New York as a fashion capital is often looked down on by the snobbish elite for it's commercial qualities and financial success. Having given up on the romantic notions of tortured artists and unpaid internships long ago, New York hosts some of my favourite shows- I having complete respect for designers that have mastered the tricky balance of creativity and wearability. I will admit however, that like every city's fashion week schedule, you have to sift through many presentations that are all commercial and no creative, coming from brands both established and little-known.
The first show to take my attention was Helmut Lang, the tomato red of its collection alerting the senses. Despite the dramatic contrasts in a colour palette of scarlet, camel, cream, grey and black, it was texture that interested designers Nicole and Michael Colovos this season. Tailored pieces with neat necklines and straight waists came in crinkled wools, fluffy knit peaking through cuffs and collars, slipping over skirts and trousers of slinky silks and shining leathers. Architectured necklines and seamlines exaggerated by topstitching kept loose shapes in check, the soft fabrics and an abundance of naked skin carrying a silhouette larger than the trademark Lang away from being unflattering.
Fast-forward to the Prabal Gurung show, where the designer looked to fashion's other long-serving inspiration of travel, specifically Gurung's trip to the Himalayan territory of Mustang. The obvious references were there- shearling, feathers and blanket knits, but the mash up with sportswear influences gave it individuality. Waffle and cable knits merged, layered over wispy chiffon, feathers flounced from underneath twists of satin, primitive prints graced tailored shirts, patchwork coats came in fine furs. Drape wound its way into tailored suiting, with the flashes of skin looking a little like Anthony Vacarello, the textured swathes a little Altuzarra for Spring 2013. The technique look accomplished in classic chiffon, but the more structured satin looked a little tortured under strain- a bit of an experiment gone wrong.
The first show to take my attention was Helmut Lang, the tomato red of its collection alerting the senses. Despite the dramatic contrasts in a colour palette of scarlet, camel, cream, grey and black, it was texture that interested designers Nicole and Michael Colovos this season. Tailored pieces with neat necklines and straight waists came in crinkled wools, fluffy knit peaking through cuffs and collars, slipping over skirts and trousers of slinky silks and shining leathers. Architectured necklines and seamlines exaggerated by topstitching kept loose shapes in check, the soft fabrics and an abundance of naked skin carrying a silhouette larger than the trademark Lang away from being unflattering.
A focus on fabrics continued at Altuzarra, where double-faced cashmeres spoke to New York's classic side in shawl-collared belted coats, earning fashion points in a navy and electric blue combination, later followed by a muted green paired with shocking pink. Altuzarra's interest in handcrafts, made a welcome return after an absence in Spring, in the form of hand-loomed tapestries in yarns of different thickness and colour, inspired by textile artist Sheila Hicks. Fluid silks with daring slits and bandeau cocktail dresses with peekaboo linings supported the sexy, sophisticated appeal that Altuzarra has become known for, while deep-pile fleece jackets spoke of the same sumptuousness that one of Michael Kor's furs might warrant, creating what Altuzarra described as a 'different type of luxury'.
Climbing down a few rungs of the catwalk ladder, I next look at a much younger label- Delpozo, a who only made its New York debut one year ago. Now with a Milan store to its name, its developing something of a cult following, gaining attention for blurring the lines between couture and RTW- something that's becoming a bit of a trend. Designer Josep Font has a talent for combining strong shapes with dreamy femininity, this season inspired by 1960's sci-fi novel Logan's Run and the purist forms of Italian artist Duilio Barnabe. Delicate and strong creations followed- pale blush felt folded gently into a statuesque cape, light as a feather knits cascading over invisible petticoats of stiff organza, pale pink leather cut into seductive necklines and elegant A-line skirts, and delicate sprinklings of crystals over cocoon shapes worn like armour. The predominantly long lengths were reminiscent of the thirties, with the round panels in block colours giving reference to Bauhaus paintings- creating a retro feel, yet these pieces could easily be imagined on today's modern woman.
Creative thinking with more refined results shaped The Row this season, where quietly dramatic shapes in awesomely luxe materials said a lot with few words. First came 900 gram cashmere hand knits- the already obvious cozy factor blown up by an oversized cowl neck sweater and sweeping cape worn as a skirt. Volume continued in trapeze shapes, full skirts, kimono coats and blankets cascading over shoulders. Texture was key to interest but without embellishment- a black jacquard mimicked the sheens and swirls of ponyskin, fringed scarves broke the monotony of looks in just one fabric, another pale jacquard looked like abstract lace from afar, with leather, crocodile and ostrich skins adding to the pared-back luxury. Brogues by Enzo Bonafè, a mens shoe brand known for its high quality craftsmanship and traditional techniques, were the perfect finishing touch.
Another brand based on its luxurious aesthetics, albeit with more obvious appeal, is Victoria Beckham. Her take on boyish femininity was more elegant than last season- long, loose, double-breasted, enveloping the body like how one borrowed from your boy might fit, closed by a chunky gold chain. The fit and chain defined most of the looks, the repetition taking away from the charm somewhat, in a mostly monochrome colour palette broken by the occasional scarlet. A Picasso-like print drifted in and out, sometimes in pleats. Fur trimmed one look, ruffles adorning a few others, the fifth look came in a striking tweed never to be seen again, and the show finished with a lone gown. There were interesting and covetable looks no doubt, but it read like a story unfinished or missing vital chapters.
A collection not lacking in development was 3.1 Philip Lim, which showed 42 looks. Inspired by a vague muse, 'Soleil- a fun and culturally curious woman', it featured every colour under the sun- pastel violet, deep burgundies, burnt orange,and the more classic cream, grey and black. Pointed shirt collars and wide-legged trousers nodded to the 1930's, floral print panels gave a 1950's touch to otherwise black cocktail dresses, while clutches embossed with 'CASH', seatbelt buckled belts and statement footwear brought the noughties edge. The trend of panelled furs and sheepskins continued, as did ruffles- this time in knitwear, and the generally relaxed, boxy silhouettes sat well alongside the other Fall shows. The more experimental pieces, like a bizarrely oversized trenchcoat and panelled suede dress with jumpsuit details, were clearly out of Lim's comfort zone, and made one wonder if he would have benefitted from editing such an extensive collection.
A collection not lacking in development was 3.1 Philip Lim, which showed 42 looks. Inspired by a vague muse, 'Soleil- a fun and culturally curious woman', it featured every colour under the sun- pastel violet, deep burgundies, burnt orange,and the more classic cream, grey and black. Pointed shirt collars and wide-legged trousers nodded to the 1930's, floral print panels gave a 1950's touch to otherwise black cocktail dresses, while clutches embossed with 'CASH', seatbelt buckled belts and statement footwear brought the noughties edge. The trend of panelled furs and sheepskins continued, as did ruffles- this time in knitwear, and the generally relaxed, boxy silhouettes sat well alongside the other Fall shows. The more experimental pieces, like a bizarrely oversized trenchcoat and panelled suede dress with jumpsuit details, were clearly out of Lim's comfort zone, and made one wonder if he would have benefitted from editing such an extensive collection.
Editing and self restraint is something of a problem for the Mulleavy sisters when designing for their label Rodarte. Their embrace of handcrafts and boundless imagination was what got fashion's attention, but it is often their downfall, when pieces begin to look like college projects or customising efforts gone wrong. This season's trip down memory lane through the dream items in children's dressing up boxes had all the makings of a stellar Rodarte collection, and it almost made it. The favourite of many a childrenswear designers, smocking, began the theme in chiffon eveningwear, the tucks studded with tiny rhinestones. Eighties off-the-shoulder numbers layered over turtlenecks offered a more wearable form of nostalgia, whereas the function and inspiration of coats without shoulders was less obvious. Giant glitter parkas with contrast shearling collars were tributes to the designers ability to give us what we didn't know we wanted, with sparkle on most of the pieces inviting girly screams, as did the bow-tied sandals, crystal-dotted socks, retro specs and metallic lips. The patchwork gowns brought Molly Ringwald's amateur prom dress creations to mind, but in shades of green, grey and orange, there was no Pretty or Pink appeal. Gowns with Star Wars stills down the side were both kooky and cool, perfect for some red carpet walker with a sense of humour.
Humour is something Marc Jacobs has never been short of, and the recent appointment of Katie Hiller and Luella Bartley as creative and design directors of his diffusion brand Marc by Marc, got people wondering how much of the Marc we know and love they would hold on to. It turns out, they bottled the true essence of the man for their debut collection and returned to the rebellious attitude that made him famous in 1992 when he presented the Grunge collection for Perry Ellis, and subsequently got fired for. The first model stomped down the runway in snowboots emblazoned with MBMJ (the new name for the line), scholarly shirt tucked into loose trousers and an abstract obi belt, accessorised with tight plaits and a single, defiant teardrop. The next girl said rebellion louder- the word itself stamped down along the scuba zip of her glistening black dress, followed by another in pleated grey dungarees worn over a shirt in Denis the Menace's colours of black and red. The message got louder- BMX slogans slapped over almost every piece, checks blown to cartoonish scale, giant bows took over shoulders, tulle skirts were shorn into uneven layers, scarves pulled high like ninjas. This attitude was not simply teenage- tailored jackets with bold undercollars, waffle knits, and classic shirting, offered pieces for the more conformist customer- because as we know, this new direction comes at the time of a major IPO for the company.
If MBMJ's muse is a loud, rebellious school girl, the Marc Jacobs customer is a mature woman of few, yet powerful words. The show started with simple shapes- tank dresses, leggings, tunics and straight legged trousers in muted tones of beige, brown, blue and oatmeal. So far, so subtle, but with the first twenty looks drumming the message home, we almost stopped listening. Enter texture. Fur filled the hoods of voluminous bomber jackets, crept down arms and up legs through the lining of over-the-knee boots. Tunic dresses began to grow longer and sider, 70s style, as sequins entered the game via ruffled, scoop necked tanks. Jacobs' playful side dabbled in dip-dyed furs, a single floral lace number and sparkling sequin gowns in swooping prints. The gentle wave pattern developed into more literal prints, becoming three dimensional in tonal organza ruffles. Despite the surprising simplicity of the collection, the loose shapes, long lengths and tonal colours created a familiar kookiness, unfortunately partly due to the unflattering nature of the garments. Perhaps in the run up to the IPO Jacobs wanted to show a softer, more restrained side for a wider customer base, but lost desirability in the process.
