![]() Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. This is a problem only when the “borrowing” or “homaging” or whatever you want to call it is so unabashed that it looks more like straight-on copying from a peer as opposed to a progenitor, as it did this season at Khaite.ALERT: Before you purchase, check with your instructor or review your course syllabus to ensure that you select the correct ISBN. (Lang is in the air.) Designers always take inspiration from history and one another. It’s not hard to recognize the type, even if it was also possible to recognize a fair amount of Helmut Lang in the lines. These are clothes for art school kids who suddenly find themselves encroaching on middle age with big jobs and families and without a lot of time to fuss over what to put on. All of it cut just a little off-center so it slouches on the body like a shrug. Lazaro Hernandez and Jack McCollough have finally stopped overcomplicating their work and focused on the essentials: a great jacket in duck-egg blue over low-slung trousers with a leather bag belted on the side (the better to carry a coffee cup) a strapless cerulean blue column dress that ties in the back and can be customized at will layers of cloudy prints in weightless materials. The importance of shedding excess baggage - decluttering - the better to accommodate a crowded life is also what powered a terrific Proenza Schouler show. Those who need calm amid the cacophony, though, can opt for the serene adulting of Fforme, where Paul Helbers, in his first runway show, offered easy trousers swishing under two-in-one tunics that could be zipped and unzipped at the side to transform into dresses, and little black shirts with caped shoulders that could be pulled forward to drape around the neck like a built-in vest, engineered for efficiency. Taymour said backstage, “need to be able to sit down at dinner but also have a lot of work to do” on the change-making front. Hope and fury collaged together under a pair of power shoulders, made for the millennial activism crowd. ![]() Vevers is British) and find their tribe, which isn’t necessarily defined by geography any more - by uptown or downtown, east or west - but rather by state of mind.Īnd here was the gang at Collina Strada layered up in Hillary Taymour’s turbulent mix of billowing 18th-century florals, quilted corsets, plaid boxer shorts and old tees, stomping around a rooftop farm in Brooklyn with hands clenched and rictus grins, like a group of furious prom queens, only to swivel back around, shoulders slumped by the weight of the world (and climate change). They were part of the New York of his mind, a place where people come from elsewhere (Mr. ![]() Vevers recalled “stepping out of their town cars and rejecting power dressing” in favor of slouchy pantsuits brought him to deconstructed oversize trouser suits in moss green and black and sweeping leather trench coats that looked as if they had been put through the wash to soften up the swagger. That was back in 1996, he said, and the girls he remembered heading out to dance at the Pyramid Club provided the genetic code for the filmy chiffon slip dresses and shredded striped knits atop leather bras and panties that punctuated his show. “I was thinking about the inspiration that New York has given me, and it made me want to explore New York style archetypes, and my own personal New York style archetypes, from when I came to the city for my first job,” Stuart Vevers said in a preview before his lively 10th-anniversary Coach show, held in the heart of Midtown Manhattan at the New York Public Library. One about the city as a place of chaos, movement and dreams. But as New York Fashion Week began, the city’s designers were telling a different story. It’s been a while since New York was the main character in any costume drama, a while since it starred as anything other than a problem: abandoned, messy, crime-ridden, economically challenged.
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