Marc Jacobs SS17 brought the proverbial fireworks to New York Fashion Week’s unofficial closing ceremony, with a collection that amalgamated multi-coloured dread locks, metallic, brocade and patent suits, cropped pastel army jackets and splashes of leopard print. Plunging his hands fully into the sea-punk, cyber-goth subcultures, Jacobs adorned models with fabulous tight fitting platform boots in bright colour ways, also referencing 70’s disco and Boy George. Wear with… whatever you like, actually. See Kendall Jenner and Jourdan Dunn backstage at Marc Jacobs SS17 here.
SS17 saw Victoria Beckham embracing crushed velvet and pleated leathers, an unusual array of materials for balmy New York summer nights. Stand out though were her lightweight canvas boots with leather detail, designed to be worn up to low slung hemlines. Unlike her previous designs Beckham introduced a looser silhouette, with her boots sitting wide against the leg.
At Hood by Air, attendees couldn’t stop photographing the improbable split shoes introduced by designer Shayne Oliver. With toes that pointed forward and backwards, this was counter-culture at its most ludicrous height – yet one can expect a brave few to embrace the trend over the forthcoming months, for the street-style kudos alone.
Under the theme of ‘ Miss American Pie’, Anna Sui baked a multitude of American references into her SS17 collection. Traditional folk embroidery, 70’s chiffon, 60’s beehives, high school cheerleaders and heavily fringed leather jackets came together to reflect the nexus of American identity, whilst black lace and fine embroidery on sheer dresses hinted at the louche glamour of 50’s housewives. Here Anna Sui was was rummaging in the canon of American culture, but the interpretation was her own. Cowboy boots worn over white sports socks made sure of that.
Rodarte too, repurposed cowboy motifs, adorning leather jackets and skirts with an abundance of rhinestones. Elsewhere, studded leather cuffs were juxtaposed against effervescent pastel dresses, while other hypnotic pieces were stamped with heart-shaped sequinned Elizabethan ruffles, themselves trimmed with gold. The ethereal line up of lace and sequins rendered in majestic deep pinks and white lace immersed audiences in Rodarte’s 60’s inspired universe, to magnificent effect.
The shape of NYFW
Creative director Josep Font established a concise aesthetic language at the Delpozo SS17 show. Inspired by artists Joaquín Sorolla and Soo Sunny Park, organic forms were rendered in weighty materials like organza. On asymmetric vests, shoulders shot up around model’s heads while skirts and dresses were draped with additional arcs and curves. These organic forms were complimented with precision of line. Each structure was held in tension to the other, engendering a rare buoyancy and lightness for pieces of this nature. The soft hues of lemon, sky blue and violet invariably added to the overall delicacy of the collection.
At Vera Wang, a minimal palatte black and navy allowed for exaggerated silhouettes to command attention. Elongated sleeves, peplum tops and thick leather waist belts complimented the body, working in harmony with existing curves. Famed for her bridal range, this SS17 collection felt distinctly current, with hints of sportswear – woollen crop tops, long jersey sleeves and two stripe detail on trousers – shaping the contemporary edge.
DKNY saw the futuristic imagining of streetwear, in which deep, softly cut V’s slid down lightweight, loose fitting jump suits, and oversized hoods were slung far over foreheads. Also joining DKNY’s forward looking army were oversized bumbags in white leather, coupled with skin tight boots that rode up to just below the knee – and sheer knee socks were also employed for similar effect. Sleeves were designed to be oversized, as were knits which featured cut outs around the shoulders.
The duo at Proenza Schouler married both shape and shade. Opening the show with a monochrome dress that balanced a fitted top with a cascading skirt made from fine pleats, the show contained to maintain a confident equilibrium. Jersey dresses were lavished with Mondrian inspired prints, and finished with black ostrich feathers for extra measure. Later, dresses in magenta and blazed orange patterns were deconstructed and re-made, tied along the front while maintaining a certain wildness. Bordering perpetually on the cusp of aesthetic overload, the designs were expertly controlled throughout. Add dangling horse shoe earrings for a perfect finish.
Another example of imaginative design came from Carolina Herrerra, who reimagined lavish dress for modern audiences. Corseted denim bodices led onto full gowns, while high waisted skirts printed on thick silk bubbled over matching belt. Vests featured oversized bows tied across the shoulder, creating a rarified balance to the fuller skirts.
At Thom Browne, silhouettes were reduced but theatrics remained. Against the backdrop of a swimming pool, models opened the show dressed in shower caps and bubble coats adorned with a 60’s inspired print. However Browne upped the ‘wow’ factor with a series of all-in-one pieces, created to look like separate pieces. In spite of the loud colours, the 2-D printing imbued the collection with an eerie undertone. A dog shaped disco ball, worn as a hat, was thrown in for good measure.