This week brings us to the conclusion of New York Fashion Week, which seems to show us the outdated modes and is the most tired affair of the fashion shows. At least six figures are spent organizing a brief (around 10 minutes) affair that usually does not release until the next season. This, along with other factors, may be leading to the decline of the notion of runway collections as a showcase for new products and industry announcements. Personally, I feel like too many runway shows are crammed into Fashion Week, and I only have time for a select number of shows anyway. The rest of the nameless brands pass by in a blur. By the way, most of the shows were only for industry professionals, so I had no chance of attending in person but I was able to watch some shows online.
It is too early to say whether the fashion week is sustainable, but fashion is a very volatile industry and shifts quickly. It’s a little disappointing that one of the most vibrant cities in the world has little to offer during its fashion week. Too many of the designers and brands introduced conventional clothes; not a lot of risks were taken. Hopefully, there will be new upcoming designers from New York City that can invigorate fashion and proudly represent the best the city has to offer.
In this article, I will only be discussing a few noteworthy collections (which also happen to be my favorite), but please feel free to check out the rest of the shows, because you will be missing out on some extraordinary fashion sensibilities.
Philipp Plein’s garish designs were on display again. The German designer’s show was a sight to see, and I’m not talking just about clothing. There were robots, rappers, snowmobiles, and a giant spaceship floating over everyone’s heads. The Brooklyn Navy Yard warehouse was outfitted into a winter landscape located in outer space. Fake snow fluttered down from the ceiling. Hip-hop group Migos, Rich the Kid, and controversial rapper 6ix9ine all opened up with an exhilarating performance. Eventually, the clothing was revealed: dazzling, puffy ski wear with Playboy logos and diamond encrusted snowboards. Clearly, Philipp Plein went all out for his show.
At Tom Ford’s show at Park Avenue Armory, he debuted a new undergarment and timepiece line in addition to new clothing designs. As usual, his sleek suits were peppered with sportswear references. There were a lot of contemporary nods to fashion such as sunglasses, leather accessories, and athleisure footwear. I was especially captivated by the monochromatic patterns. The soundtrack set the sophisticated atmosphere included music by Lana Del Rey and Sting.
Ralph Lauren was characterized by preppy classics, in line with the heritage of its founder. It was a mix of relaxed tailoring and nautically themed looks. I liked the blazers and sweaters, which contrasted nicely with the appropriately muted shirts and pants. The collegiate crests on the blazers reminded me of stereotypical Ivy League university students cavorting on yachts and then transitioning smoothly to the workplace. The collection was clean and professional.
Last, but not least, Raf Simons. Raf Simons’ show was one not to be missed. It would not be an over-exaggeration to say that New York Fashion Week would be nowhere as near as prominent if it were not for Raf. For the past few seasons, NYFW has not been the most exciting or innovative. I know that Raf definitely drew me to this event. His work with Adidas, Christian Dior, and Jil Sander has long made him a darling of the fashion industry and now Raf lives in New York City for his position as Chief Creative Officer of Calvin Klein. Raf Simons presented both his third Calvin Klein collection and his namesake label’s collection.
The Calvin Klein collection revealed the disillusioned vision of someone entranced by the romanticized spirit of America and the American Dream. The floor of the American Stock Exchange was covered with popcorn that could have been snow or ash and several barns with Andy Warhol paintings that could have equally functioned as nuclear fallout shelters. The clothing marked an escape from reality in that it depicted Looney Tunes characters on sweaters, bright orange hazmat suits, and reworked firemen’s coats. Raf also felt empowered to continue including his astronaut and space motif with classic menswear and silver accessories. These elements contributed to the melancholy mood of the dystopian collection. The dark symbolism of the clothing and setting was not lost on me. In an era of hopeless political division and apocalyptic foreboding, Raf invites us to forget about it all and indulge in our fantasies.
Raf’s other collection was similarly depressing. His collection was titled “Youth in Motion,” and it highlighted the pursuit of happiness. The venue itself, Manhattan’s Sir Stage 37, further accentuated the contrast between the bare walls and harsh lights of emergency door exits with his garments. There was actually a livestream that I had the chance to catch and it was phenomenal. It would not be an understatement to say that Raf’s show was the highlight of NYFW. Ever since Raf Simons’ took over as creative director of Calvin Klein, his mission has been to highlight the underserved segments of our population. Right now, he is focusing on recreational drug use and the dangers of addiction, such as the opioid epidemic and its devastating effects on entire families and communities. Several garments were branded with bold letters indicating popular recreational drugs – “LSD,” “XTC,” and “2C-B” chief among them. The drug references are sure to draw a lot of eyes on the streets. At first glance, the drugs seem like an expedient buzzword intended to draw attention but after learning more about Raf’s inspiration and cultural highlights (the film Christiane F. and the play Drugs), I could at least gain a little understanding of where Raf was coming from. The clunky sweaters and long sleeve, slick vinyl gloves strengthened the feel of synthetically made yet disconnected – much like drug users and the substances. The graphic prints and sculptural outerwear accentuated the artificial nature of our lifestyles, going about our lives with no emotions. These clothes were not just about drugs, they were about the subculture and communities we create when we are isolated from society. No other designer would think to release asymmetrical pieces and expect people to love it. The controversial subject matter unsurprisingly elicited a wide variety of responses. I have to say that the depiction of drug culture was realistic in that it was not afraid to confront the shortcomings of our society in dealing with addiction. I also believe fashion is a great way to kickstart a local and national conversation on the opioid crisis but fashion alone will not solve this terrible problem.
His aesthetic and sartorial influences converged on the tragedy of the oversaturation of pills in our society. Besides the clothes, the spectacle of the show itself proved to be exciting as well. There were tables filled with feasts, and the dance music along with multicolored laser lights made me feel like I was immersed in a party-like atmosphere. Models walked on a maze-like catwalk. The wine bottles and wilted flowers, littered everywhere, captured the conflict between pleasure and agony that is marked by drug use. There is no high without the withdrawal, no good without the bad.
Overall, the collections were linked by trending themes: metallic tints, warm outerwear, and animal prints. These trends usually trickle down to the rest of the society once fashionistas wear them, however, designers have to contend with the fact that sales are not as good as they used to be. Some desire more flexibility with their schedules and want products to be available immediately during the season they drop. With rapidly changing shopping habits, the industry will have to catch up to maintain relevancy and profits. Next up to watch are London, Paris, and Milan. All of these cities will undoubtedly host many great fashion designers and collections.
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