Bonjour people! I am back with part two of my coverage for New York Fashion Week we just left behind and all eyes are on London at the moment (don’t make me speak about Christopher Bailey’s last act for Burberry because we would be here all day). I once again saw how hard it is with the skim-all-the-looks-on-vogue runway-and-have-somewhat-an-opinion. But here we are.
I hope you enjoyed my modest commentaries on the first part of the shows and please feel free to intervene with your own opinions and criticism in the comments section.
Over the course of the period of finishing writing the last post and starting with this one, I came to realise how sharing is caring in the realm of fashion. (you may remember I started a paragraph mentioning my motive to write the post in the first place: instinct for sharing) From seeing Instagram stories, right then and there from the shows; to reading detailed, intellectual reviews and deep, diverse interpretations in the afternoons has taught me art provokes multiple, sometimes an infinite number of different feelings, opinions and notes. A silhouette triggers a thought who generates a certain perception of a moment who then leads to the birth of an idea qualified enough to create some form of art whether its a monologue, a dialogue, a sketch, a collage, music or photography. Avoid shortage of creativity and productivity at any circumstance in your life, the rest will follow.
On y va!
Let’s start with the elephant in the room. Or should I say the giant popcorn ball pit in the room? Regarding the basis portraits Raf Simons created for Calvin Klein previous seasons (cowboy boots, signature knitwear, sharply defined shirts etc.) this show was almost an updated sequel on them and his most fully realised one in terms of the imagery and philosophy behind it. Or maybe it was what it was, American allusions and referrals to 90’s movie costumes, no need to unsettle. The delicately bold collection consisted of harmonically coloured looks gliding one after another, though gliding might have been hard since all kinds of actions happened on popcorn floor.
Oversized coats, checkered prints, sharp and flowy cuts, long leather Edward Scissorshand-liked gloves, conservatively cut-out dresses who occasionally allowed model’s boobs to peek out, chunky sweaters, longline skirts and hand-knit balaclavas made this show possible. See for yourself and read for yourself this informative article.
Since launching Nanushka in Budapest, Sandra Sandor has been patient enough to be able to finally join NYFW. She is a young, breakthrough artist joining the club from the western world, presenting us textures, materials, cuts, femininity and modern woman in a whole new level. She chose a very up-to-date method to showcase Nanushka; a fresh brand who nourishes from vintage and classic, a modern woman who tells a lot with less. No wonder Nanushka is the first Hungarian brand to be sold at Net-a-Porter.
Starting from signature dresses, shirts and pants, then extending to vegan leather fanny packs and satin puffer jackets, she won the hearts if not the eyes of every women who were craving for a bit of valid change nowadays.
This presentation is a dream colour palette: grey denim, lilac and red satin, brown overcoats, tan bags, off-white two-pieces, mules that compliment each look and most meaningfully the attitude of the women are what Sandor has greatly achieved in creating.
ZADIG ET VOLTAIRE
Clearing off from simplicity and clean figures and moving on to maximalism with insouciance, Zadig & Voltaire is once again walking confidently from the path Cecilia Bonstrom has opened. Getting her inspiration from here and there, carefully, or maybe in her case effortlessly she tries to assemble Zadig pieces we got used to over time with what is there to be on demand the upcoming season such as blazers, puffer coats, lace tights, trench coats and animal prints. Her runways are usually a safe choice yet not in a bad, boring way. It’s nice to stay loyal to a brand and its usual colour palette and create within certain lines. It somewhat gives a sense of stability and after all Cecilia is the ultimate Zadig woman.
I can hardly ever find any words for this magical collection considering this was Sander Lak’s only fifth season for the brand. He may be known as a colourful person, a colourful designer; but this was next level, a burst out of feelings. Starting from the first look I had a huge smile on my face since Edie Campbell opened the show with a gorgeous looking ombré knot dress with pliés. Then came the furs over satin dresses and fur hats. (satin dresses seem to be THE staple for this season, and all the previous ones and all the ones yet to come..)
“I don’t really work off a distinct inspiration. And I’m sensitive to color. I can get nauseous if I see something that doesn’t feel right, and I began noticing that if I looked at color as a solid block, I couldn’t do it.”
Sies Marjan is what I, myself can call a vrai achievement for a designer. The venue, the lighting, the experience (even though I wasn’t even there!), the souls who carried the clothes and the life he brought on stage is certainly a satisfactory achievement.
Gorgeous tan colours, raw cut gauzes who contributed looks in numerous forms, layering pieces and oversized cross body bags matching with the coats worn together look as every bit good as they sound.
3.1 PHILLIP LIM
Inquietude of constant displacement (yes I am talking about immigrants) contrasting the necessity of beauty for each and every woman is the deep inspiration behind Lim’s recent show.
“I remember my mother making clothes from scraps of fabric,” said the designer backstage at his show. “I think that idea of turning discarded materials into something beautiful really speaks to the immigrant experience.”
He is never afraid of walking the line between masculinity and femininity, making us question whether we even need that line in the first place. This time he has done it with floral, gypsy-like longline asymmetric skirts and dresses, patchwork which gives the ultimate impression of an unfinished look, unfinished business, maybe an unfinished life. He is never afraid of the contradiction that a rubber-soled chunky pair of sneakers paired with almost every model, either. Alongside airy dresses; baggy pants, blazers, hard knit, heavy necklaces, foulards everywhere (bags, necks, hands) were garments that gave the impression of a lost yet regained-herself-with-fashion-woman. Cool urbanity met with the pain of migration, settled woman met with the confused, innocence met with brutality and found shape and voice Lim’s hands.
Models flowing between artist Isamu Noguchi’s pieces, carrying signature clothes and facial expressions of the two genius we call Olsen twins, this show was for all the minimalist, maximalist, confident, anarchist, introvert, extrovert, independent and serene minds.
The starting point, they explained afterward, was the idea of uniforms and what you can do with them; therefore the collection or maybe even the brand was a long awaited childhood dream, an enlarged and extended version of “everyday clothes” and qualified enough garments to find their place in the luxury world. The silhouettes are always contrasting yet incredibly simple and eye-resting. You could think of it what usually ends up happening when you throw on random pieces before leaving the house but better. The row proves this doesn’t necessarily have to be in an apathetically careless way but in an harmonic effortlessness. From what I hear, the quality of the fabrics, stitching and garments are next-level (pregnant-to-twins Leandra Medine have been wearing their stretch waist band pants and wool babouches even to this day) so what there is to ask other than these heavenly made, incredibly well coloured wardrobe staples?
Known for voluminous skirts and dresses, asymmetric cuts, puffy sleeves and florals, Rosie Assoulin has once explained she created her dream, comfort-zone, the ultimate wardrobe with her brand. This presentation was a huge step up in her game. Outerwear was introduced as well as new footwear and silhouettes for dresses. Marbling was everywhere. On skirts, puffer coats, complimentary cakes for guests at the venue, tops, dresses.. And they apparently were from Turkish, Japanese and Italian cultures! Heels worn over socks were again a main accompanying look for feminine, bold dresses as this is an ongoing pattern for most designers this season. As much as I feel distant to her designs in consideration of my personal style, I strongly respect the Rosie Assoulin women. This, I guess, is proof that knowing the philosophy and thought process behind any form of design, helps bonding you with the actual garments; therefore you develop an involuntary respect towards it.
Thank you dear readers for sticking with me ’till the end. I hope I did a good job interpreting NYFW in my own words and feelings; thus provoking new ones in you.
Until next time!