New York Fashion Week — September 10, 2015

Fashion Week goes by so fast! With 188 different collections and about 20-60 looks per show, there is so much to digest in a mere ten-day period. If you’re in college, think of it this way; on the busiest days, like Friday and Saturday, it was logistically possible to attend twelve shows in a single day. That’s about the same time commitment as six class sessions. Of course Fashion Week is not like a day of classes in any other respect, and few things thrill me more than photos from the latest shows popping up online at every minute. It’s just a lot to process in real time. Even so, I intend to continue to break down the Spring 2016 flurry by the daily unit, to ensure that I cover a diverse spectrum of lines and do them justice.

      

     

NYFW Street Style

September 10 was a day of many things, especially prints. As anyone who is old enough knows, Miranda Priestly would not be impressed by florals for spring. That is precisely why I think she would admire this particular spring for its geometry, color blocking, and renegade abstract fervor. Below are my favorite prints from Thursday, large and small, floral and otherwise.

A playful yet elaborate line drawing of Manhattan brings a character and a narrative to this otherwise simple dress. I’m already imagining what neighborhood the model will go to first and what crazy events will transpire when she gets there.

The bright orange contrast, broad line widths, intricacy of the line composition, and sweeping swaths of background white set this chevron print apart.

No spring is complete without its blossoms. These spare, stark flowers have the gracefulness of an ink drawing.

Monochromatic color blocking is bold but a little expected. When the stripes flip sideways and zigzag furiously into compression, the effect is dizzying and captivating.

My favorite print of all! Peacocks and other lively creatures dance across what would otherwise be a basic, dare I say preppy, stripe, creating a new narrative with the vibrance and ambiguity of an abstract painting. If ever you hear someone say fashion isn’t art the way painting or music is, show them this dress.

This crochet print is geometric, no doubt, but without the harsh angles associated with the word. With a calming pale backdrop and thin, unassuming stripes, it gives the impression of a very tranquil sea.

Tess Giberson

The distinctions are so muted that at first glance one might not even call this a print. Yet when one looks closely the rounded, artfully layered shapes emerge, like wispy clouds drifting through a twilight sky.

Pyer Moss

This collection centered decisively on American police brutality, using the abrasiveness of neck bands and seat belt hardware to capture an unforgiving society where every individual has to fend for him- or herself and the very people we are told will help us can turn and end our lives with nothing more than a feeble excuse. This print may be small, but its many bright colors and clustering at the top of the coat give it power.

Yuna Yang

Large pink satin flowers are girlishly exuberant, yet kept grounded by a black backdrop.

Ulla Johnson

Far more beguiling than a bald-faced polka dot, this conversational print of tiny hearts complements the yoke neck and ruffled skirt.

WWD Credits: 

Street style photos, Liz Devine. Runway photos, Courtesy Photo.