The fifth day of New York Fashion Week was so eventful that I'm going to write two different reports on the collections that were shown. Check out how I've devised it: the first installment (which you're reading at this moment) is focused on the acclaimed designers of the Big Apple such as Derek Lam and Diane von Furstenberg and the second one features up-and-comers like the guys from Public School and the runway party thrown by Donatella Versace and Anthony Vaccarello. You apparently have a lot of reading to do today, so best to start now.
After browsing through the latest Victoria Beckham collection, a thought immediately popped into my head - she is New York's answer to the genius of Phoebe Philo. Think about it, she has made a name for herself by designing pieces worn by stylish working women. A uniform of sorts, also created by Phoebe Philo immediately after being hired at Céline. This is in no way a diss to the fabulous Beckham, but merely an observation that if you're a working woman in her prime, there is no excuse for looking less than fabulous. Utilitarian minimalism was the name of the game - beige and navy coats with asymmetrical fastenings, boxy tops with large pockets and plenty of straight lined midi-skirts with a pop of contrasting color near the hem. The great thing about every single one of those pieces was that it seemed like the perfect and reasonable addition to any woman's wardrobe. Beckham didn't rely on the strength of individual looks, as much as the strength of each and every garment. Her designs took a turn for the whimsical with three hibiscus print closing looks. They may have felt a tad out of place, but surely got a lot of Instagram love.
Derek Lam gave us a two-for with his spring collection. Whereas some may say it lacked focus, I found this sartorial version of the bipolar disorder fun to watch. Lam started us off with 20 or so looks I lovingly call "a love letter to suede". A throwback to the golden era of 70's rock'n'roll, this section featured a gorgeous aquamarine colored A-line suede skirt and a softly color-blocked coat in the same fabric. A duality of messages also came through in Lam's silhouette of choice - the skirts were swung low on the hips, whereas the pants were high waisted and flared. The end of the show also marked the end of Lam's fascination with flower children and his return to the safe and loving arms of a city girl. Monochromatic shift dresses and the resurrection of the peplum (why, oh why?) ended what could have been a great show if it was edited properly.
I feel like Thakoon is the dark horse of high-end fashion in New York. Although not yet a household name, he is featured on select red carpets and magazine pages and has blossomed into one of the finest designers, which was also proven by his latest NYFW outing. He was the first one this week to take us on a proper journey with his clothes - a bevy of novelty printed wrap-dresses and tunics (think palm leaves rendered in bright colors, as well as gray scale) and fringe adorned, sailor striped midi-skirts. Everything, from the decorations (clusters of brightly colored fringe) to the treatment of the fabrics (slightly disheveled) had sort of an artisanal feel to it and made you actually WANT to spend money on it (which, let's face it, is the ultimate goal).
In the dawn of releasing her memoir, The Woman I Wanted To Be, Diane von Furstenberg gave the women in her audience aspirational looks for who they might want to be in six months. It might have been the sun rays splashing through the venue or the models' radiant smiles, but this was the feel-good show of the day. Baby-doll gingham dresses, tropical print wrap-dresses and bra-tops paired with high waisted skirts evoked glamorous vacations in the south of France from a different time (the heyday of Cannes, perhaps). Although not the most innovative of collections, the joyous nature of every piece was infectious, as was Diane's lip-syncing of Volare while taking her bow.
