The Best of New York Fashion Week
New York Fashion Week came and went with little fanfare. This time around, there seemed to be a lack of enthusiasm for the affair.
Vanessa Friedman, the Fashion Director and Chief Fashion Critic for The New York Times expressed a similar sentiment in the article, “Marc Jacobs and the Ghosts of Fashion Past and Future.”
The article suggests a somber tone during fashion week. Friedman points out that it seemed to suffer from an identity crisis partially as a result from the loss of influence that New York designers once had over the fashion world.
Friedman spoke to Michael Kors, who “denied feeling nostalgic—’except for the time when people went out at night with abandon because they weren’t afraid of being caught on social media.’”
More telling was Tom Ford’s opinion on the state of fashion: “[D]ay clothes don’t really exist any more. It’s all jeans or workout gear.”
A stroll through any New York neighborhood is proof that Ford isn’t exaggerating. Athleisure has become accepted as the norm. Who can blame consumers for wanting to be free from the restraint of “real” clothes or even the stigma that goes along with being too interested in fashion?
“Fashion!” has become a dirty word and is making headlines for the wrong reasons: a lack of inclusivity, diversity, a lack of consideration for markets outside America and Europe, ageism, etc.
On Instagram, where the barometer for pop culture success is measured, the fashion-snark account Diet Prada (which isn’t even a website), has more followers than the industry newspaper Women’s Wear Daily and as much engagement as Vogue. Not so long ago it was fun to wear clothes and read magazines. Clearly there’s more fun on commenting about the gaffs of major fashion houses.
Despite everything, there were a number of strong collections. The design teams that were successful were those who stuck to their brand’s DNA while giving a nod to micro trends that bloomed on social media the past year without completely giving in to the aesthetic du jour.
There were plenty of jewel tones, quirky accessories, covetable tailoring, and bold prints that would make anyone excited to dress again.
Fernando Garcia and Laura Kim presented the strongest collection of New York Fashion Week. Look after look, gem tones and rich fabrics referenced Oscar de la Renta’s legacy while being fresh and modern. This is the type of collection that makes uptown dressing more appealing than Calabasas athleisure.
Hair jewels and large earrings have been around for a while, but here they were sophisticated. The most stunning accessory was the red ombre lip, created by the makeup artist Tom Pecheax.
Vogue
THE ROW
Women’s Wear Daily suggested that the The Row was “the new Calvin” in their review. What should be said is that designing minimalist clothing that equals the splendor of 90’s minimalism is no easy task. At Calvin Klein, creative directors have come and gone and none have been able to do what The Row continues to do each season.
The beauty of The Row’s clothing doesn’t always translate through runway images. In this collection for example, the garments might look stark. But in real life their clothing is well made and wonderful investment pieces that are timeless and meld to the wearer’s style.
Images via Vogue
Ralph Lauren presented their collection at the flagship shop on Madison Avenue, a Beaux Arts inspired mansion built by Lauren.
According to Women’s Wear Daily, guests were treated to breakfast from “Ralph’s” the cafe located inside the shop and afterwards, a feast of clothing in a palette of white, gold, and black. It was Ralph Lauren at its best and a clear example of why the brand has continued to be successful all of these years.
Images via Vogue
ULLA JOHNSON
VogueTime after time, designers reference the 1970’s because the spirit of this decade is full of opulence and ease.
While Ulla Johnson’s aesthetic is bohemian and her garments are trendy, her attention to detail is what makes her pieces special. For instance, Johnson revealed to Vogue that some of the fabrics in the collection were handmade in India: “I think fashion has gone so far afield from fantasy, and it makes me sad,” she said. “It’s not just about creating products—it’s about making something that makes women feel beautiful and powerful, so for me it’s always about creating a sense of joy and optimism and exuberance.”
Images via Vogue
Since 2004, Tory Burch has been a label that resonates with women. At times her preppy version of glamour was often dismissed as too commercial. But these days it turns out that being commercial isn’t such a bad thing.
Of the collection Burch said: “The Collection is inspired by Black Mountain College, known for its unconventional approach to education and for shaping the trajectory of modern art in America. This season is a mix-match of revamped classics—floral prints, graphic stripes, menswear materials and romantic silhouettes. There’s a modern eccentricity to raw fringe, exaggerated ruffles, knife pleats, cut-glass jewelry, deconstructed bags and sharp boots.”
And while this collection was pure Tory Burch, her reference to the art school and its graduates that include Cy Twombly, Anni Albers and Willem de Kooning were a risk that paid off.
Images via Vogue
