Only The Row could have made me willingly make a post about a (pre) fall collection with cashmere and fur all over, considering I can’t even look at my sweaters anymore and don’t want to think about anything related to winter till November, but even the beauty of this collection can’t hide the downside of this see now-buy now approach: something feels off, season wise. Had I seen this collection back in January when it was first presented to editors and buyers, I’d be all over it trying to recreate the stylings and going on shopping sprees. Now, it still looks elegant as hell, it just doesn’t make me lust after it. So let’s just put it here and come back to this moment in October.
I’m starting to like this pattern: great designer holds the reins of design at a fashion house, starts off with a contemporary minimal approach, establishes the style and aesthetic with several signature pieces already in two seasons, then introduces crazy colors and prints (and cuts) into the equation. To top it all, Ports 1961 is getting ready for a runway show in Milan in February (they were just releasing images of the new collections during London Fashion Week before) so it seems like everything’s going alright for the brand under the creative directorship of Natasa Cagalj. And for us.
Even as I’m inserting photos to this post I realize that this particular Sportmax collection is not offering any new or groundbreaking shapes, colors, forms, designs or styles – it’s not even offering anything significantly different than the last resort collection for that matter – however it doesn’t change the fact it caters so well to the instagram-generation style (a club of which I’m a proud member too) with laid-back stylings to inspire your everyday attire that it had to be shared here.
I don’t know what happened between the time Joseph was just another Brit brand and the era where it became one of the key players in the industry, setting the tone for menswear inspired women’s street wear. I must have missed something there, but it will not go unnoticed again, that’s for sure. With references to “Pony Kids”, Perry Ogden’s 1999 photographic study of Dublin’s working-class suburban pony owners; creative director Louise Trotter managed to create a hybrid of menswear shapes and forms with prim and girly details for the pre-fall 2016 collection.
I rarely brag about my talents or achievements (and usually rather make fun of the lack thereof) but I think I’m beginning to have a really good eye about fashion and style after years and years of pure passionate interest. At first glance to the Elizabeth and James Pre-Fall 2016 collection, I realized that it’s significantly similar to The Row, like it has never been before, and I even mumbled to myself grumpily why they haven’t been doing this before. Then I found out that they brought their design and production teams in-house so now The Row and Elizabeth & James are under the same roof which means the Olsens have an even bigger influence on the clothes. I don’t know if I have to say it but it is the absolute best Elizabeth & James collection to date.