Inflatable plastic boots, ties made of braided hair and gray wigs drew unusual emphasis on accessories this season. With every brand fiending for an “it bag” of the season, a little of the concentration was lost on clothing. Furthermore, after a memorable haute couture week – Maison Margiela’s show was one for the history textbooks – the bar was outrageously high. Yet somehow, the season was consistently strong across all four weeks with designers embracing the weird and wonderful to create shows that broke the monotony of the past year. For once, Reznick’s Runway Rundown isn’t complaining.
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New York: Thom Browne
Thom Browne is back in New York after a season in Paris, and a stunning presentation of suitwear acted as the Hail Mary of the American fashion week. Thom Browne, whose brand emerged in 2001, has now established himself as enough of a fashion prodigy to allow extreme creativity without concerns over marketability. Outrageous balloon-shaped looks walked alongside Browne’s beloved tweed jackets and a notable presence of bows that in recent months have felt inescapable.
To keep his collections interesting, Browne often turns to cultural points of reference, and this season it was Edgar Allen Poe’s “The Raven.” Black fabric manifested itself in embroidered ravens, glimpses of leather and a jacket that shifted from black sequins to colorful plaid in an innovative twist. Browne played a key role in the undeniable emphasis on accessories this season, with raven-adorned stockings, dramatic fascinators and braids sticking out from numerous models’ heads. And yes, suits were perhaps all too present this season, but let’s not forget that the line between art and professionalism has been Browne’s runway for years now. Browne is not embracing the monotonous “quiet luxury” trend, but instead throwing dramatized silhouettes and over-the-top styling in its face.
London: Di Petsa
London’s rainy weather served creative director Dimitra Petsa well as her signature “wet look”took to the runway once again. For a brand founded in 2019 by a now-28-year-old, Di Petsa is surprisingly cohesive. The brand utilized stage production well so that the first half of the show facilitated the more ethereal looks, the soft creams and organza fabrics draping softly against warm light. From there, the collection shifted, and a harsh purple light enlivened the audience as metallics, bright colors and undeniably sensual looks took to the runway.
Di Petsa is a brand found far off the beaten road but is still able to meld palatability with creativity. A jacket inlaid with cotton discards proved fascinating; from afar the fabric looks like lace, whereas up close it reveals its more complicated texture. From the latter half of the show, a metallic corset stood out. The metal carving combined intricate floral patterns with the harshness of the textile added to Petsa’s commentary on the contrasts imbued in the female experience.
While more surreal collections often are dismissed as shallow, or a little too out there for the High Fashion World, Petsa proves herself as a master of concept, her work strong enough to fulfill the messages she aims to express.
Milan: Ferragamo
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For frequent readers of Reznick’s Runway Rundown, the name Ferragamo surely rings a bell. While last year’s Fall-Winter collection held a notable rigidity in its crisp-cut outlines, this year’s freedom-inspired collection allowed for more rhythm on the runway. Fringed skirts, loose organza and deconstructed jackets let house staples take on new forms, though were contrasted harshly against military-esque color palettes. A dress composed of patent-leather fish scales was quick to dominate social media, the combination of eye-catching red and a dynamic reflection of light off the leather making the look a stand-out piece for the season.
Yet for those who took a closer look at the show, the silk gowns emitting thin feathers were most intriguing; the elegant silk interrupted by a tightly controlled explosion of ruffling movement. Ferragamo can clearly have fun — rigid, disciplined fun. Beaded gowns offered an opportunity for hypnotic patterns, both in an earthy green in the midst of the collection and an excitable bright yellow in the closing look. Perhaps creative director Maximilian Davis wanted to leave his viewers with hope, his final gown a rising sun on a tense and polarized collection.
Paris: Rick Owens
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While Paris Fashion Week was, as per usual, a show-stopping week of luxury and croissants, in the end, it was Rick Owens’ eponymous brand that remained in the fashion world’s mind. The inflatable boots, already a viral sensation, were a mere jumping-off point into what was an undeniably beautiful collection. After absurd amounts of leather seen during the London fashion shows, the turn to knits as a focal point was refreshing. Large knots — in knits, shaggy fabric and inflatables — across the torso of models demonstrated an architectural mastery that prevailed throughout the collection.
Using the 1930s as a grounding line, Owens chose points of interest to expand upon. Shoulders were highlighted, literally, with strips of fabric on floor-length trench coats, raised points and rounded jackets which all attracted the eye upwards. The collection added another avant-garde turn with the final looks, which consisted of large strands of fabric interlaced across the model’s body. Yet despite the excitement of the more complicated outfits, it was the usage of soft colors blended with gentle fabrics that completed the collection.
