You know something is extra fantastic when you can only respond with Anne of Green Gables gifs. This is how it is DONE, SON. From the venue, New York’s fabled Ziegfeld theater where the art of spectacle was invented, to the presentation, with the girls walking the red carpet, being photographed by the paparazzi, and then walking the aisles of the theater as a band played, to the collection itself, this all works together perfectly as a wonderful tribute to Americana through out the ages. From vintage film actress dresses to bandstand festooning to Letterman jackets to Bowie-esque blue suits to motorcycle jackets and everything in between, Marc Jacobs showed all of these important pieces of fashion from the last century done his way, with a cheekiness and a delight that so many other designers lack. All this plus some amazing casting, including Beth freaking Ditto. I think my only complaint about this show was that the girls were all so unsmiling. If there was ever a reason to have some happy models, this collection was it. You can read more about the references to past icon fashion moments here, and watch the video of the show here.
As we near the end of one fashion week and gird our loins for another, let’s contemplate the variety of style offered to us in just one day. On one end you have Marchesa, perennial red carpet favorite and purveyor of throwback glamour, and on the other hand you have The Blonds, Amanda Lepore favorite and architects of themed corsets, nail art and accessories beyond imagination. This season, Marchesa presented some beautiful gowns fresh from a film noir festival where The Blonds referenced Ancient Egypt with ponytail headpieces and scarab jewelry. Overall, though, these are two rather restrained collections, which is especially surprising coming from The Blonds, who have achieved such glorious excess in past shows.
I am kinda horrified with myself right now. I actually liked? Liked, really? Yes, liked. In fact I maybe kinda loved both the Rodarte and the Jeremy Scott shows this season. WHO AM I EVEN? I haven’t liked a Rodarte show since those distressed knit dresses that looked so bloody that it seemed the last person who wore them was a girl in a horror movie. Since then I’ve found their collections to be poorly tailored, blindly slopped together,explosion-at-the-discount-fabric-store messes. This season definitely still had that, but amoungst all that unflattering garbage, there were these vintage, kinda goddess-y ensembles that look like the sequel to Love Story where Ali MacGraw is in heaven.
As for Jeremy Scott, ours is a love/hate relationship. This man responsible for so much of the horror that lives in Miley Cyrus’ closet, relies so heavily on referential material that sometimes it feels like cosplay. Yet I can not stop myself from loving things like his 80’s Barbie inspired collection for Moschino. Again, the vintage references in this collection hit the right, playful mark. With all star casting a la Hadid both Gigi and Bella, this is pure 60’s-vision-of-the-future kitsch, with big plastic bracelets and earrings, bright vintage TVs everywhere from the prints to the purses, and my favorite, a print made up of a page from a high school yearbook.
Well children, here we are back again for another round of Fashion Weeks. Let’s all hold our collective breaths that this season is better than the ugly, drab and weirdly proportioned pieces of Fall 2015 that have plagued editorials since their debut.
We start with Givenchy, showing at NYFW this season because Ricardo Tisci wanted to show this season in New York on September 11th, as well as this being his 10 year anniversary as designer for Givenchy. Tisci, with his army of famous BFFs, is like a laconic, gay, swarthy Taylor Swift who is into power bottoms. I have definitely fallen in love with some of his past Givenchy couture shows, and some of his pieces have gone on to be icon on the red carpet and in editorials, but there has been a long drawn out feeling of reductiveness. Instead of a new, inspired collection each season, there is a lot of referencing back to past ideas that have been popular.
This season he took this to a whole other level by literally recreating past couture looks, and not from the past ten years of his tenure, rather mostly coming from his Spring 2010 collection. The reason behind this isn’t exactly clear. In fact there is so much going on here, that no direct narrative seems to present itself. The show had a funereal feeling to it, but how lingerie references mourning in this sense I am not sure. I know he meant these pants to be a part of the menswear vibe, but to me, they look like slacks. Like the Tabi brand loose, poorly tailored black slacks that women in their 40’s wear to their office jobs in Hoboken, NJ. There were boys in this show, and as Bo says “male models, gross.” Also, two models, including the human embodiment of the letter S Candice Swanepoel and another lovely young thing both fell on the runway. The first girl completely bit it, falling down the wooden steps on her knees. What do you expect is going to happen when you make models walk on flats in stilettos, too long pants, trailing ribbons and dragging shoe laces. You could later see that the model who fell’s knee was bleeding. But her and Candice both got up and kept walking like nothing had happened because these girls are goddamn professionals and know that they must go on no matter what.
Amongst all the themes and references that were incoherently bumping into each other, two strong visuals emerged. The first was Jourdan Dunn in a black gown thick with moss-like embellishment. Through her fierceness alone, JD makes this rather awkward dress work, all bold lip color and sharp cheekbones. The other strong visual were the gem and lace face masks, painstakingly glued to the faces of five models by make up genius Pat McGrath. This is one of the few things in this collection that leave an impression. Grotesque in its reptilian like texture, beautiful in the details of pearls and intricately layered lace, they are like scars, of an expression made permanent by a trauma. Perhaps this is the clearest message from this show, the idea of something in the past still leaving its influence on the present.
This set of photos is a real fashion over-stimulation! Instead of speaking of it in a general term, I’m going to pick a few specific pictures to point out. If, however, I WAS going to speak of it in a general term I would say: YASSSSS! COMBINE MANY MODELS/MANY FASHION-FORWARD CELEBRITIES/ALL THE MOST INSPIRED DESIGNERS/A MIX OF WELL KNOWN AND UP-AND-COMING PHOTOGRAPHERS/AND HALF A DOZEN STYLISTS AND GIVE ME ALL THE FASHION GLORY! I CAN HANDLE IT! GIVE IT TO ME! I CAN’T HANDLE IT! GIVE IT TO ME ANYWAY!
Something like that.
That being said. Please take note of my five favourite images:
1. Beyoncé in Givenchy & designer Riccardo Tisci by Anton Corbijn
I mean, duh doy. But this shot alone is gorgeous. Beyoncé as a literal force of nature (for she is the WIND!) with Tisci sprawled at her feet, confident that she’s bringing glory to his art. It’s perfect. Also, I love the way Jay Z says Tisci in concert. It’s adorable.
2. Caroline Trentini in Dior, Karlie Kloss in Oscar de la Renta, & Raquel Zimmermann in McQueen- by Jamie Hawkesworth
This is the second shot in the 27 page spread. WHAT IF I TALK ABOUT ALL OF THEM? I will try to limit myself. But this shot looks like a shot from an early 90s Vogue, which is the Vogue baby Bo was first introduced to, so it’s where my heart lives. What a perfect trio of girls to create this iconic inspiration. Also I love when models cuddle. It’s adorable.
3. Raquel Zimmermann in Valentino by Tim Walker
This is a perfect trio of talent, all made for each other. I wish there was an entire spread of just Raquel with her renaissance look, wearing romantic Valentino, captured by Walker’s whimsical eye.
4. FKA Twigs in Prada by Inez & Vinoodh
If I saw this Prada outfit on anyone but Twigs I would have just drifted right over it, but she can literally wear anything and use her doll-beauty and magnificently contorting limbs to make anything work. I imagine Inez & Vinoodh were positively giddy to work with someone as strange and artistic and unique as themselves. This shot is positively iconic. I adore it.
5. Nicholas Hoult in Tom Ford by Theo Wenner
This picture would only be more perfect if Ford was in the shot with Nicholas. CAN YOU IMAGINE? I’M IMAGINING IT RIGHT NOW! I have such a thing for anything that combines the stars of A Single Man + Tom Ford. So any time Tom is Julianne Moore’s date to an event, or every time I see Colin Firth I think, “OUCH! MY HEART!” then “OOH! THAT’S HOT!” Nicholas + Tom is my favourite pairing though. It’s just so much throwback perfection. My heart, it aches.
A few additional notes: I love that Maggie Rizer is in a shot next to Karen Elson! KISS HER! Is that the Bjork All Is Full of Love robot in the Edie Campbell by Tim Walker shot? I’m going to imagine it is and it’s inviting Edie back to her Bjork love-pod. The Cara and Gigi and Adele portraits are gorgeous! Such lens piercing goodness! That last shot bums me out and makes me want to overdose on pictures of women to make up for having to look at it. But we accept all parts of those we love, and I love this editorial!