The set of Rihanna’s Fenty Puma show was a pair of pink sand dunes over which several BMX bikers flew in a series of aerial stunts. After last season’s show of schoolyard stereotypes and the 18th-century girly sport of the season before, Rihanna went in an entirely different direction with a hyper-athletic mash-up of surf, motocross, rock climbing and all things extreme sport.
There were windbreakers and biker shorts, hoodies, racing pants, and for the first time, swimwear. Everything was torqued with athletic straps and buckles and emblazoned with Puma branding as well as words like “wet” and “drowning” in fast, graphic fonts. The colors were classic sports-born combos of navy and hot pink, black and fiery red, pool blue and white and hunter green and navy. The tight stuff was tight, but there was oversized stuff too that had a current street flavor. Everything was styled to the nines with attitude and a sense of humor. And once again Rihanna managed to make athletica, one of the most widely mined concepts in current fashion, into a vibrant collection with a point of view that can hold its own.
What are you wearing during the fashionweeks? Your Gucci-shoes, that Balenciaga-shirt or your latest Vetements-denim? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: New York Fashionweek, womenswear SS2018.
What are you wearing during the fashionweeks? Your Gucci-shoes, that Balenciaga-shirt or your latest Vetements-denim? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: New York Fashionweek, womenswear SS2018.
What are you wearing during the fashionweeks? Your Gucci-shoes, that Balenciaga-shirt or your latest Vetements-denim? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: New York Fashionweek, womenswear SS2018.
After two collections, it’s clear that Raf Simons’ approach of Calvin Klein is to mine broad-stroke aspects of American culture, whether out of respect, curiosity or a yen to telegraph to skeptics (if any exist), his appropriateness for the creative helm of one of the great bastions of American fashion. Hence, a prolonged stroll under Sterling Ruby’s latest collaboration with Simons, the rafters now hung with colorful, exaggerated pompoms and banners representing the cheery high school life, but with grim sightings — an axe here or there — interrupting the frivolity. That provided the setting for the show, “Sweet Dreams,” inspired, Simons’ show notes informed, by the Hollywood horror genre and “its depictions of both an American nightmare, and the all-powerful American dream.” It resulted in a thoughtful juxtaposition of pleasant facade and disturbing underbelly, realized via a collaboration with the Andy Warhol Foundation for the Visual Arts; Simons used graphics from the artist’s “Death and Disaster” series to recontextualize clothes that ranged from ethereal (ghostly, billowing nightgowns) to cool (coed denim).
Within the social-commentary context, Simons mused broadly and brilliantly on silhouette and materials. He presented Take Two on several very American motifs introduced in his debut collection — the denim, quilts and the color-blocked Western shirts with which he opened. These made an odd kickoff to a show brimming with ideas: modernist nylon redos of full-skirted Fifties frocks, madcap dresses made from miles of yarn fringe, and, for men, lean-cut plaid suits that worked the chic side of geek.
The clothes were often inventive and always impeccable. Yet it all felt a little hollow, observational rather than immersive. Perhaps it’s the difference between an intellectual and emotional approach. Simons falls in the former camp, and masterfully so. Yet horror is an emotional motif. The show notes indicated “a corporeality that speaks of both sexuality and mortality.” That’s a lot to put on a dress — even one with Warhol knives on it.
The spring summer collection Tom Ford presented was a classic one: the calculated decadence we know so well from Ford, rendered in a split between athletic-derived sportswear and power-woman goddess gowns. Crossover of athletica into the primary daywear vernacular aside, Ford loves tailored polish. He opened with a bold-shouldered pale pink satin tuxedo jacket over a liquid metallic top and short-shorts, rolled at the hem. Unlike the old Gucci days when he worked the daylights out of a single look, here he offered options, some approachably chic, others challenging to all but the most secure of attitude and body image: classic pantsuits, dressed-up dark denim, short leather trenches and racy jumpsuits. One, a long, backless drink of water in white crepe, rang the bell of a long-ago Gucci dress with a cutout abdomen. An infusion of wit came in an only Tom take on the twinset: slouchy chain mail shoulder bag and matching briefs worn with a louche pale pink top. As for the eveningwear, strong shoulders and sequined sleeves transported classic draping from ethereal to aggressive, as glam as it gets.
The takeaway was of familiar audacity. Ford believes genuinely in the transformative power of clothes.
It didn’t come easily. To replicate the original getups, Ford wanted old-school tube socks, to the knee, but his staff came up empty — today’s versions hit midcalf. Someone then thought to cut the sock foot into a thong, thus extending the overall length. Tailored tube socks. Aspiration realized takes many forms.
MAISON the FAUX surprised NYFW with their FAUXmosapien filled world. During their show all of the models joined into a FAUX ritual. A ritual in which they surrendered themselves to the false promise of a new and better world. During this ritual, models were baptised from a water dispenser, christening them as “FAUXmosapiens”, before entering vertical, incubator-like tanning beds.
We posed the question; “Why and who do you choose to follow?”
In a world that (still) struggles to see us all as individual human beings, MAISON the FAUX offers an alternate world; the FAUXmosapien world. An evolved world in which everyone can be themselves and let go of beauty ideals and trends.………. Do we sound convincing?
The SS18 humanwear collection was all about joining, mixing, combining strict borders and patterns into an eclectic diverse image. Mermaid dresses in striped tule, multicolored statement coats, sunsets and globes, copy/paste denim and leather silhouettes, red plastic disposable bags and stripes, stripes, stripes and stripes. The colour pallet was defined by graphic contrasts and pastels.
For the past two days New York was the homebase of The Kingpins Show, an invitation-only, boutique denim sourcing show featuring a highly-edited selection of vendors. We were there to capture the event and the atmosphere. International denim heads, countless denim variations, a colorful art project and an outdoor after party that felt more like a summer festival; this was Kingpins NYC SS2018.
What are you wearing during the fashionweeks? Your Gucci-shoes, that vintage Prada or your latest Vetements-denim? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: New York Fashioin Week FW 2017.
Stuart Vevers’ 25th collection for Coach focussed to his starting place, the shearling. He revisited some favorite sources of inspiration, such as Terrence Malick films and the Great Plains.
This time, though, he did a style mash-up by mixing prairie with Eighties hip-hop. The tomboy was also a reference point. But with the Smashing Pumpkins’ “1979” playing throughout, and a voiceover from “Badlands” spliced in, Vevers’ prairie-hip-hop combo took on a grunge feel.
Currently, outerwear is king. Shearlings were distressed with raw edges and floral and eagle embroideries all over. Vevers pushed the shearling idea even further with a dyed hoodie style with intarsia floral designs and a full-length topper coat that was dyed several shades of brown.
Our own fashiondictionary Koblenko’s Camera’s love them, they always come in pairs. These are spherical photographic lights which produce a refined light very much appreciated by high end photographers. They are named after a Russian physician who almost won the Nobel-prize for Physics in 1956.