There was a distinct, elemental quality to Gabriela Hearst’s new collection. Shiny patent black choir-boy loafers were worn with oversized T-shirts emblazoned with city names in reversed varsity type (Fresco, Sacramento). Many of the models were friends of Chavarria, and brought with them a true representation of New York. Black then red silk taffeta gowns, replete with corsages the size of dinner plates, decorated neat tailored jackets. A traditional nun's black habit with white collar was reworked into a bell-sleeve shirt. A pair of long shorts could have referenced basketball shorts, or ecclesiastical robes.
The collection explored the similarities – and juxtapositions – between church and streetwear. For Chavarria, bagginess is next to godliness. Opening the show, a handful of male models wearing oversized while T-shirts down to their knees (as roomy as priests’ robes) carried roses, red and black, to the altar. Known for his tendency to treat lowly workwear with reverence, this season he turned his attention to papal matters. Jostling several rows deep at the front steps and queuing around the block, Chavarria’s community – which reaches all boroughs of New York and beyond – turned out en masse to support the designer. It’s unlikely that the Marble Collegiate Church, bordering Koreatown and Madison Square Park, has hosted such a crowd in the nearly 400 years it’s been standing. Ford just gave us a reason to relish every minute. Freddie Mercury’s distinctly sorrowful voice sang out Time Waits For No One. The final passage was slower, more sombre. String vests encrusted with crystal, lamé tailoring and louche satin tuxedo sweatpants embodied the driving new wave synth pop of Dead or Alive’s You Spin Me Round. Then came A-ha’s Take On Me, remixed with a throbbing club beat, as Western fringing and intricate cowboy detailing rendered in more sequins took a turn. Sex, of course, is a Ford hallmark, but recast against the backdrop of the overturning of Roe v Wade, the collection felt like an empowered statement.Īs Robert Palmer sang ‘you might as well face it, you’re addicted to love’, models walked in shorts and jackets appliquéd with sequined love hearts and stars. Stalking the mirrored runway under flashing disco balls, the models exuded prowess and power: the audience was putty in their hands.
#FASHION SHOW RUNWAY AISLE SEATED LEGS FULL#
‘Our community and audience are full of people who have such unique and interesting demands, and are looking for creative, one-of-a-kind pieces that aren't trendy but feel emotional in a different way.’ PRK Tom Ford What we are creating is a modernised version of that – for instance, some of the more relaxed tailoring pieces that can be styled back to a nylon utility pant,’ she says. ‘To me, American sportswear is about finding beauty in function.
Inspired by the life cycle of New Yorkers through the seasons – dramatic thunderstorms, relentless sun showers and blistering summer heat, all of which showgoers endured within this single week – the collection teamed relaxed silhouettes and classic mainstays with clever, utilitarian details. But at the same time, injecting a sophisticated and elegant joyousness to the brand.’įor the occasion, Tsao drew from the brand's hometown, New York City, for inspiration. ‘This season feels like the start of a new chapter – we are refocusing on our original founding principles and paying close attention to things we're passionate about, like menswear details and functionality. For Andrea Tsao, the label's co-founder, ‘Deveaux’s aesthetic and identity really stands for utilitarianism, wardrobing, and the kind of thoughtfully considered, interesting pieces that our customers depend on,’ she says. After a three-year hiatus, Deveaux celebrated a refresh this season with a complete relaunch of the brand.
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