Glam isn’t dead! And nothing proves that better than Marc Jacobs‘ enchanting spring-summer 2018 collection, the delicious finale of New York fashion week. It was, as Alexander Fury ecstatically wrote on Instagram, stupendous, stupefyingly brilliant, the Yves Saint Laurent haute couture at the gym moment, so up meets down. This can’t be stated in any other way. That was a fabulous explosion of colour, embroidery, prints. And, it was presented with unbelievable modesty – no venue decorations, no music. Just the clothes, the most diverse cast of models, and Jacobs’ affection for fashion. From voluminous coats to evening gowns, from wrapped turbans to fluffy sandals, from mega polka-dots to childish daisies – it’s a rhapsody. If the rumour has it that Marc Jacobs is thinking of leaving his company – and I can’t believe what would Marc Jacobs be without Marc – then he’s really showing a middle finger to corpo-stats of ‘what sells, what doesn’t’ with that collection.
P.s. Days before New York fashion week, I was wondering what will the main subject – fashion – be like among the local designers. Will the political climate have the same, dark effect as last season? With bold collections from such names as Tom Ford, Calvin Klein and Marc, of course, New York’s fashion scene bares it all and says ‘you won’t break us’. Fashion is a happy place, after all, and lets just lose ourselves to it.
Spontaneity has various meanings for Maryam Nassir Zadeh, and this season especially. The fashion show, with a running track as a venue, was in fact open for public and anyone could literally run the runway. The models (Zadeh’s friends-you-want-to-be-friends with like Ana Kras, Susan Cianciolo, Camilla Deterre and Mari Giudicelli) and their looks also had a sense of arty co-incidence. The signature ‘odd elegance’, as Maryam often defines, is about mixing and layering the most unexpected colour combinations and un-matchy pieces. A baby-pink dress in vichy print was transparent and neatly presented the label’s swimwear; buttoned corset was worn over another summer-y dress, but in cool mint-green; sweet polka-dots on a crop-top met with knee-length pants in beige. In case of the third outfit, I have never thought that a combo like this can be pulled off with such grace. Again, I’m obsessed with MNZ’s colour palette, because it’s so free of conventions and rules. Just like Solange, whose life performance – you see, not everything is SO spontaneous – gave audience the chills.
“We wanted something softer, more romantic,”Ashley and Mary-Kate Olsen said afterwards their spring-summer 2018 show-slash-breakfast presentation, which took place at the very chic Carlyle Hotel. “With everything so harsh, we wanted to take it down, show lightness.” Lightness is definitely a word that comes to your mind when you look through The Row‘s new offering. Floor-sweeping tunics in the fleeciest cashmere possible; couture-level outfits in a fabric made from, yes, paper. Ah, and those flowing coats! Even though the collection was said to be all about softness, there was something very Medieval about it, like the lengthy frocks (in lilac) or knitted hoods that resembled a knight’s chain-mail gear. Nobody expected that from The Row, and its pleasing to see that the Olsen twins venture into new territories at their brand.
If you think of New York fashion week in terms of recognizable style signatures, then Rosie Assoulin‘s remarkable dresses count as a separate, one-of-a-kind category. Her eveningwear (and daring daywear) is all about the most flattering silhouettes and charming details that you really have to observe first in order to understand their intimate beauty. This time around, Assoulin’s little, tiny detailing was even more precious than usual. It was all about the cameo carvings that is used in classical jewellery. That reoccurring theme was presented in form of prints developed from antique cameo carvings; what’s more, genuine, hand-sorted cameos were used as buttons for the sleeves and gowns. The delicately ruffled dress in pistachio green, covered in the delightful cameo motif, is my ultimate favourite. Again, you have to be observant to note another detail: the sea-shells, that were beautifully placed on the label’s must-have baskets and handbags, made you wonder how nice would it be to take them to the beach next summer. One should admit that this season started with a splash of bold colours, coming from many big names and up-and-coming designers, but Assoulin doesn’t follow the trends – colours (note that juicy red or the deep shade of purple) are always warmly welcomed in her well-edited collections.