The first stop on the long road (spread across four cities and two continents to be specific) to discovering next season’s hottest fashion trends, New York Fashion Week witnessed a lot of firsts in its timeless history. From bidding farewell to the Lincoln Centre as the centre of all hustle and bustle and having drones take over the runway to DKNY’s first show without Donna Karen and Givenchy’s first-ever in New York, NYFW brought with it a fair share of drama, elaborate sets, interesting frower gossip and tasteful fashion.
Instep Desk
The first stop on the long road (spread across four cities and two continents to be specific) to discovering next season’s hottest fashion trends, New York Fashion Week witnessed a lot of firsts in its timeless history. From bidding farewell to the Lincoln Centre as the centre of all hustle and bustle and having drones take over the runway to DKNY’s first show without Donna Karen and Givenchy’s first-ever in New York, NYFW brought with it a fair share of drama, elaborate sets, interesting frower gossip and tasteful fashion.
Tributes of different kinds – to people, life and even natural disasters – formed the crux of this year’s show. ‘Breaking stereotypes’, on the other hand, remained a prominent theme for NYFW’s defining moments (read: Down’s syndrome patient Madeline Stuart walked for the FTL Moda Show) and what was New York City Ballet’s dance concept for the opening ceremony – models tumbling on the runway – became a reality during Givenchy’s show.
Overall, the city’s biggest fashion event marked the beginning of a promising year in fashion – one that will range from luscious velvet gowns to Miss Hannigan-inspired slip dresses.
The Givenchy fashion show proved to be a landmark moment for the global fashion industry. Not only was it the most graceful fashion tribute to the 9/11 tragedy with a set designed by artist Marina Ambramovic using recycled wood and aluminum siding, putting all public opprobrium to rest, it also marked one of those rare moments in fashion history when ‘normal consumers’ were invited to the actual fashion show. The label gave out 12,000 tickets to fashion students and general public. Fashion wise, this was Riccardo Tisci’s reflection of the conflict between good and evil, comfort and sophistication and calm and aggression. While the slinky slip dresses with fluid trouser did not fit with the theme, the formal wear was an epitome of why Tisci is known as the craftsman that he is. (Right) Actress Julia Roberts steps out in support of the label, looking radiant in an all-black ensemble, sporting a simple graphic Tee with Riccardo’s face on it.
Thom Browne went back to school, quite literally, as he built a classroom on for his runway showcase with wooden desks and notebooks on each. The designer’s concept was timely for sure as funnily enough NYFW coincides with the first day of school throughout the city, but his collection did not boast of your average yawn-inducing uniform. Even with classic student fabrics like seersucker, oxford tweed and gingham, it was imaginative, intricate and alluring.
Drawing inspiration from the paintings and textiles displayed at Hispanic Society of America in Harlem, artistic director for Oscar de la Renta, Peter Copping, too ended up paying a tribute of sorts to the late designer for such was the art work he reveled in. Hispanic culture was very close to Oscar’s heart and so was the carnation that lied on every chair to welcome the show’s guest. The bloom was translated into floral motifs on elaborate cocktail dresses and cropped capes on the runway, each of them paired with Spanish espadrilles.
Designer Prabal Gurung also took from tragedy to put up a moving show at the NYFW. 30 Buddhist monks opened the show chanting a prayer of gratitude to the world for helping out during Nepal’s devastating earthquake. Fluid silk gowns in sunset colours – lemons and oranges – with brushstrokes from artist Laxman Shrestha and traditional Nepalese jewel-inspired embroidery, the collection was a lesson in artistic mastery.
