Nensi Dojaka F/W 2022.23 London

[vogue28]

VOGUE.COM

 

[vogue28]

VOGUE.COM

 

[jeanclaude]

Bondage obsession...Helmut Lang and Alaïa did it better (and more refined than this).

 

[avonlea002]

Another one trick pony. Already tired of this lingerie gimmick. This has been done by million Instagram brands already.

 

[LadyJunon]

This reminds of Cadwaller's Mugler. It's just not as disgustingly lewd.

 

[Frederic01]

This is literally the same collection she did last year at LFW. I am still seeing Anthony Vaccarello's namesake brand in all of this, but done badly, and with a much less impactful cast. This did not warrant a showing at LFW by any standards. With all due respect to her, her work is just not evolved enough or interesting yet.

 

[TianCouture]

I understand she won the LVMH prize and I'm sure whatever painstakingly obscure technique she uses to creates these rags is meticulous, but this looks no different than any of her other collections, let alone her entry. I'd be very, very embarrassed by this. I wish Conner Ives won.

 

[Cocteau Stone]

Her "barely there" approach with her dresses makes a collection look very empty. It's all rather vacuous because she can't escape from what she's super familiar with for fear of not being on brand (despite not being around for that long at all). A look book or show room presentation would have served her better rather than a runway. And a nicer shoe, like a high arch stiletto heel.

 

[YohjiAddict]

If they are ever in need of yet another one-trick pony at Mugler, they better give her a call. Vulgar in every sense of the word: vulgar ideas, execution and result!

 

[bc collector]

vulgar ideas, execution and result!

Sorry to disagree but: if you call this vulgar, where do you place the likes of LaQuan Smith or Mowalola?
Apparently I'm the black sheep here, but I like what she's doing, which is extending her lingerie aesthetic with new, more tailored elements.
I rooted for her at the last LVMH prize and continue to consider my faith deserved. Her work is way more technically complex that most of what's shown in London these days, it's mature, contemporary and not rooted on nostalgia or caricatures of vintage styles (see: Richard Quinn)

Is she a one trick pony? Only time will tell, but in the meantime I find it rather silly to systematically bash her for clinging to her signature style, as if someone so young and with so little financial means were supposed to do, what exactly? What is the standard, the ideal that so many here have in mind?

Given the poor expectations we all have these days, I'm happy with what she's doing for now.

ps: As for Connor Ives, he might have looked less at Galliano to be more convincing in his effort.

 

[tricotineacetat]

If this is the best London has to offer at this point, I can't help but miss all her more promising predecessors that are no longer in business - From Hussein Chalayan to Boudicca, Sophia Kokosalaki or even Marios Schwab, to name but a few.

I don't want to sound bitter and old, but this new generation of designers lacks the skills and craft that for so long rightfully placed London as the most important talent incubator in the early 2000s.

 

[bc collector]

Hussein Chalayan to Boudicca, Sophia Kokosalaki or even Marios Schwab

You're putting very different designers in the same basket, though. On HC and Boudicca, I might agree, even if the latter struggled to have a recognizable identity, despite being very technically gifted. SK is what I'm afraid Nensi might become if she does not extend her vocabulary enough over time; let's add that Nensi for now is independent, Sophia had the poor judgement of partnering with Rosso's OTB - and I've said enough with that.
But Marios, really? He did a couple of impressive collections but then lost himself along the way without really coming up with anything truly his: are we really supposed to miss him?

 

[tricotineacetat]

You're putting very different designers in the same basket, though. On HC and Boudicca, I might agree, even if the latter struggled to have a recognizable identity, despite being very technically gifted. SK is what I'm afraid Nensi might become if she does not extend her vocabulary enough over time; let's add that Nensi for now is independent, Sophia had the poor judgement of partnering with Rosso's OTB - and I've said enough with that.
But Marios, really? He did a couple of impressive collections but then lost himself along the way without really coming up with anything truly his: are we really supposed to miss him?

I deliberately chose a diversity of designers with different styles, all of which I believe have had a sturdy foundation of technique and identity that most emerging designers today are missing. Boudicca's sharp tailoring, Sophia's draping or Hussein's cutting surpass the skills displayed by any of the designers showing today in London or elsewhere!

We are not here to judge the business decisions some designers made in their past, generally speaking, the early 2000s meant for most emerging designers to produce their collections through a liscensee like Pier, Gibo or Gysemans (Everybody from Viktor & Rolf, Hussein Chalayan, Raf Simons, Veronique Branquinho or Sophia Kokosalaki did that) - All of the designers I just named were considered ready for the next step up but in order to do that, teaming up with a manufacturing/distribution partner seemed the only way to do so - The fact that things aligned more favorably for Rick Owens was an absolute exception from the rule.

 

[WAVES]

this looks exactly like her previous work. some of the outfits are interesting (like before…) and I like the fact that she develops around the same line but it’s too much of the same thing continuously.

also, if this is Fall Winter I wonder what’s coming for Spring.

 

[GERGIN]

If this is the best London has to offer at this point, I can't help but miss all her more promising predecessors that are no longer in business - From Hussein Chalayan to Boudicca, Sophia Kokosalaki or even Marios Schwab, to name but a few.

I don't want to sound bitter and old, but this new generation of designers lacks the skills and craft that for so long rightfully placed London as the most important talent incubator in the early 2000s.

Emphasis on Marios Schwab.