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The Row: Boundaries of minimalism
Ashley and Mary-Kate Olsen not only prefer to stay backstage, they also measure their collections against the work of artists - in this case Beverly Pepper, a powerful American female artist.
The Row Autumn/Winter 2020.
© Natasha Cowan
Before even the first streamlined outfit fromThe Rowwalked through the minimalist room, Pepper’s sculptural 'vocabulary’ was everywhere, with carved sculptures placed in strategic positions by pillars in the otherwise empty room.
It was an unmistakable indication of the duo’s attitude to clean, clear design for a 21st century woman.
The Row Autumn/Winter 2020.
© Natasha Cowan
The often spiky pieces were softened in this collection, so that a man's oatmeal trouser lay gently on a five-buttoned waist coat. The result? Softened female tailoring, both practical and desirable.
The Row Autumn/Winter 2020.
© Natasha Cowan
The earthy colours - grey, graphite, winter white, bluebell and mud brown - were both artistic and wearable. The burst of applause was filled with both wonder and gratitude that The Row could offer such an excellent example of modern fashion.
The Row Autumn/Winter 2020.
© Natasha Cowan
Sies Marjan: High in the sky with Rem Koolhaas
The building could best be described as a 'cloud scraper' as Sander Lak took his Sies Marjan collection to the 53rd floor of 101 Manhattan West. The view was truly spectacular. But what about the clothes?
The designer is known for his poetic sense of colour, but the first expression was of gold, as an opening outfit flowed and shimmered in the fitful sunlight.
Sies Marjan Autumn/Winter 2020.
The inspiration came from an upcoming Rem Koolhaas exhibition, ‘Countryside, The Future’, that will be seen later this year in the Guggenheim museum.
Sies Marjan Autumn/Winter 2020.
But the Dutch architect’s inspiration on the fashion designer was not immediately obvious as the designer’s exceptional colour range was replaced for the autumn 2020 collection by texture.
Sies Marjan Autumn/Winter 2020.
The show notes described a selection of fabrics created by using fresh foliage - or the principal of Donegal tweed. The designer also collaborated with Claudy Jongstra for silks, and with visual artist Diana Scherrer who uses plant roots.
Sies Marjan Autumn/Winter 2020.
The overall effect was compelling and a good balance with workwear silhouettes in the final clothes. But it was a lot to absorb - and not always simple to judge.
Jason Wu Collection: Exoticism of orchids
Jason Wu explained that he was in pursuit of sublime romanticism, inspired by artist Egon Schiele.
Jason Wu Autumn/Winter 2020
© GoRunway
The idea was to embrace the sensual quality and sinuous line of Schiele's work, which was contrasted by a study of exotic orchid varieties with vibrant colours and soft petal textures seen in the collection.
Jason Wu Autumn/Winter 2020
© Gorunway
The clothes were delicate, based mainly on glamorous evening attire. Surface treatments and delicate embroidery techniques created rich textures.
Jason Wu Autumn/Winter 2020.
© Gorunway
According to the designer, the gauzy silk gowns had over 100,000 Swarovski’s crystals and tiny metal studs sewn by hand in the NYC atelier.
Jason Wu Autumn/Winter 2020.
© Gorunway
“I worked with my British friend, the artist Jessica May Underwood - she did all the orchids for me. And then there was a kind of eroticism done in my own way - softer, more sensual than overt sexuality. That’s not really my game.
Jason Wu Autumn/Winter 2020.
© Gorunway
“But most of it is a love letter to my atelier," he continued. “Everything was made in New York, and we don’t always get the credit that we have people that are so talented here."
Jason Wu Autumn/Winter 2020.
© Gorunway
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