BRINGING THE BEAUTY OF NATURE TO THE NEW YORK RUNWAY
Season after season, Son Jung Wan brings something extra to the runways of New York Fashion Week. I think it’s the sense of gentleness that emanates from her and from her designs. I’m not saying her looks aren’t bold, because they are, but bold in a kind of quiet way.
Case in point: her Spring/Summer 2016 collection, inspired by the seascape of Korea’s Jeju Island. Backstage before the show, she told me, “I was inspired by the beauty of the island and the beautiful oceans around it. I tried to express that beauty, of nature and the calm oceans with the colors of the sea.”
Those pale colors beautifully represent elements of the sea, grey for the storm clouds, blue for “a breath on an early morning by the seaside”, champagne for the misty sunshine, along with mint, ivory and the palest pink. Pops came in the form of metallic blue and shining silver that reflects the light in bright rainbow shades, or a vibrant metallic turquoise that surely came from the bottom of the ocean.
Her textures, as ever, add to the story, combining form with fluidity, leather with sheer silk, structure with shine. All elements of the seaside were represented: shiny, seashell-like dresses, more matte shifts, reminiscent of sand, joyous stripes for the tropical fish.
Dresses were formed from the most buttery leather, flowing silks or structures, gleaming fabrics, and her mastery of the asymmetrical was present in nearly every look. Menswear, too, carried the theme, with classic shorts and light sweaters decorated with sequins or seashells.
Mostly what shows through is her grasp of femininity, looks designed for women who are strong, but never forget they are women.
These are pieces that are classic Son Jung Wan, but, as ever, provide a new twist, a tiny surprise that keeps her collections modern, elegant and beautiful.
© Red Stiletto Media 2016 Photography: Anton Brookes
For his Spring/Summer 2016, the fates threw him a big, big curve. 30 of his looks, set for the runway, were, instead, lost in some DHL abyss. While it caused more than a few moments of panic, the show went on, and if you didn’t know something was missing, well, you wouldn’t have known.
This was Johnson Hartig’s Libertine at its best. Led, as they are every great season, by Johnson’s muse Michelle, the models strutted in styles that were impossible to define: a basic black overcoat decorated with two sparkly puppies, sexy purple mesh slacks and top embellished with wild graphics, cocktail dresses that shined and white suits with bright splashes of color. There were a couple of flapper looks that really stood out.
His menswear consisted of relaxed tops and trousers decorated with the same bright abandon. Warning: these looks are not for the faint of heart. But if you’re a man in touch with your glittery, animal-printed wild side, look no further than Libertine.
The only requisite for the Libertine woman is a spirit that is joyous enough to rock big, long rows of colorful beads and a genuine flair for the dramatic. When the models came dancing down the catwalk for their finale, if you felt like skipping along with them, then you were meant for Libertine.
The line has become a real staple at New York Fashion Week. Johnson Hartig’s wild imaginations and over-the-top talent makes this show one of the don’t miss moments. Long may Libertine reign.
Pier 59 has long been the runway home for the, let’s say, less mainstream designers. So, Veronika Brusa’s Berenik line fit right in. It was just the right space for these super-modern designs.
The Swiss designer was a graphic artist before turning her talents towards fashion, and it shows. Inspired by friend, studio-mate and artist Steve Voll, Brusa’s mission was clear: “a wild mix of art objects developed into various prints.”
The cuts are beyond relaxed. You can’t imagine being stressed in these oversized jackets, wide pants, slouchy jumpsuits and hoodies. Then she took the most comfy fabrics, cotton, stone-washed denim, linen, leather, mesh and various polys, worked some kind of magic, and printed them with patterns, some blatantly graphic, some softer, and turned out a line that accomplished her goal: blending elegance and comfort to create looks that are contemporary, sporty and chic.
Even the leather sandals, which could have looked a bit hippie-throwback, added a certain sense of style. I must admit that, at the start of the show, I believed I wasn’t going to be a fan. By the finale, I could see what a bold and creative collection this is, young, modern, wearable and artistic.
Wang Tao is one of China’s most successful and accomplished designers. But, season after season, she conquers New York Fashion Week with the elegance and sophistication of her line, Taoray Wang.
For Spring/Summer 2016, her inspiration was the film “Out of Africa”. And you can see her inspiration in every design. “When that movie came out, I was sort of shocked”, she said, backstage before the show. “The style was so simple, so minimal and so elegant. I could never get rid of those images.”
Elegance is the thread that runs through every Taoray Wang collection, and this is no exception. The clean lines and perfect tailoring give these very feminine looks a slightly masculine edge. Suits and blazers are pin straight, but topped with easy, looser tops. Maxi skirts and dresses have long side slits. Seemingly simple summer dresses have sharp, asymmetrical hems. Then there’s the very sleek and sexy off-the-shoulder dress with a sculpture pattern that could have come off as gimmicky, but, instead looked perfectly elegant.
The colors, cream, khaki, navy, black, fit right in with the “Out of Africa” theme, but could have been a bit dense for spring/summer. Instead, Wang’s fabric choices, silk and cotton, made them cool and easy-to-wear.
She says she stuck so close to her inspiration, because the film’s main character drove the collection. “She was so great”, she said. “She always carried herself very elegantly and with grace. I think the Taoray Wang woman is that kind of character.”
Red Stiletto Media
Red Stiletto Media 