Welcome to New York -The 2020 Runway collections

Marc Jacobs- There is a reason why Jacobs is always the one to close New York fashion week. His collections are always the epitome of relevance, individuality, hype, and idealism. Jacobs seems to cater to a large number of audiences, all while promoting individualism through barefoot feet, floppy hats, bright prints, and butterfly glasses. He does this through the master of styling for a number of pieces each exuding juxtaposing sides of luxurious elegance, and quirky individualism. Whether a collection is too based on reality or not based on reality at all, harsh critics always seem to choose one of the two. However what Marc Jacobs, in particular, does so well is make fashion that is interesting, extravagant, and sometimes immoderate, while still making it wearable and desirable. This recent collection is no different in terms of talent, beauty, and idiosyncrasy, yet completely different in silhouette, inspiration, and idea. However, like many designers, musicians, and artists, Marc still took ideas from previous collections and developed them in different ways and prints. A couple seasons ago, there were flurries of ruffled, gaudy silhouettes floating down the runway. These large, feminine, child-like looks have made a comeback in a new structured and printed way.

Eccentric- (of a person or their behavior) unconventional and slightly strange, or as I like to think of it, aesthetic wise, is an expression of flamboyance, individualism, conspicuousness, and quirk. This collection did just that with floppy beach hats, floral suits and dresses in velvet, tulle, tweed, and silk that reminds me of quirky art teachers, Isabella Blow, and fun-loving women on a senior citizen cruise. With all the references of vintage associations, one might be confused at the young models and consumers centered around Marc's collections, but the accidental and un-accidental implications are not only what you might run into at a thrift store, but a hip, quirky and popular one in Brooklyn. With all the illusions and auras, there are also direct references that the collection is centered around, mostly ones of fellow and past designers such as Karl Lagerfeld, with the tweed suits, Yves Saint Laurent, and Marina Schiano, with the beautiful jersey and lace dress [Vogue]. I also found many indications of Allessandro Michele's Gucci and Anna Sui. What I love about Fashion directly resonates with what I love about Marc Jacobs SS20 Collection. It gives us an interpretation of all the most wonderful aspects of the world, and showcased them in ensembles that could be worn down the most somber of streets and business meetings, or be used to bond together a group of people in an at home fashion show. it epitomizes what fashion week is really for: to showcase wearable and walking joy, ideas, and art that seem to be the center of the world for a small period of time.

Rodarte, and the case for photography- Fashion is all about romance, and the art of romanticizing, and no one does Romance like Rodarte. This season, Laura and Kate Mulleavy opted for a showcase by photograph, opposed to a classical runway, and it makes me wonder if this might be the preferable option, both for a brand and a consumer. While I love the prospect of runway walks, busy backstages, and prestigious front rows, what a photo can do so well is form a vision, a persona that is encapsulated through the clothing. By having a high focus on specific poses, backdrops, expressions, layout, model, etc. a designer's complete vision is shone through without disruption or tedious display. Three of the top selling, wealthiest high fashion brands in the world are Chanel, Hermes, and Gucci. When scrolling through their campaigns, I noticed one thing. Every photo corresponds with the next, no matter what collection it is for. No matter the differences in clothing and context, Gucci was still real and quirky, Hermes was still bold, adventurous, and practical, and Chanel was still muse focused, classy, and chic. Those attributes were able to be shown due to unclosed doors of creativity, which are sometimes much harder to keep open when planning a runway show. What I have spoken about in past articles, and will in future articles, is how, compared to the persona and dream an article of clothing projects, the actual clothing means nothing. When I see something on the runways, I might be dazzled and moved out of pure genius, out of the prospect of seeing something so incredible, worn so beautifully live, but nothing will sell, or look better, than it being showcased on a beloved character in a TV franchise, or at a fancy gala. This is because those affairs give clothing a character, a setting, and a realness through context and a pure focus of one ensemble. I am not typically very impressed by recent Dior shows, but a lot of that disappointment comes from when I initially view the creations on a runway. Maria Gratzia Curi's pieces are not meant for that sort of affair, because they are often meant for practicality and simple beauty. While much of this strays from Rodart's vision, Dior looks best, recently, in editorials, so the simple elegance and feminine, practical structures can be appreciated without seeming boring, like they are on a runway. For Rodarte, photoshoot highlights the romantic energy, and emphasizes the celebrity cameos. While the background is the same, it only shows the correspondence and symphonic outlines of the creations. The images also give the brand attention, as the majority of the fashion family show their products through runway. There was clear inspiration of the1920's Hollywood, in the flapper silhouettes and waved hairstyling. However, the Ball gowns, the sequins, the tulle, the unapologetic femininity, and the puffed sleeves all scream a sound of fantasy. The turn out is the look of a film where a band of flapper women all travel to another wonderland like universe to go to a ball to meet a prince, all while remaining independent women at the turn of a decade. Rodarte also kept its signature polka dots, ruffles, and quirky flare in the collection, exhibited by the likes of Lili Reinhart, Gabi Union, Kirsten Dunst,Yalitza Aparicio, and Rowen Blanchard. Although I appreciate and can love the recent street style that has been so prominent, it is always refreshing to my inner five-year old that a modern woman can still rock a ball gown.

Pyer Moss- This season of Pyer Moss centered around the foundations of rock and roll, or more specifically the founders, the complexity, and the narration of their personal stories. Jean Raymond took a theme, so politically trivial, and common, and gave it a new perspective, and a new sense of beauty, personification, and independence. It laid out the story that not many people know; one of Rosetta Tharpe, a queer, black woman who first introduced the infamous and iconic genre of rock and roll into her small church, and to the world. The clothing he sent down the runway, adorned by an entirely black cast, were rich in impressive draping, colorful power prints, and contemporary silhouettes. The inspiration was remarkably clear with foundations of religion, culture, joy, music, strength, and direct influence derived from the woman herself. With a sermon and a choir, the 2020 Pyer Moss fashion show began. The boxy silhouettes of pantsuits, leather jackets, and bright colors gave a vintage feel, and the wide pants, puffer jackets, simple tops, and athletic aesthetics added a slice of modern zest. The beautiful silks, flowing dresses, and button downs were timeless and beautiful. An ode to the African American community and to its influence, shown through the past, the contemporary, and the forever beauty, power, resilience, and soul of what it stands for. Raymond might not send the most dramatic and cinematic creations down the runway, as Alexander Mcqueen or Mugler, but that does not make the clothing any less narrative, emotional, or thought provoking. With the full audiences, the impact on individuals and the fashion industry, and a clear understanding of the modern world and its consumer, there is no doubt in my mind that Pyer Moss will go on to be the brand of a generation.