FutureFashion

Jil Sander organic cashmere caftan dress. Photo from Style.com

This review might be a week late (unfortunately due to an episode of food poisoning), yet I still feel that even after a period of rumination, I’m going to stick to my initial reaction on watching the FutureFashion show. Overall, I thought the looks were so successful that I left the show asking myself why aren’t these designers using sustainable/ethical fabrics at least most of the time? The roster of top models and designers, along with a star-studded crowd, combined to create an event that, on the surface, seemed more about the fashion scene than the serious topic of sustainability within the fashion system. Yet, rather than a mere green-washing effort, Earth Pledge and Barneys combined to create a potent opportunity for sustainable fashion to shed its crunchy overtones.

As the models came down the runway in no particular order, it was satisfying to be able to recognize instantly who created each look based on just silhouette and general feel. Twisted, clinging bias gown? Donna Karan, naturally. Pared-down effortless? Jil Sander. Impeccable, almost too-tight construction? Narciso Rodriguez. Flowing powersuit? Calvin Klein. This instant recognition is a significant indicator that a designer with a strong, clear vision can transcend the sustainability factor – just because a fabric is ethical does not mean that it is limiting.

As most of the designers stuck to a natural color palette, it was the few darker looks that I noticed most. The standout look due to its opposition to any preconceived notion of a “natural” aesthetic was the perversely romantic outfit by Boudicca made from PLA (corn polymer). As a color contrast, the ThreeAsFour dress rendered in white with a curved hem was a modern hint of the black shapes that would appear a few days later in their runway show. Martin Margiela’s corseted gown of reclaimed wedding dresses proved just how edgy patchworked lace and flowing skirts could be.

Overall, it is admirable the commitment Barneys has shown for ethical fashion. Earth Pledge (which owns the FutureFashion copyright) was wise to partner with them, not in the least because of the increased access to designers and heightened publicity for sustainable fabrics. Hopefully, each of the designers represented in the show will continue to work ethical fabrics and methods into their garments. As for now, you can see the looks in the Barneys windows at the corner of 61st Street and Madison Avenue.

Sarah Scaturro

Zero + Maria Cornejo Fall 2008

Zero + Maria Cornejo Fall 2008 (Photo from New York Magazine)

Maria Cornejo showed her keen understanding of garments’ construction partially achieved through a mastery of fabrics in her Fall 2008 collection. She divided the shows in five colour groups: “Red and Black and Check,” “Chalk and Grey,” “Black and Flourescents,” “Nomad Multi Colors” and, finally, “Midnight Evening.” Through her precise use of pleats, gatherings and folds—or to use her terminology “origami” techniques—the looks read as effortlessly chic, while the collection displayed a great ratio of black to vivid colours.

A particularly exciting moment was the satin fuchsia dress she sent down the runway at mid-show, which literally seemed to emanate light, as well as a more sportive look at the other end of the colour spectrum comprised of black jodhpurs and a simple black top. Also of notice were the horse hair necklaces which decorated many of the clothes (and were often dyed to match them). Reminiscent of actual hair and loose tresses, the necklaces added an interesting sexual punctum to the restrained sensuality of her work. Ultimately, what makes Cornejo’s work stand out—especially on this side of the Atlantic—is her ability to combine a level of simplicity (or perhaps clarity) with wearability and experimentation—a rare feat which few designers can be said to achieve.

Francesca

Three as Four, Fall 2008

Three as Four, Fall 2008 (photo from New York Magazine)

I found it hard to be won over by the Three as Four show, as I personally thought the abundance of black made some of the intricately cut and intelligent pieces look less appealing and somehow slightly dated. (I can’t help but strongly associate all-black-looks with a 1990s idea of elegance and avant-garde.) What I found most interesting was the sharply tailored trench and vests, which were constructed around elongated oval shapes that left the sides open. Curved shapes returned in the rouched skirts and the interestingly rosette-like rouches at the hems of some of the dresses. Also appealing was the grey wool lurex fabric used for the outerwear, which combined elegance and experimentation.

Francesca

Patrik Ervell Fall 2008

Patrik Ervell Fall 2008 (a look vaguely reminiscent of Ian Curtis)

The Patrik Ervell menswear show had a modernist vibe, as it took place in the Pier 59 studios. The space was a white cube with huge windows overlooking the Hudson, and the runway floor was covered in gold reflective paper which recalled the fabric of the looks at show’s end. I was reading T’s blog account of Ervell’s show as awash with art and music types and was impressed with T editor Horacio Silvia’s ability to recognize the members of Grizzly Bear and Hot Chip. I believe I have seen both bands in concert and yet have no recollection of what they look like.

The clothes seemed precisely tailored and clean in a way that was not at all boring, but rather subtly researched. That, combined with the skinny silhouette, was reminiscent of Raf Simon’s work. I most enjoyed the first part of the show, with the more muted color and particularly the navy looks which went really well with the simple canvas shoes. Also interesting were the double-hooded looks, as well as the final looks which were articulated around gold synthetic fabrics. The reported presence of band members and art types in the audience seemed to have been in tune with the vibe the clothes gave out which—at least according to Jay, who gave me a live commentary—reminded him of: “A Wes Anderson movie extra,” “a member of Blur circa early 1996” and “Ian Curtis shortly before he hanged himself.”

Francesca

Rachel Comey Fall/Winter 2008

Rachel Comey, Fall/Winter 2008 (photo from New York Magazine)

The Rachel Comey show is that rare instance of a fashion show which reads as welcoming and laid back yet sophisticated, as it took place on the parlor floor of a town house (the Salmagundi Art Club). The setting and the mismatched couches gave one the impression of being in the living room of someone’s eccentric old relative. (While there, I couldn’t help but thinking of the Chelsea, London, house of the uncle character in Withnail & I.) The clothes were also artfully mismatched, as they juxtaposed an array of whimsical and lightly funny prints and slightly clashing color combinations. The use of turbans and the choice of prints were reminiscent of the 1940s, while the silhouettes were elongated almost lanky due to some short jackets and high waisted skirts and pants and the result was attractive in a nerdy eccentric way. Particularly interesting were some of her knit dresses and quilted jackets, as well as the footwear—particularly the oxfords and the platform shoes. (hand-painted book titles were written on some of the platforms, while some were checkered.) The music, together with the model’s deep under eye shadow, gave a slightly eerie feel to the looks and the presentation more generally. (One which was, however, slightly overshadowed by the fact that I was facing Lynn Yaeger, who is the unquestionable master of a certain doll-like off-kilter look.)

Francesca