Three as Four, Fall 2008

Three as Four, Fall 2008 (photo from New York Magazine)

I found it hard to be won over by the Three as Four show, as I personally thought the abundance of black made some of the intricately cut and intelligent pieces look less appealing and somehow slightly dated. (I can’t help but strongly associate all-black-looks with a 1990s idea of elegance and avant-garde.) What I found most interesting was the sharply tailored trench and vests, which were constructed around elongated oval shapes that left the sides open. Curved shapes returned in the rouched skirts and the interestingly rosette-like rouches at the hems of some of the dresses. Also appealing was the grey wool lurex fabric used for the outerwear, which combined elegance and experimentation.

Francesca

Patrik Ervell Fall 2008

Patrik Ervell Fall 2008 (a look vaguely reminiscent of Ian Curtis)

The Patrik Ervell menswear show had a modernist vibe, as it took place in the Pier 59 studios. The space was a white cube with huge windows overlooking the Hudson, and the runway floor was covered in gold reflective paper which recalled the fabric of the looks at show’s end. I was reading T’s blog account of Ervell’s show as awash with art and music types and was impressed with T editor Horacio Silvia’s ability to recognize the members of Grizzly Bear and Hot Chip. I believe I have seen both bands in concert and yet have no recollection of what they look like.

The clothes seemed precisely tailored and clean in a way that was not at all boring, but rather subtly researched. That, combined with the skinny silhouette, was reminiscent of Raf Simon’s work. I most enjoyed the first part of the show, with the more muted color and particularly the navy looks which went really well with the simple canvas shoes. Also interesting were the double-hooded looks, as well as the final looks which were articulated around gold synthetic fabrics. The reported presence of band members and art types in the audience seemed to have been in tune with the vibe the clothes gave out which—at least according to Jay, who gave me a live commentary—reminded him of: “A Wes Anderson movie extra,” “a member of Blur circa early 1996” and “Ian Curtis shortly before he hanged himself.”

Francesca

Rachel Comey Fall/Winter 2008

Rachel Comey, Fall/Winter 2008 (photo from New York Magazine)

The Rachel Comey show is that rare instance of a fashion show which reads as welcoming and laid back yet sophisticated, as it took place on the parlor floor of a town house (the Salmagundi Art Club). The setting and the mismatched couches gave one the impression of being in the living room of someone’s eccentric old relative. (While there, I couldn’t help but thinking of the Chelsea, London, house of the uncle character in Withnail & I.) The clothes were also artfully mismatched, as they juxtaposed an array of whimsical and lightly funny prints and slightly clashing color combinations. The use of turbans and the choice of prints were reminiscent of the 1940s, while the silhouettes were elongated almost lanky due to some short jackets and high waisted skirts and pants and the result was attractive in a nerdy eccentric way. Particularly interesting were some of her knit dresses and quilted jackets, as well as the footwear—particularly the oxfords and the platform shoes. (hand-painted book titles were written on some of the platforms, while some were checkered.) The music, together with the model’s deep under eye shadow, gave a slightly eerie feel to the looks and the presentation more generally. (One which was, however, slightly overshadowed by the fact that I was facing Lynn Yaeger, who is the unquestionable master of a certain doll-like off-kilter look.)

Francesca

Fashion Shows

Still from a 1920s fashion reel (from British Pathé archives)

This season (hopefully with Sarah’s help) I’ll try to review some experimental fashion shows and sustainable ones taking place in New York, since we both live here. The fact that (alas) a relatively small number of New York shows fall into those categories makes the task relatively more manageable, although I am sure we’ll cover a very partial list, due to time constraints….

I should add the disclaimer that personally I am not a huge fan of the fashion show format. They often read as a highly non-participatory and slightly alienating spectacles. My boyfriend, who sometimes comes with me to the shows, had the interesting comment that they seem like extremely cheap weddings, where all you get is the ceremony. It’s interesting to note that in the Paris couture salons, where the format of today’s shows originated, the presentation would last significantly longer and would be repeated several times per season for various groups of clients. For an excellent article on the history of the fashion show and its relation to modernity, see Caroline Evans, “Multiple, Movement, Mode, Model” in the anthology she co-edited with Christopher Breward Fashion and Modernity, while for highly entertaining footage of 1910 and 1920s fashion reels (which include some early fashion shows) you can visit the British Pathé archives.

Francesca

Feral Childe's Open Studio

Feral Childe, Spring/Summer 2008 "4D 4Ever"

Don’t miss Feral Childe’s Open Studio this weekend. One of the unsung heroes of the New York experimental fashion scene, Moriah Carlson and Alice Wu of Feral Childe have impeccable credentials, having respectively graduated from MFAs at New York Studio School and Yale. Their presentations, silhouettes and prints undoubtedly belie their art backgrounds, as well as allow them to embrace a humorous and defiant approach to fashion. Their last collection—Spring/Summer 2008—took place at the Japanese store Utowa (on Fifth Avenue) and seems to have been staged around a music-pageant-gone-bad theme. Many of the models sported teased-out ’50s hairdos which wouldn’t have looked out of place in a John Waters’ film, and walked one by one onto a platform, where they would put on a numbered pin or a sash. This off-kilter scenario was paired with ingeniously cut clothes which continued their experiment with asymmetrical folds and “kidney-shaped” ruche. What stood out most, however, was their inventive use of fabric, which ranged the gamut from whimsically printed cotton (for the most part created from original prints by the designers) to “snakeskin lamé,” “laminated linen,” and neoprene.

Feral Childe's Annual Open Studio Sat. & Sun, Oct. 20-21, Noon to 6 PM 269 Douglass St #1 between Third & Nevins Brooklyn NY 11217