It’s a WRAP for New York Fashion Week Fall/Winter 2019-19! Next stop, London, but before we get to the UK, let’s revisit some of the BEST SHOWS of the WEEK in case you missed out!
This season marked Raf’s one-year anniversary in New York, holding a spot as the week’s biggest headliner. Placing everything into context, the collection, dubbed “Youth In Motion,” took cues from Uli Edel’s cult 1981 film Christiane F., which chronicles teenage drug abuse during Cold War-era Germany, and Cookie Mueller and Glenn O’Brien’s mid-1980s tragic-comic play Drugs. The outerwear, tartan suiting, satin cargo pants and latex evening gloves were a particular highlight, and while the literal references presented via the graphic pieces – “Drugs,” “XTC,” “LSD,” “GHB,” “2C-B” – were controversial, they weren’t done in vain. Raf always seeks to raise a dialogue about the things that inspire him, how you react to them afterwards only supplement the story he’s trying to tell.
Simon’s runway was a juxtaposition of classic opulence and contemporary looks for a modern day gentlemen. WATCH the FULL SHOW after the JUMP!
The Blonds collection was inspired by “primeval and eternal conflict of good vs evil as a driving force in art and literature and film.”
Phillipe Blond opened the show wearing a stunning red jumpsuit covered in gold studs – looking “evil” gorgeous. It’s always exciting when Phillipe hits the runway. It was surreal perfection.
The hottest brand on the planet rocked again with their signature spikes, studs, pearls, fringes, and crystal elements. The Blonds Fall 2018 also kept the glamorous corsets and latex pants to create a cool mix of Victorian era style and modernity.
Are you getting some Thierry Mugler vibes?
MARC JACOBS SERVED UP A SPECTACULAR DOSE OF OLD-SCHOOL DRAMA FOR FALL 2018
With extreme silhouettes, rich textures, vibrant colors and expressive models, the designer put the “show” back in fashion show.was all about a dramatic, oversize silhouette, making for a collection that was theatrical, textural and artistic, and while the runway styling was certainly over the top, each separate element looked easily wearable. The designer swaddled models in gigantic, colorful cashmere coats topped off with matching scarves, voluminous blouses with twisted flourishes at the neck, roomy high-waisted trousers and skirts and menswear-inspired overcoats. Each look mixed rich materials like leather, velvet, silk, wool and tweed, as well as a vibrant array of colors, ranging from jewel tones to bright, primary shades to shining metallics.
For fall, Michael Kors designed a collection of “favorite things,” the go-to pieces that his clients will reach for on a regular basis. Kors said,“How do I design the piece that you grab for on a regular basis?” He set out to design a collection of exactly that — go-to, essential items aka favorite things.
Oscar De La Renta-
At its base, this was a pretty collection, abloom with flower prints and embroideries, and featuring rich textures from lustrous velvet to nubby raw silk. It was inspired, the designers said, by memories of a trip they took with Oscar to The Cloisters to see—or rather hear—a Janet Cardiff sound installation. That led them to “enchanted forest” tapestries and the Elizabethan era, which they handled lightly and rightly, save for some quilting here and there and a few hyperbolic bows.
Signature CK by Raf touchstones such as Western shirting, side-stripe trousers, cowboy boots and boxy overcoats formed the collection’s crux, but the designer’s Americana narrative this season felt far more conceptual. Scratching on the surface of Raf’s moodboard were the days of early Western pioneers (patchwork chiffon gowns, plaid 19th-century dresses, prairie skirts), the ’60s Space Race (astro gloves, futuristic googles, metallic leathers), rescue workers (firemen chore coats, balaclavas, rubber hazmat boots) and pop culture (Looney Tunes and New Hollywood channeled via collegiate knitwear and a Simon & Garfunkel soundtrack that echoed Mike Nichols’s cult 1967 film The Graduate).