anything other than minimal before but this particular collection steps on the toes of its sister brand more obviously this time, leaving me with utter joy knowing I can afford something that looks like The Row – from the designers of The Row – in this lifetime.