Elizabeth Kennedy at the Cusp of Elegance

by Olivia Moreau

As NYFW get into full swing of things, it is hard to often take a step back and fully appreciate the hard work and creativity of smaller houses. Sometimes you need a dose of pure elegance to wake up and smell and proverbial coffee. Elizabeth Kennedy's SS18 collection is one of those collections that inhibit both the intellectual and the irrational appreciation of beauty. From drawn prints of horses to delicious silhouettes her collection brims with elegance and clarity of vision. Elizabeth's work has been evolving since 2012 when she started her brand and 5 years into it, her work is as polished and mature as you can expect it to be. With an added sparkle of genius and a bit of casual charm and you are left with a collection of enormous promise. 

The Tao of Narciso Rodriguez

by Verena Lee

As NYFW rolls in, the ever-diligent Narciso Rodriquez decided to have a presentation as opposed to a full-on runway show. His work has always been about finding functionality in women's wear and this collection is no different in that sense. But in every other sense, this is a retrospective of his own work with some added layering of intrigue and clarity. The color palettes embrace solidity and at time neutral shades, the lines are chic' and to the point yet the soul of the work is brimming with the confidence of a designer who is comfortable with himself and is not soaked in the distraction of a celebrity-driven circus that looms large over NYFW. 

Khaite and the Call of the Classic

by Olivia Moreau

Cate Holstein's Khaite is the fashion statement that ends in a revered silence and a dash of clarity. It does not sway with the whims of slogan t-shirts and off the shoulder trends that come and go. Her SS18 collection is deeply rooted in that idea of the classics outliving the short attention span of the trend filled fashion circus. Khaite sticks to its basic form as in classic, understated, fully functional and uber-elegant. To reach this sort of seamless beauty not only requires understanding the foundational aesthetics of western fashion but also requires an exceptional talent at executing a narrative to dizzying perfection.

To gush over this collection is an appropriate reaction.

A Memento of Not Fitting In with Kenzo

by Olivia Moreau

The traditional Runway is dying and Kenzo is at the forefront of hammering the nails in that coffin one show at a time. Kenzo's La Memento collection was presented by a traditional Japanese theatre group as  Humberto Leon and Carol Lim, delved deeper into the aesthetics of Japanese fashion and European reinvention. The second Memento collection is an homage to Kenzo Takada's incorporation of denim into couture 40 years ago and by any measure, the collection paid a worthy tribute to that radical step which changed how we view fashion. Palm frond–print maillots, bamboo bikinis, Hawaiian shirts were all part of a grand narrative of Kenzo's vision, and it's admirable inability to just fit in. 

Christopher Esber and the Fury of Youth

by Lotus Ladegaard

Christopher Esber debuted onto New York Fashion Week in February with his FW17 collection of street couture with detailed and precise tailoring. His eye for tailored relaxed cuts, raw accents and woven and embellished textiles excited the fashion world and much was expected of the young Austrian designer, who launched his eponymous brand in 2010. With a background in tailoring, Christopher Esber creates intriguing and interesting silhouettes with menswear techniques, which can be found in every single piece across his collections. He has become known for his precision tailoring and a purity of expression that allows him to create clothes that whisper rather than shouts.

Christopher Esber’s SS 2018 collection is every bit as fresh and intriguing as his debut FW17 collection. The colour palette was classic and simple with a delicate pink in addition to black and white, while the silhouettes were fresh, intricate and interesting. From tailored pieces with and edge to sleek exquisite dresses, the collection offered it all. Like the long black dress with scarf effect paired with an oversized sports jacket was beautiful and interesting enough not to become just another black dress. The half-jacket in a greyish wool paired with white bottom and white bra had tons of editorial appeal and is bound to excite. The white top with scarf effect paired with a long white wrap skirt was another favourite.

Other pieces like the pink and white dress white black painted stripes felt fresh and youthful and has a lot of commercial appeal. The same goes for the black wrap dress with oversized buttons. The little pink draped dress is another piece that is bound to excite and win over new territory for Christopher Esber.

Christopher Esber delivered an exciting SS18 collection that will excite both his existing following and new fans. The Australian designer has ruled the Australian fashion world for some years now, and if this year’s collections are a sign of what is to come, it is only a matter of time before Christopher Esber conquers New York too.

Dilara Findikoglu and The End of Days

by Cara Livingstone

Turkish born designer Dilara Findikoglu has always been interested in the vision of apocalypse and her previous collections weaved seediness of the underbelly of culture with the aesthetics of an ever-evolving avant-garde movement. This collection does not veer off into unchartered territory but doubles down on the apocalyptic visions of Dilara. Whereas most designers try to sooth the wound of time with visually interesting colors, Dilara goes outright for the jugular. Not only does she not shy away from using color as a form of rebellion against a world burning, but also she uses her considerable talent to create a narrative deeply entrenched in goth meets nihilism. Dilara's work is what underground London is and with each passing cycle, she embraces and pushes that aesthetics in new heady heights of wonderful paranoia, soaked in color and stiched in expert silhouettes. 

Richard Malone and a Different Kind of Blue

by Cara Livingstone

Richard Malone opened London Fashion Week in style. His collection came bursting through the runway with vigor and color, with a sense of clarity and deep appreciation for the avant-garde. It was a collection that announced the arrival of a truly special talent in its full flight. From the women weavers in Tamil Nadu to the runways of London Richard's work evokes a sense of integrity and inclusiveness that is rarely on display in a world where activism in fashion equates to printing some social commentary on a t-shirt. This was a collection that hit the right burst color with the right silhouettes. Of all the shows we have seen so far (and we have seen a ton in NYFW and now in LFW), Richard Malone's work has been our favorite. Not because it was sourced with the right intention (it helps) but because as a stand-alone collection it is truly extraordinary without the added knowledge of inclusivity, integrity that seems to be printed all over Richard's clothing. The avant-garde silhouettes and varied shades of blue did not overshadow the fact that Richard's clothes are made for many different shapes and sizes without compromising an inch of the excellent aesthetics.   

Co and the Re- Evolution of the 40s

by Linda Bezos

Los Angeles transplant Stephanie Danan and Justin Kern do not adhere to the modern notions of california fashion that is seeped in casual streetwear. Instead, they find their inspiration in the heady glamorous days of the 30s-40s. Co's SS18 collection filled with the joy of movement and elegance perfectly harmonized with the ballet themes of the photographs. What stands out from this wonderfully elegant collection is the way Co approaches sophistication. Instead of throwing everything but the kitchen sink, Co's approach is a more subtle and slow acting dose of beauty. And if you are looking for a sense of femenine mystique with an added layer of class and sophistication, this is the collection for you. 

Johanna Ortiz and the United Colors of South America

by Olivia Moreau

Johanna Ortiz has a flair that corresponds more with South American colors and aesthetic than Parisian sensibilities.  So when she reimagined Polynesian beauties of French impressionist Paul Gaugin that flair for the dramatic did not escape her collection but enhanced it. Cropped Tops and evening wear the staple of her collection but what really stood out are not just the silhouettes but the sooting tonality of the clothes, how they moved, how they seamlessly stood out during the fashion week that has produced some excellent collections. 

Veronica Beard and the Mexican Summer

by Lotus Ladegaard

Behind Veronica Beard are sisters-in-law Veronica Miele Beard and Veronica Swanson Beard. The Beards launched their eponymous brand back in 2010 with their signature Dickey Jacket. Today, the brand offers cool and sassy American sportswear that is designed to be mixed and matched which has earned the ready-to-wear fashion brand a loyal following. Veronica Beard’s Spring 2018 collection was created drawing on inspiration from Acapulco in the 70’ies. The colour palette is subtle and offers a little bit of everything, although, mostly different prints, stripes, pleats, and florals. The collection is pretty and definitely has a bit of sass, but it is also rather expected and feels very safe and a tad dull. It fails to really wow, nevertheless, if you have an eye for style you can assemble several pieces with an existing wardrobe to make a standout look. Pieces like the Dickey jackets of different styles and textiles are part of Veronica Beard's DNA and can easily be mixed and styled to suit you. Other pieces like some of the crop tops would look great styled with bottoms with less obvious references to the 70's. Veronica Beard presented a Spring 2018 collection that undoubtedly will be a hit with their fans.

Gareth Pugh and his Fire Born Blade Runners

By Omi

The way to fully grasp Gareth Pugh's SS18 collection is to view his accompanying film about the collection which is a product of collaboration with Nick Knight, who directed, choreographer Wayne McGregor and artist Olivier De Sagazan among other luminaries to produce a chilling homage to the creative process behind Gareth's wildly avant-garde aesthetics. So to view this collection as a commercial vehicle would not only be incorrect but also disrespectful as it is beyond the realms of conventional fashion in many ways. 

There has always been an edge to Gareth's work and that is expected but this is truly the pinnacle of his avant-garde phase. It is almost a battle cry for a new horizon. Will Gareth remain within the realms of avant-garde fashion or will he cross over into the rarified airs of Tom Ford is the only question that needs answering as the other trivial matter of his genius is fully settled. His sense of fashion rivals a treatise from philosophers like Goodman or Wollheim. It is deeply rooted in constructs empiricists might find troubling and appealing at the same time. Ontological status aside, the collection brims with the brood of fire red and shapes of geometric inclusion and exclusion. Gareth has earned his right to produce something so off the beaten path that any notion of pretension falls away as soon as you realize the authenticity of his work and his process to reach that point of equipoise between what is possible and what is. 

To view Gareth Pugh's collection as a 'collection' does it no justice. So we should view it as a statement of intent on clarity, process and above all aesthetics, clothes in this case are just magnificent vehicles. It will hard for anyone in the industry to come even close to what Gareth has done here. It will be hard for anyone in any industry to come even close to what Gareth has done here. 

Marta Jakubowsky and Everyday Femininity

by Sierra Kaplan

Marta Jakubowsky has her debut runway show today at the LFW. The collection was an exploration of feminity through the prism of perfection and imperfection. From nearly deconstructed dresses to see through evening wear, Marta's collection started off with a bang and became one of the most substantive shows of LFW so far. Her usage of silhouettes as vehicle of non-traditional aesthetics is not only unconventional but also rather brilliant. The light colored dressed complemented the strong color pallets of deconstruction and reconsttruction that came in the form of well tailors skirts and tops. If you are a modern woman with modern needs and a sense of classic, this is the collection for you. 

Tome and Deconstruction of Color

by Cara Livingstone

Ryan Lobo and Ramon Martin never bough into the celebrity driven notion of aesthetics. For SS18, the designers chose to stage an intimate dance performance choreographed by one of their longtime muses, Pam Tanowitz who routinely deconstructs the classical ballet to provide a constructivist notion of dance. Almost an a homage to deconstruction of staple ideas, Ryan and Martin disassembled the colors of the rainbow and constructed into something that is equally appealing. 

The Re-Birth of Mara Hoffman

by Cara Livingstone

Mara Hoffman is a risk taker. She dismantled her company a year ago to reinvent it from the group up, from the thread to the supply chain to marketing. This SS18 collection stems from that reinvention and the ensuing clarity of Mara's philosophy. The clothes are made through sustainable materials, the designs are equally appealing from red to sky blue, from deconstructed jackets to tailored silhouettes, all the right moves are part of this new narrative Mara has introduced and we love it. 

The Undying Legacy of Versace

by Linda Bezos

Vogue, Warhol, My Friend Elton, Icons, Baroque, Animalia, Native Americans, Tresor de la Mer, Metal Mesh, and Butterflies are all Gianni Versace's principal contribution to the iconic brand. His genius was overshadowed by his brutal murder and in the 20th anniversary of his death, his sister Donatella merged her sense of ecstatic aesthetic with Gianni's iconic collections. And the end result is not only an homage but also marching call to move forward with history firmly intact, legacy fully realized and no end in sight. Ultimately this was a show of what Versace has done to fashion and what it is capable of doing. The clothes speak for themselves and are etched into our memories. This was sort of like a wedding and a funeral. Both in the minds of the iconic designer would have been a joyous celebration. 

Ryan Lo's Dark Fantasy

By Cara Livingstone

Ryan Lo has always been good at wrapping up his work in technicolor maximalism. So this collection would be a departure from that aesthetics. But the overwhelming sense of intricacy is complemented through the means of black and white and some muted pink colors. This gives the collection verve and clarity. There is no question about Ryan's ability to construct form but this collection further enhances his reputation as a master at his craft as he does to black and white what he has done to red and yellow. It is a collection that would need a bit of time to settle into the minds of the consumer and editors but when it does the genius would come through in spades. 

Duro Olowu and the Devils of Details

by Linda Bezos

Duro Olowu's SS18 collection finds inspiration in surrealist muse Lee Miller but it truly creates a more impressionist visual of feminity that goes beyond any surreal notion of such. Olowu's progression as an artist and designer is incremental but yet substantive as he painstakingly adds layers and layers of intricacy into his already well-substantiated template. The prints, the stripes, and the overwhelming colors add a sense of playfulness to silhouettes that are rigid and strong creating a sense of dichotomy both intriguing and visually appealing. 

Isa Arfen's Japanese Expedition

by Cara Livingstone

Isa Arfen's Serafina Sama found inspiration for this collection from her first visit to Japan. And it is full of intricate references to the Japanese aesthetics. This very zen collection is a product of a designer completely comfortable with her ability to produce post-cultural trends. The clothes have elements of what Japan is known for...Kabuki theatre, Samurais, Pagoda and inner calm. Trimmed silk suits with magnolia patterns were the standout in this presentation and it is likely to bring in a lot of new admirers into Isa's pagoda. 

Moschino and the Escapism of Levity

by Olivia Moreau

Moschino took a stand last season. Trump-era politics, waste, and outright apathy were the targets of that visually enticing show. This SS18 was Moschino's remedy to those blues, a form of escapism, visually stunning, soaked in the petals of flowers and propped up with the rebellion of biker ballerinas. It was a show for the conscious consumer with the understanding we all need some escapism in the form of levity and positiviy. 

For the Love of Tom Ford

by Cara Livingstone 

Tom Ford has been the savior of many a brand. His stint at Gucci revived a floundering icon, his artistry lit up YSL when it seemed most unlikely. So when he went on to start his own brand no one batted an eye. Well, no one should have as the bloody-minded artistry Tom produces is nothing short of extraordinary. And that bloody-mindedness, that sense of the right aesthetics at the right millisecond were on display at the Park Avenue Armory. He co-opted elements from his much-loved men's collection and installed the same spine into this SS18 collection for women. If you ignore the commerce savvy, celebrity adored aspect of Tom Ford as a brand you are left with just pure artistry from the sheer dresses and elegant and tight silhouettes. It is no surprise that everyone loves Tom Ford, because who does not like Art that sells in while holding on to it's soul.  

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