NYFW Spring 2024 rtw Digest
Week good gone bad?
Excitement was at it peakest. Spring 2024 ready-to-wear had long been expected by fashionistas worldwide, with joy for fashion, creativity and pop culture moments returning while also a sort of anxiety – would things go out as the expected way? Surprisingly, we got our answer faster than predicted.
Things began in New York, as usual. Without a consensus of the day that things have started, for some, New York was first full of fashion on September 7, where besides Stuart Vevers' tenth celebration of what has become known as America's House of Leather, also held the so adored drama of fashion week.
Protestants taking the runways. Resembling PETA 's “Gisele fur scum” , Coach had their own intruder activism moment, yet with slight role changes. The poster that featured “Coach Leather Kills” was presented by a woman who the catwalk embodied a true 2000s model. Even though for some her goal was to rebel, for fashionistas it was actually to be scouted. The models that were indeed casted walk the room with sexy sheer pieces better than some lingerie retailers. What a time to be alive.
Although the fresh milestone achieved, some things never changed. Bags were once again Coach’s stars. Knit, leather and translucent fabric were secondary characters yet, still with a high level of prominence. In novelty terms, the anniversary mark brought the inclusion of smooth suits made of cotton or wool that had already been used and even worn out. The collection was also a sort of development of past seasons, experimenting with new shapes,silhouettes, details and constructions. In that very special Thursday, Coach Spring 2024 was a real coach of fashion’s essence. And, that was just the beginning. Vevers' lecture started a range of stylish events.
Rodarte came after, featuring actresses such as Lili Reinhart,Ayo Edeberi, Kristine Froseth,Nina Dobrev, Chase Sui Wonders,Ava Phillippe, Grace Van Dien, Rain Spencer,Quinta Brunson, Ariana Greenblatt and many others in voluminous fairy-like dresses. Thinking of florals for spring, Kate and Laura Mulleavy explored garments as species of flowers,plants and the general concept of a garden. Interested in colors and textures first rather than construction, Mulleavies managed to deliver not only a sensitive experience for fashionistas worldwide but also a love letter to nature.
In other dedicative terms, Peter Do’s debut at Helmut Lang was exactly how everyone predicted. Emotional. With writings in the floor already inspired by the archival Helmut Lang fragrance campaigns on which Lang collaborated with artist and friend Jenny Holzer, Spring 2024 had its floor adorned with a poem by Ocean Vuong.
The much awaited collection consisted in several references to Lang’s legacy, completed with Do’s own marks. From tailoring to monochromatic looks, both figures could be felt throughout the show, even though for some, one was much more present then other. There were meticulous traditional tailored Do’s pieces with pink or gold bands,referencing seatbelts from cars.
Connected to the fact of Lang being the first designer to advertise his luxury label with taxi ads, Do also decided to begin the show’s livestream with cabs in New York. Those pink details also referenced Lang's past collections, such as stripes seen in Fall Winter 1994. Although for someone being considered a Do’s erase of its inner creative persona, his marks were all over. A Vietnamese version of Vuong poem was added along the text tees and the grand finale was cinematic.
All models entered the runway, and started walking unsynchronized, deviating from each other in an attempt not to collide. It captured the exact big city’s essence. A crowd of unknown people, each one in their own world. But all compressed in the same city. In the same world. Some know exactly the direction they’re going, others not so much. Yet all trying to find something, or someone or somewhere. All of them heaped,bumping each other in what is called the daily rush, without even knowing what they are actually doing. That wasn’t just about big cities. Some things are bigger than clothes, or even metropolis. Peter Do has also shown today's world society in an artistic, cinematic, conceptual and poetic way.
We return to the essence of fashion. Which, just as all forms of creative processes, deals with emotions,sensibility and humanity. In AI times, discussions of that type are crucial. But, not for everyone. Collina Strada opted for a not so genuine approach. Searching for artificial intelligence help, the brand has submitted their past collections to the machine,trying to refine them. Even being ethically acceptable, since they haven’t stolen no one's designs, controversies appeared to surround the technique chosen. It's not a secret that the brand loves a gimmick. If last season models dressed and acted as animals in the runway show, this time disturbance would also be present in a refined way.
Having all their models walking with not the famed resting bitch face but extremely forced smiles, some fashionistas pointed out a certain distraction. It was like watching A24 Tim West “Pearl” ending credits, where Mia Goth’s character forcefully grins for one minute. Except that was an actual fashion show, not a slasher horror movie. Gimmick gone too far? When we enter the complex gimmick territory’s discussion,much can be found. Sami Miro’s debut had a Coperni moment while deconstructing jeans in the middle of the show.
Regardless of the selected moments to attract views, a point often defended by some is that performative and impactive catwalks are also included in those tricks. For model Coco Rocha, her performative walk has always been a unique trademark of hers. In Christian Siriano’s 15th anniversary runway show in the Pierre Hotel, Rocha posed and closed the show while Sia sang and several front row actors and celebrities recorded and applauded. Performative as the model walk, the theme behind Siriano’s Spring 2024 ready-to-wear collection was ballet. According to the designer, as a child he would be backstage and watch a show come to life. The behind the scenes was also the place Siriano fell in love with evening wear and fairy tales.
Through tulle,plums,ribbons and everything ballet brings the best, he turned his nostalgic fantasy into a reality. Still in nostalgia and reality terms, Prabal Gurung managed to turn his deeply personal memories into sculptural glamorous pieces. Making a sort of West meets East, Nepali and Indian garments were presented in Gurung’s Spring collection while homaging his Indian heritage. 80s Bollywood were the inspiration to tapered silhouettes and strong shoulders.
Stars generated stars. Same in Ralph Lauren. With a mix between Serena Vander Woodseen and Daisy Jones’ wardrobes, Lauren’s brought the boho chic. Belt buckles,denim,chiffon dresses and original accessories frequently seen in Jones were treated in an elevated way that also brought the Gossip Girl’s character style factor. Of course that,besides refinement, the brand also found a super help. Models such as Vlada Roslyakova, Natalia Vodianova and Magdalena Frąckowiak feature a series of black and gold looks in what was like a label’s code. The enigma suggests much. Was that the embodiment of the bright personality of both characters? Answer came just in the end. Finishing with a flourish, supermodel Christy Turlington closed Ralph Lauren's show in a stunning gold Grecian gown.
Talking in gold, even though Mirror Palais collection V haven’t featured anything in the material, it took little to not reach that level of opulence. Full of romanticism; corset,bows,sheer and all elements chosen by Marcelo Gaia and his team managed to turn period clothing into something highly flirty and intimate. Taking an interesting twist, 1800s garments were converted to something modern yet dreamy, where sensualism and elegance were at it peakest. It was like being present in Sofia Coppola’s Marie Antoinette and her court while drinking tea in their intimate attire. However, there were other looks worthy of The Princess Diaries. A white dress with a big elegant hat would be the perfect Mia’s choice for an afternoon in the park. With a mix of some sort of vintage-inspired with an element of romanticism, Gaia made every woman on earth want to marry and fall in love while wearing his corsets and fresh dresses.
With romanticism being also embraced by Palomo Spain show, the designer dared a little more, turning the sublime romance into something even more flirtatious. The genderless label followed their lemma featuring feminine-sensual dresses in male models. Head pieces made of feathers gave even more the sensation of Marie Antoinette, now connected to her voluminous wigs.
Kim Shuiu joined the aesthetic through scandalous corsets and lots of flowers, including then typical oriental silhouettes and fabrics. Balancing her Asian heritage with the life she had in Italy when younger,the designer's goal was to make her clientele ultimate staples, with lots of shock factor,which is her speciality. Accessories,colors and underwears were on scene, and florals for spring too. If Tik Tok created “tomato girl", Shuiu invented the strawberry one, featuring red vivid pieces, strawberry chokers and even bags in the format of the fruit. It was a sort of re-concept on the most famous France’s Queen wardrobe, where lingerie, lots of sugar and delicacy were present but so was an appealing courage. Escaping from the basics,Shuiu got a little lost on her way, yet few things hold as much power on fashionistas as corsets do.
Leaving the corset troupe, which curiously this week was more than popular, Dion Lee delivered the top three; adaptability,sensuality and style. No matter the time,day or night, all the looks suit every occasion. The versatility is impressive, you can pass the morning and afternoon working and then go to a bar with that same outfit at midnight. Also with a night vibe, Khaite featured this season heavy nocturn business attire, while relying on elegance. Since gloomy sophistication was valued for many creators,Jason Wu also maintained its collection aesthetic aligned in those terms. Some might say that’s the dark side of New York fashion week; things became too minimal, too commercial and too common. With little to no innovation.
Yet, there’s still some sort of hope. Grace Ling is here for us. Few debuts can be as publicly acclaimed as Grace Ling’s one. Playing with hard metal,the designer showcased metallic bodices reminiscent of Alexander McQueen Fall 1999 coiled corset and details in deconstructed garments, where minimalism became audacious. With a surrealism hint and a balanced lemma, everything was at the right amount. No quiet luxury presence. Just a loud and clear opulence spotted.
Talking of fresh elegance, Patbo couldn’t be left out. The Brazilian label founded by Patricia Bonaldi chose to capture this spring a true natural chic wardrobe for warm times. Young, colorful, fringed and light, collections like those are of extreme relevance, and highly appreciated by fashionistas worldwide.
Factors such as a full popular front row are also enjoyed, and in those terms, Proenza Schouler was the lucky one.
With stars from "Bodies, bodies, bodies” and “Bottoms” surprising fashion and culture enthusiasts, we knew that the show would be a highlight. Just as a horror movie, bloody red was featured in garments and accessories, captivating all eyes and cameras’ flashes. The contrast between the colors combined by the styling team made simple structures, colors and fabrics stand out and became ultimately elaborate. Embroidery broken glass skirt set followed the thriller trajectory, turning what was first a subtle exuberancy into something even much more clever. Cleverness though wasn’t just reserved for Proenza.
Taking a sagacious route,turning what for some a mere ready to wear spring into a fall winter rtw and couture collection, Area explored the concept of human’s primal instinct and its evolution through history. With the show being divided into three parts, the opening showcased what history books have been featuring for years; bones and fur. We just didn’t know the age of the caves was that stylish. Through voluminous fur textured coats in colors such as blue, orange,beige,pink and gray, and implemented bones in garments, survival mode was on.
Illustrating the stone period, the idea was fulfilled with tops in the format of animals and a whole savage momentum through masks. Area’s fur and bones were replaced by shiny dresses, jewelry, which brought the aristocracy and wealth thematic to the runway. Finally, the brand’s concept ended with “today’s world excess”, as shared throughout the notes, where embroidery gems decorated black and gray bold minimalist pieces.
Bold minimalist pieces were also seen in Tory Burch. Effortlessly making fashion, Burch's lemma this spring was on clothes that do not complicate life. Relying on simplicity,yet appealing pieces, the designer created a retro still futuristic collection. That,of course, was due to the combination of 60s influences and the space age. Structured designs were paired with more fun details like bells, layered dresses, colored eyewear, and bold earrings. Besides freedom of mind being one of the inspirations, turning women restrictive symbols into liberating and optimistic things was also something considered. Crinolines, for instance, were transformed into spinning structures in unexpected places.
Accentuating natural curves, the collection was designed to be lived in, to move with us while still feeling effortlessly beautiful. Carolina Herrera had almost the same goal."You wear what makes you feel fabulous, dress code be damned", Wes Gordon stated, banishes any type of rules that existed in the label. With a not so expressive palette this season, Gordon relied on cooler colors, remaining with an impactful not aggressive motto. With this twist from a brand that used to have highly saturated tones, ruffles and parades of extravagant gowns, the designer's intention was to not be so punchy, sticking with the basics. Appealing to search inspiration in Gwyneth Paltrow, Carolyn Bessette-Kennedy and other 90s fashion icons, the concept behind Wes Gordon’s collection was to make clothes that look feminine, energetic and confident in a much more simple style. The opening look was Mrs. Herrera’s signature piece, a white shirt, and the following ones weren’t so Herrera of him, even though they did have the remarkable house’s sharpness.
Considering precision, Gabriela Hearst also must be mentioned. Relying on her staples, neutral tones and a minimalist sophistication were followed by classical references. Inspired by Druids, an ancient religious group, Heart explored protective suits,ponchos and much more retained garments done in materials such as linen,wool, cashmere and leather. Although the collection’s path might have taken, it’s not the first time a religious figure is defined as Heart’s muse. From season to season, those vary, not only the Uruguayan designer but also Sandy Liang’s. For many fashionistas, Liang’s inspiration has been for a long time ballerinas, but this time, the designer found guidance in many other fields. Cinema was one of them.
Searching in inspiration either at Aquamarine and Virgin Suicides,Liang once again drawn throughout her garments the concept of delicacy, which for some is a bit overused. Fashion enthusiasts’ worldwide face a discussion regarding ribbons, and for some, their time has already passed for a good time. But, not for Sandy Liang. Even though some might say bows were the moment, and many designers are using them for view, Liang has been making usage of them way longer. For fashionistas,the mother of ribbons, the designer wouldn’t not show her biggest signature. And, although some muses might have changed, bows are adaptable to it. With some inevitable twists to make her remarkable detail stand out even more, this season, besides traditional adornments, bows also became long silk purses. While innovating one of her bases, Liang was able to illustrate a hint of nostalgia from the past collections of the brand. No matter what some say, we remain in favor of ribbons.
Meanwhile some might defend bows, others go for nostalgia. And, the good part of New York Fashion Week, is that they had Saud. Playing with pastels and memories, the brand recreated some runway moments straight from the 90s. From supers in Versace Fall 1991 show to Devon Aoki’s voluminous pink skirt in Chanel Spring 1999 couture, the label opened a gap in time and in fashion users, where now,holds Staud.
Since remembrance is always appreciated, Retrofête decided to make fashionistas much more nostalgic through an iconic cast of models. Bringing back Yasmin Wijnaldum, Elsa Hosk and Jasmine Tookes for their runway, Retrofête haven’t just had a group reminiscent of the 2000s, but also a brilliant collection. Throughout bejeweled garments, such as jeans and dresses, shine was right on spot. Glitz and glam were at its peakest. And, everything was intensified with transparency and fringes, that enhanced the disco sensuality dominating the room. But,to be honest, many rooms were controlled by glitz.
It's like it's said, once sexy, always sexy. And, La Quan Smith follows the motto better than no other. Things were about party dresses, cut outs, mini skirts and all the things sexy brings. Which we know is a lot. However, not only sexyness brings much to us in fashion,but so theatrics,when executed correctly. For Fashion’s sake and not media one.
There were few New York fashion spectacles this spring that were done rightly,those that add something to the storytelling of the collection. Once again Wiederhoeft was a success. Throughout a three-act runway show named "Night Terror at the Opera," models and dancers performed at Le Mama theater. Inspired by ascot scenes from “My Fair Lady” and “Chitty Chitty Bang Bang”,act one entitled "Night terror" featured models with different sequined, blushing and shining looks. The “Dream” began on act two, where Wiederhoeft’s traditional glass teardrop embellished in gowns, sequins and corset were followed by the most crucial aspect of the label;the well done drama. After featuring some commercial simpler looks to the younger clientele and buyers, fashionistas understood things as a hidden sign that the dream was coming to an end. After all,next reaching heaven,we come back to where we first were. Act three,Nightmare,arrived. With two dancers dressed in bridal and groom exaggerated garments, the show was followed by more performers wearing re-imagined signature looks from the label. Through a corset themed shirt and a metallic shimmery mini skirt with printed panties on the middle, the avant-garde display was the perfect proof of what is to be a modern artist in times where not everyone values art.
After controversies surrounding Elena Velez not paying her models for her debut this season in NYFW, polemics have only risen when the show occurred. Having models – for free – just to play in mud, Velez's very first show presented to New Yorkers was unsuccessful. Not even Balenciaga played that dirty in their mud. And, we all know that a bad debut doesn’t look good.
Putting everything that happened in the balance, New York Fashion Week was weird, and certainly, overwhelming and disappointing for many fashionistas. Will things be better at London Fashion Week? Place your bets! With fingers crossed, just to be sure.