Retro-Tinged Chic. Tory Burch SS24

September 13, 2023 | Design & Culture by Ed

Tory Burch keeps on thriving. It’s a real pleasure seeing how this designer evolves creatively throughout the last couple of seasons, all thanks to her thorough study of Claire McCardell’s all-American, elegant designs. Spring-summer 2024 is a beautiful continuation of Burch’s take on femininity, through a slightly retro-tinged lens. There were bits of space-age sensibility: crinoline rings that formed the bouncy hems of viscose knit dresses, in the uniform-like sensibility of the collarless bonded jersey jackets she paired with super-short minis, and in the ergonomically designed molded plastic handbags. The designer said she’d been thinking about what “effortless” means now. She liked the idea of clothing that “frees up your mind.” Clothes should unencumber you, not complicate your life. The thigh-high hems conveyed a carefree, youthful attitude, especially since they were paired with flat shoes, but the plunging U-necks, held in place with what looked like tie clips, might not prove as easy to wear. Nylon taffeta zip polos worn with tech-y pants got closer to the effortlessness she said she was aiming for. A coat, coatdress, and skirt suit with stand-away collars had a more vintage-y look, in keeping with the ’60s influences we’ve seen elsewhere this New York Fashion Week – like at Altuzarra.

Collage by Edward Kanarecki.
Don’t forget to follow Design & Culture by Ed on Instagram! By the way, did you know that I’ve started a newsletter called Ed’s Dispatch? Click here to subscribe!

Twisted Lady. Altuzarra SS24

September 13, 2023 | Design & Culture by Ed

Second season in a row, Joseph Altuzarra delivers one of the best collections of New York Fashion Week. His winter offering was a refined look-back at his signature, urban elegance; for spring-summer 2024, the designer nods to Roman Polanski’s Rosemary’s Baby and Miuccia Prada’s style, an aesthetically-ecstatic combination of references. The film’s haunting undercurrents felt close to the surface of Altuzarra season, with tulle veils and matching 1960s babydoll dresses and the she’s-come-undone details, like the crushed textures of everything from slipdresses to A-line coats, gauzy organza slips peeking out from underneath the hems of pencil skirts, and the DIY-ish embroideries on other skirts and dresses. Miuccia’s spirit could be perceived all over the bourgeois lady-likeness, which is never obvious; there’s always a sexual tension behind it. To tempt the clients who want to play around with uptown sexiness, Altuzarra had satin coats in red, butter yellow, and ivory that were A-line and somewhat oversized, “almost as if you took a doll coat from the ’60s and blew it up a little bit,” and a strapless polka dot trapeze dress straight out of 1950s couture. There was also a pair of gowns, one black with thin straps, and the other a white tank style, that looked neither twisted, nor bourgeois; they were simply striking.

Ferocious. Khaite SS24

September 12, 2023 | Design & Culture by Ed

At Khaite, yet again you could barely see the clothes, but could definitely get the vibes of a coherent vision of a contemporary New York woman. The lighting theatrics on the very darkened runway emphasized the sharp silhouettes Catherine Holstein has in offer for spring. She called them “ferocious“. “I think every woman in New York has to handle herself with a real fearlessness,” said Holstein, indicating that that’s what she had to do while operating as her label’s top creative and, until recently, CEO. “And that’s always something that I bring forth in the brand.” At this brand you won’t find novelty, but rather elevated wardrobe staples that never get out of style: exaggerated masculine coats, big-shouldered blazers, sensual silks, investment bags. The semisheer body-con knits were an understated answer to all the straightforward sexiness we see on the other runways. Holstein might be the contemporary Donna Karan of New York Fashion Week.

Sexy Utility. Dion Lee SS24

September 12, 2023 | Design & Culture by Ed

What I appreciate about Dion Lee‘s work is his consistency – a word that so many other New York Fashion Week designers should learn. His spring-summer 2024 is sexy and bold, and with wit. “This season was primarily about evolving the utility and construction language I’ve been playing with until now,” the designer said. What’s compelling about Lee as a designer is his ability to both fixate and expand on a specific theme while managing to keep his clothes distinctly true to his style. The Australian creative mentioned he started playing with power cords as a way to drape for his autumn offering, which carried over into this collection in the shape of shirring details by way of bungee cords. Particularly fun was a pair of trousers that had its back label replaced with an outlet; the model walked down the runway plugged in, carrying his coiled orange cord as a shoulder bag. Elsewhere, Lee laminated denim and introduced foiled leather for a sleek hint of texture. The latter was used in bubble-hem skirts and dresses, which added a welcome variation of shape. Also cool were his lace lingerie-like explorations; they felt freshest where they fell weightless around the body rather than constrict it.

Future Vintage. Ralph Lauren SS24

September 10, 2023 | Design & Culture by Ed

There’s something so reassuring about a Ralph Lauren collection. It’s really good to see the designer back on the New York Fashion Week schedule, as he brings much-needed substance to the table. For spring-summer 2024, the all-time American designer looks back at his 2000s aesthetic (especially the gorgeous spring-summer 2003 collection which resonates so well with fashion in 2023) and delivers a line-up of what I call future vintage, clothes that will become heirlooms. The offering started with that most American of fabrics, denim, only Lauren treated it in the most elevated of ways; lined with chiffon and tulle and burnt out into devorés, it was then over-embroidered with sequins and beads. It doesn’t feel like an exaggeration to liken these pieces to couture, even if the silhouettes he was working with were straightforward jackets and cargo pants. From there, the show moved onto a series of black and gold looks and a chance to play with house codes like the RL logo, which was picked out on the torso of a clingy beaded black dress, and the military jacket, which got belted over silky pants and strappy heels. Christy Turlington’s show-closing gold lamé one-shoulder gown was a knockout. A glamorous, NYFW moment.