A laid-back Superbowl Sunday set the stage for Ulla Johnson, Jason Wuand Adeam’s Hanako Maeda to envision their women for Fall/Winter 2023.
How does a maximal bobo brand do the minimum? For Ulla Johnson, it’s yes and no. Speaking to reporters behind the scenes of her runway show Sunday morning—65 floors atop Manhattan in a large glass-walled space in Pfizer’s new headquarters skyscraper—who native New Yorkers and the designer explained the streamlined direction of the collection.
“We started removing a few things and adding in miniature silhouettes, emphasizing the body. Even the choice of this wide-open skyline location was different. I had long moments of respect. glorify New York City through Covid with elaborate settings at cultural institutions, and this scene is like the last moment of that,” she suggested.
The backside vibe is best seen with the look built around a new tulip skirt silhouette in shiny plain chintz or shiny wax leather as an oversized jacket cropped skirt with pleated pants. 80s floral print or blouson. Design exercise is also seen in monochrome and tonal color stories, especially in rust or terracotta. Signs of a cleaner approach are seen in the gently structured sage green ensemble and the denim look relies on silhouette versus print.
Johnson often works with artisans in Africa, such as Madagascar, where she produces her signature hooks, these hooks also use a more graphic approach as some products concentric circular pattern. The designer says knitwear is vitally important even though traditional knitwear is scarce on the runway, save some knits and ribbed knits on some pieces.
Outerwear is a refreshing hit with sleek puffer tops, intarsia knitted wool and a parade fleece jacket. Johnson considers the details inside the dissected military jacket as her starting point, although the results are not so clearly uniform. Accessories like lacing kitten heels, pointed toe heels, and multicolored suede bags continue to evolve. They’ll be making a unique selection in the designer’s flagship stores, including an upcoming third location in Los Angeles.
However, more graphic, there are a lot of frills and feminine frills that are commonly seen by Johnson, especially the dresses that sell well in the retail market, according to the designer. The show lasts when the items come in different colors or patterns; editing is a pain to navigate. Johnson’s eagerness to show things off runs the risk of diluting her distinct POV.
What doesn’t last too long is a Black Belt eagle Scout, a First Nations band, performed an emotional tune throughout the show. In addition to their music, Johnson may have chosen the band to credit Lenapehoking, where Lenape lived, present-day Manhattan. Whether rich in detail or clean and simple, Johnson’s multifaceted collections celebrate not only those who wear them but their creators and even their forebears.
Likewise, Jason Wu took a lesser approach to his Fall/Winter show although methods and results were very different. Wu also started with the venue, which is the Peter B Lewis theater at Frank Lloyd Wright-designed and UNESCO Heritage, Guggenheim Museum. The space allows for a warmer, more intimate viewing than the sleek minimalist spaces that designers often prefer.
After the show, the designer explained that it involved experiencing a cultural moment of New York. “I appreciate architecture; I love it. I’m a designer in New York, so it’s great to be on display in a landmark building that hasn’t been done here before,” Wu said FashionNetwork.com backstage.
It also fits the point Wu wants to convey. Like slowly browsing through a museum and taking the time to absorb what you’re seeing, the designer used the circular space of the theater to allow models to surround the crowd, walk Slowly.
“Why do we push girls out every two seconds? Can we see the clothes? That’s why we’re here. It’s a re-evaluation of why I came to fashion— to make beautiful clothes. I want that to take center stage more than anything else,” he went on to remark that this is still only an eight-minute show compared to six.
The staging gave guests some time to make the subtle shift in Wu’s direction. Most notable is the sewing technique, often embroidered on jackets and outerwear with carvings.
“I’ve turned 40 and I feel good, more confident. I want to show a different and more side of myself and always grow. Most people don’t know, but I went to school to learn menswear,” he explained.
He also toyed with imperfections, which he avoided in his youth.
“You see things a little more deconstructed these days – my way, of course, but leaving the fabric tattered,” he says, referring to the hemline on a ruched slit dress. point and match three-hole ensemble or a flimsy organza top adorns a massive strapless dress.
Patches of color alternate everywhere; purple as a trench-inspired cape, red as a gorgeous cup-shaped dress; shiny yellow on another strapless dress; light brown on skirts and semi-transparent hemlines, and white on botanical silk inspired by 20th-century artist Karl Blossfeldt.
Black, a style favored in New York, prevails throughout and comes into play when represented by clear, transparent tulle and lace that reveal the body in high-class style; Wu was never vulgar. He is also never in fashion.
“I don’t have to be a Instagram favourite. The collection is about letting go a little bit because, in a filter-heavy, Photoshop-heavy world, we need to see reality. It’s a fast world and I wanted to give an experience that was almost like a performance,” he added. With that, Wu deserves a bow.
Another designer is expanding his collection to become more comprehensive. After 10 years in business in 2022, Hanako Maeda is looking ahead to the next decade by increasing its products—those with hybrid monikers—to include a new line of both men’s and women’s products. presented at the exhibition.
“I have two independent stores in Tokyo, and I find that many of my customers come to shop with their friends and male partners, plus a lot of men have worn my knitwear, so that’s the starting point. I wanted to create a collection that’s about different types of people who feel flexible, so that’s the starting point for the collection,” Maeda told FashionNetwork.com backstage.
But first of all, the women’s collection. Featuring dramatic staging by Thierry Dreyfus—who lists brands like Comme des Garcons, Jil SandersChloe, and Ann Demeulemeester, among others, as a client — the show opened with laser light by French lighting designers with a lone model, a short-haired model appearing in the center. stage center. That and the music gave it a Strange things vibe (and a black sweater and white shirt that would later look like Adams Wednesday), but Maeda has nineties pop-punk (think Green Day and Blink 182) on her mind plus with influences taken from Tokyo manga characters. To that end, there are plaid pants, chunky shoes, and leash belts.
Furthermore, there are plenty of gowns with exaggerated puffy sleeves, ruched ship skirts, and layered tulle dolls over longer skirts. Evening accents are mixed into great daywear; Maeda’s fall wardrobe offers off-the-shoulder and belted tailored jackets, lightweight chiffon pleated and day dresses, and off-the-shoulder bow skirts with bows.
It looks like the show could be over until another Japanese rocker and model-musician Miyavi takes center stage to showcase more of Dreyfus’ lighthearted antics while he plays a solo. Attractive guitar. He gestured to Adeam ICHI’s genderless collection, taking a page from the play Grunge. It has a variety of outerwear such as boxy jackets, vests and five-pocket styles; Staples like plaid shirts, baggy shorts and miserable knit tops are combined into a combined layered look that will appeal to much of the audience Maeda is looking for.
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