Hits and misses during N.Y.F.W. F-W, 2018-19

This latest edition of N.Y.F.W. was for most part pretty uneventful, making those good collections and designers who invested some effort and imagination in their craft really stand out.

I’m under the impression many designers are not doing their homework. I can’t see patterns, I don’t see anything new. Are we to go through another revival  and live off trends that were very ugly to begin with, forever?

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Tory-Burch

But not all was a bore, not all was lost, there were shows such as Eugenia Kim‘s fun, and funny two shows in one…

The milliner  unveiled her Fall/Winter 2018 collection while celebrating a retrospective of her 20 years crafting unforgettable hats.

Kim found inspiration in  glamour and the inherent excesses that go with the image of luxe.

Eugenia Kim:  FW18 Presentation

One of my favorite shows was that of designer Tadashi Shoji.

A sexy,  soothing and upbeat proposal inspired by the women who enchants life with sensuality and color, very feminine and every single dress was wearable.

 The Tadashi Shoji woman oscillates between strength and grace. She wears it brazenly, shimmering in crystal diamanté. She combines formidable asymmetry with cursive movement.

Tory Burch, was  a tiresome, seen, done showcase. Yeah, that kind of a collection…

Who is buying this? Who will wear the unwearable, ill fitted, drab fabric ensembles that came out of these uneventful collections seen during this edition of NYFW, other ugly collection were LIE by Chung Chung Lee, Christian Siriano, Tom Ford and Cheng Peng among many others.

Burch’s quote on her chef salad of a collection is “Romanticism defines the Fall/Winter 2018 collection,” describing it as “from Lee Radziwill’s effortless style to a field of carnations inspired by the drama of Pina Bausch’s Nelken…” Ms. Radzwill must be pissed off…

 

 

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Tanya Taylor was a cool and fun collection: The FALL 2018 WAS INSPIRED BY THE WOMEN OF THE DADA ART MOVEMENT SPECIFICALLY SUZANNE DUCHAMP AND HANNAH HOCH. IN THE 1920S AND 1930S THEY COMMUNICATED THEMES OF LIBERATION AND EMPOWERMENT THROUGH PHOTOMONTAGE AND PAINTING.

 THE COLLECTION ESTABLISHES FEMININE IN A NEW LANGUAGE. UNFUSSY, TAILORED AND SPONTANEOUS. SILHOUETTES ARE SLIM IN THE HIP, SLEEVES ARE UNSTRUCTURED AND ROUNDED, LENGTHS ARE ABBREVIATED AND PROPORTIONS ARE REFRESHED. WAISTS ARE SOFTENED AND RUCHED. SHE IS DRESSING WITH STRENGTH AND SHARPNESS. WOOL PLAIDS, TEXTURED HOUNDSTOOTHS, MENSWEAR SUITING AND FEATHERWEIGHT CALFSKIN BRING DEPTH AND LAYERS.

 

THERE IS A SPONTANEITY TO MIXING. POLKA DOTS INTERRUPT BLANK COLORBLOCKED FLORALS, AND CLASSIC PLAIDS ARE PAIRED WITH DARK DITZY FLOWER BUDS. PRINTS FOCUS ON AN ELEMENT OF SURPRISE. FLORALS FEEL LIKE MODERN CAMOUFLAGE TELLING A STORY OF ELECTRIC PINK, DEEP NAVY AND SHEER NUDES WITH POPS OF LEMON AND ORANGE.

 

SHE IS DRESSED IN A STREAM OF CONSCIOUSNESS, UNABASHEDLY FREE. SHE IS A FEARLESS CHALLENGER OF FEMALE IDENTITY.

Another good collection was that of  Carly Cushnie and Michelle Ochs: Cushnie et Ochs, who celebrated their 10-Year Anniversary with a runway collection inspired by their ultimate muse – Zaha Hadid.

“Zaha Hadid was the Queen of the Curve. An icon with the fearless ability to push boundaries in all aspects of work. Her architecture will always be something that we look to inspiration, as she was truly a visionary- a woman who empowered women everywhere.” – Carly Cushnie + Michelle Ochs.

Ulla Johnson, I loved this fashion show, and I think this collection had the right mix.  It had a fresh, modern and classic take on Fall and winter for 2019

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Ulla Johnson

For Fall 2018, Ulla Johnson embarks on an unravelling of tradition. In a time of political and societal upheaval, Johnson explores where and how our collec­tive mores should be preserved, where honored, and where subverted or rejected outright. This is perhaps my favorite proposal of all, during NYFW. 

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Ulla Johnson

Delving into both sex and sexuality, Johnson continues a conversation around women and power. Time honored tropes of feminine and masculine dress are conflated and juxtaposed. Chantilly lace and humanely sourced angora are paired with Donegal tweeds, camel hair, and corduroy. Frocks are layered over mannish trousers, strong shouldered suits are tied up with soft ribbons, shirtings are hand pleated into gently billowing volumes.

Looking back to times of great societal change and the freedoms that were fought for and celebrated, Johnson offers up a bold, self-possessed sexuality. Harkening disco-era decadence and eighties power dressing, Johnson’s woman speaks with a voice that is strong and clear.

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Lurex dots dance across shibori printed georgette, sequins are embroidered over rich velvets and molded into puffed up shoulders. Copper bugle beads are knit into body skimming shapes with deteriorated edges lending an effortless elegance.

Taffeta is draped into exaggerated volumes and adorned with rich ruffles and ballooned sleeves. Precious materials are mixed with workwear fabrics in an affront to the rules of day or evening wear.