The Fall 2014 Ready-to-Wear shows were an eclectic mess of WHAAAAAT? as designers shook out their anxieties and tried to settle on a new vision to bring humanity forward into the next half of the decade. For Spring 2015 Ready-to-Wear, they’ve settled on a collective vision. SO. MUCH. BOHO.
I maintain that fashion is a projection of society: where our heads are and where we want to be. With that in mind, there was a disturbing nostalgia for “the good old days” when men were men and women couldn’t get contraception.
“Resort means nothing. Who buys clothes exclusively for going to a resort?” Asked Oscar de la Renta as he presented his resort collection. I love anyone who taunts the hand that feeds them. nd, for this season, the most conspicuously consumerist of all the seasons, Oscar even has some clothes I like. Which is a first since that blue Barbie ball gown I bought with my allowance back in 198cough.
Sami Holloway’s label, Incidental Twin, creates fandom-inspired nail colors like “Loki Stole My Feels”, “I’ll Be in My Bunk,” and “Not A Psychopath”. However, my personal favorites are Sami’s science inspired polishes, including colors such as “Marie Curie”, “Tesla”, and “Horse Head Nebula”.
It was chic banal all over Paris. It was quite a lot like New York Fashion Week: lots of chic banal with a few bursts of WTF?
I always imagine London as having it far more together than we ever do in the United States. The whole UK just seems so civilized. So, I’m always surprised to hear my friend tell stories about Britons who are just as racist and misogynist as many Americans.
Like the Fall 2014 Menswear collections, the women’s ready-to-wear shows for the season made no sense whatsoever. Usually, I can tangle out some common themes across collections, whether it’s end-of-the-world anxiety or relieved hopefulness. Not this season. Everyone is all over the place.
The leotard. The catsuit. A suspiciously snug boiler suit. These all can be identified under the umbrella term of Unitard. While tight-fitting clothes have been found clinging to women since the dawn of science fiction, developments in technology meant they became tighter and even more common from the 1960s onwards, with outfits emerging on screen that had previously been but impossible adolescent dreams in comic books beforehand.
After thumbing through 25 or so looks featuring this season’s 1920s/1990s Granny Mashup at Rodarte, I paused and asked, “Is that the Death Star on that gown??”