Fashion as spectator sport. No wonder the notion has achieved cliché status, given the multitiered gaping that goes on these days, fueled by the red carpet, the Project Runway effect, the endless paparazzi stalking of celebrities for publishable, post-able photos.
Much of fashion’s appeal as mass entertainment centers on the collections—once on the radar of almost no one other than participating insiders, but now a monthlong global media (both new and old) event. First came the celebrity takeover of the front row, and more recently, the social-media-celebrated external fashion show starring dressed-to-the-hilt editors stalked by a new genre of blogging paparazzi, many of whom themselves dress for the lenses of others.
Lest we forget, some of the actual runway fashion is also delivered with ample showmanship; we’ve come to expect no less from two creators in particular. This season, Marc Jacobs went Pop in New York with a high-drama treatise on the spectator black-and-white that he’s long loved but seldom restricted himself to. (Others were on the wavelength; black, white and graphic developed into one of spring’s most important trends.) At Louis Vuitton, Jacobs took the same visual bravado on a glossy ride to the Sunny Side via yellow-and-white graphics and a major set of escalators. At Chanel, Karl Lagerfeld’s installation of sleek, giant wind turbines provided a bold backdrop for clothes that, stripped of the obvious iconography, nonetheless radiated modernist Chanel. Increasingly, Alexander McQueen’s Sarah Burton has upped her production bravado to better reflect the theatricality of her clothes. This time, moody lighting and a mesmerizing video of bees at work telegraphed “a matriarchal society” in which everyone looked high-glam fabulous. Others, too, have shifted toward showmanship, notably Proenza Schouler’s Jack McCollough and Lazaro Hernandez, who inhabited a decrepit office building in the bowels of lower Manhattan for a dazzling technology-informed collection, and Alexander Wang, who punctuated his audacious, edgy lineup with glow-in-the-dark fun.
Still, the season’s biggest entertainment fest played out in the Battle of the Debuts. One hallowed fashion city, Paris. Two revered names, Dior and Saint Laurent. Two powerhouse groups, LVMH and PPR. Two designers deemed cooler than cool, Raf Simons and Hedi Slimane. Not surprisingly, the anticipation was inevitable. What could not have been predicted was the divide between critics and retailers on Slimane’s Saint Laurent. From this vantage point, Dior and Simons won hands down on the aesthetic plane, delivering what Dior has long needed—beautiful clothes that celebrate currency over camp. I found Saint Laurent oddly sweet in its reverence and mundane in its approachability. Yet I also saw how those two characteristics—and an oft-repeated riff on that good old rock ’n’ roll favorite: the leather jacket and skinny pants—could make a sound prescription for resuscitating the Saint Laurent brand around the world, a theory supported by the retail raves the collection garnered.
@kith is moving into children’s. The men’s and women’s streetwear brand has launched Kidset, a Kith kids line located in New York at 64 Bleecker Street. The line includes mini versions of staple Kith pieces like the Astor bomber jacket and the Kith box logo sweatshirts, along with a wall that can display up to 120 pairs of shoes from @adidas, @newbalance, @timberland and more. #wwdfashion
“I just wanted to create this fully rounded character, but I do think what excited me most was just the opportunity to give a group of people representation that I feel needs it. I like to do characters in projects that stand for something and Karolina definitely does, so that was really exciting to me,” @ginnygardner says of her new role in @hulu’s “The Runaways.” Gardner plays Karolina Dean, a queer superhero, which is a rarity for @marvel. Read more about Gardner’s character on WWD.com #wwdeye (📷: @dandoperalski)
@heriethpaul and @gracebol have a moment on the @victoriassecret fashion show 2017. See every look from the runway on WWD.com. Link in bio. (📷: @giovanni_giannoni_photo) #wwdfashion #victoriassecret #VSFashionShow
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia