We bring you our pick of spring collections from the recent New York Fashion Week!
Rosie Assoulin is not only ManRepeller’s favourite, but also one of the most anticipated young designers to grace NYFW since her remarkable showing at Resort’13. True to her calling for classy architectural volumes and billowing silhouettes, evening wear was given a modern twist without forsaking that timeless air of elegance in unassuming palettes. There were some indications of colours in a sporty gown with bold primary stripes, which had a retractable dramatic train. A blush pink strapless top with a glamorous side cascade was also paired with green culottes. The precision and structure to her pleats, draping, off-shoulder necklines and trains were imbued in seamless fluidity that flattered the feminine body despite the unusual shapes.
The Row was abound with Arabian and other “exotic” references that set the mood for chic relaxation. For those unfamiliar to the brand, it is established by Mary-Kate & Ashley Oslen but is (fortunately) a minimalist approach to their famous hobo-chic styles. There were light, willowy dresses with long layers, cross-body hobo bags, thick rug-like coats that could be attempted at Williamsburg, or maybe on a holiday far away from the city. These were alluring pieces nonetheless, I especially loved the veils when paired in all-white/black layers. Monochrome is still their niche, and their effortless simplicity is best on such a canvas. I appreciated the subdued composition of its chosen aesthetic- instead of an explosion of ethnic tension that many designers utilize when attempting exotic or resort. While there seems to be refined craftsmanship (for a celebrity designer brand) in a perforated shearling coat, leather cuts that looked like lace and macramé jackets, there are moments where it seemed British India at best.
Victoria Beckham‘s turn towards crispness and experimentation of shapes really prove her mettle as a designer -rather than a celebrity designer. Silhouettes were significantly more boyish and less sinuous, with boxy jackets and tunics in her signature sportswear aesthetics. Beyond dresses, there were cropped trousers that were clean and sharp, sheer letterman jackets and a sheer, black organza shirt with overlapping geometric blocks on the chest. There was still some bodycon in the form of harness dresses but bottoms were shaped in A-line, frill hems and diagonal hems with underlays of contrasting-coloured pleats. There were pieces of burgundy and fuschia, but it was the subdued ensembles of black, grey and white that stood out in its stark simplicity. Also, the georgette tank tunic makes an appearance again as one of spring’s feature top. If one must be picky, there were discernible overtones of Balenciaga, but coming from Vicky B, this indeed a fresh and optimistic direction.
DELPOZO brought prêt-à-couture to NYFW with stunning dresses reminiscent of a tea party in the south of France, celebrating romantic femininity. The spring collection from Josep Font was a delightful surprise, enchanting in classic couture volumes that resemble Raf Simon’s works at Dior. There was also an invocation of Balenciaga boxy suits. Joseph Font worked off Jean-Baptiste-Camille Corot’s “Gypsy woman with tambourine” portrait, but stayed faithful to Delpozo’s Spanish roots. The classic 50’s Dior dress canvas was reworked intricately with traditional craftwork details — beautiful floral embroideries, prints and lace appliqués — for a look that was classically feminine, yet looked thoroughly modern from top to toe. I am obsessed with the shiny gold and silver ribbon slingbacks, they give Burberry’s metallic loafers a run for their money.
Crop tops revel in décolletage decadence instead of the usual sporty-jersey look, hardened in rigid beige raffia or through sheer corsets with floral appliqués. Thereafter, they were paired with dramatic high-waist trousers and voluminous ball skirts. Font’s feminine body was dramatic and architectural in his emphasis on symmetrical shapes (squarish even), which sometimes flounders in questionable pieces that veered towards the clownish. But I sense Font being on the same page of free couture as Raf Simmons- although not as body-conscious with rigid, flared silhouettes. His stronger pieces have nuances of fluidity in pleats, gauze, frills and tiers to enhance such feminine bodies. The finale dress was perfect for a summer wedding; white with floral appliqués, but besides these majestic gowns there were covetable daytime options as well.
ALEXANDER WANG Aaliyah, the angel of R&B, was renowned for her midriff baring, hip-hop ensembles. The indomitable Alexander Wang seemed to be working towards updating this particular look and femininity. The result is yet another deliciously cool 90’s aesthetic with sheens of modern (almost-sci-fi) sensibility in liquid viscose and polyblend leather pieces. Wang utilised cheeky logos as his main source of prints: block letters of his name ingeniously weaved like guipure lace, jacquards, waist bands and even stamped leather to create “AW” or “ALEXANDERWANG” perforations. Of which a black leather trench coat with 90’s denim (white contrast) stitching was absolutely stunning. The updated look of logomania is stylishly subliminal and clever reinterpretations of the likes of Brian Litchenberg streetwear parodying designer branding. “Delightfully meta” as Nicole Phelps calls it.
The Aaliyah look was present in a great deal of unbuttoned men’s shirts, juxtaposing straight lines – triangles- against teases of flesh to create a strong feminine shape that was still undoubtedly feminine and very sexy. The thick and heavy dark denim was also used in flirty ensembles of laser-cut cropped jackets and pleated leather minis. His signature tomboy chic included playful splashes of pink in a dress shirt and accessories eg: opera gloves. His menswear checked ensembles, especially the oversized parker with white paneling, are sure to be hits. Wang’s impeccable cut and eye for unifying his aesthetic sensibilities into his garments create structured pieces with nuances of deconstructions – edgy yet completely wearable.
PRABAL GURUNG Another brilliant showing from the designer with a remarkably cohesive and exciting concept of “femininity with a bite”. This could well be Prabal’s entrance into the high halls of couture in his stunning take on the body electric. The opening of his show was highly theatrical as the runway was veiled in a plastic PVC experiment box that complemented his fresh departure from past collections. The Prabal Gurung lady this spring is of 1950s glamour- Gurung named Marilyn Monroe in The Last Sitting as muse, complete with cat-eyes and pin- up girl silhouettes but strikingly modernist imprints. Coup de theatre indeed.
Lips were painted in matte neons of orange, pink and lilac to accentuate a summer wonderland that was steeped in retro sensibilities yet decidedly futuristic. Refined silhouettes were soaked n punchy hyper colour to create sportswear with a couture sensibility, as can been seen in his twist on the wiggle dress. There were wildly imaginative touches of femininity- Wasp-waists, midis and alluring décolletages, like luxurious satins cinched in ruffles, plastic pencil skirts and perspex racerbacks (back brace?!) and thick brush strokes of rose stains. The tweed skirt-suit was lifted with a sporty bomber jacket, with subtle lapels to amplify the sleeves and images of roses through weaving ( and contrasting colours) rather than printing. Feminine opera coats were blended with tulle and silk, or drenched in clear plastic painted in an ombre effect of blocks of jelly emerald to solid black and strokes of black roses at the bottom.
Rag & Bone. The 90’s were raving again at Rag & Bone, stamped with an iridescent orange lip. The brand’s eponymous flair for street luxury is a favourite amongst fashion darlings like Rumi Neely. As with many other downtown-chic designers, the cropped top (which is halter-necked here) is paired with blazers- “dustbowl coats” to cool perfection. The spaghetti strap makes a strong appearance again in silk and georgette tank tunics. Utilitarian crispness was still present but enhanced with nuances of willowy femininity in diaphanous slip dresses and skirts. The sweaters and slouchy trousers with a curiously asymmetrical fold/band, as well as the platform laced open-toes will be snapped up quickly. Besides monochrome staples, there were touches of peach and pink tones as well. I personally adored the soft leather dungarees and a peach spaghetti tank midi dress and found such Calvin Klein overtones in other pieces. Definitely one of the most accessible 90’s redux with timeless street sophistication.
Tanya Taylor debuted a strong collection of colours and paint splashes against canvases of navy stripes, grey-blue jersey and white leather. Interesting shapes were created with white appliquéd floral motifs on organza-like mesh dresses and coats, the interplay of softness with pleats, asymmetry and varying degrees of bias-cut silkiness. Pops of Crayon-like colours on sections of a navy striped ensemble, as well as her hand-painted floral prints add to the play on optical dimensions. Besides possessing a strong hand in brushwork, her keen eye for patchwork show her promising aesthetic sensibility in creating attractive silhouettes with just the right amount of feminine cool and wearability.