Most of the conversations about New York Fashion Week’s mistakes are not just the schedule, city, or official CFDA calendar, but that some top names became independent and emerging designer playgrounds. Every season there are newcomers to discover. (Recent breakouts include Colleen Allen, Zoe Gustavia Anna Warren and Jane Wade.) This helped New York revive its reputation as a place where talent is born. We ask those who say New York has lost its glow, which show are you going to? New York City has great fashion, so if you know where to look.
What these four promising people have in common is that their work visualizes the world ahead. From Grace Guy’s reflections on sustainability to Yamil Albale and Angelo Bito investigate the power structure of society at LeBlanc Studios, these designers may now have more questions than answers. Not, but how does that make the most wonderful story start? Scroll to discover their work.
The sustainable knitwear in Grace Gui’s novel asks what we leave behind for the next generation.
Sustainability is a subject that often emerges in fashion with varying degrees of authenticity. So, the first thing you need to know about Brooklyn-based knitwear designer Grace Guy is that she grows her own silk worm. “My grandmother and I started raising her when they were five,” she recalled in the presentation, adding that it’s not uncommon in the Asian American community. “Every town has a WeChat group with silk worm dealers. We were going behind Costco, and she threw me into a tree and picked up mulberry leaves to feed the insects. We washed our faces using silk coco. ” Her remaining material is sourced from a farm near the Tri-State area. In her presentation, the sheets posted next to each tableau of her models included a detailed breakdown (all) of the source of each fiber (all from female farmers), as well as dyes (all) ( All natural dyes), and decorations. The knit boat neck T-shirt with a red and green diamond design on the front and ultra-low rise flare trousers were identified as “100% Lyndhurst, New Jersey.” 50/50 Silk Merino Dead Stock, from Peru. 100% alpaca from New York, New York. Iron (iii) oxides from soil. Natural rubber latex sourced from New York, New York. “The 21-year-old designer is still in school. She studies knitwear business and biotech telegraph at Gallatin. She calls her project “from farm to fashion.”
However, the new and interesting ways to source materials are not a great collection, and GUI clothing really reflects the way young people of her generation wear clothes. As mentioned above, the focus is on everyday life with simple t-shirts, elastic waisted pants, and jackets and skirts with more playful details and decorations. And in the evening, her experiments of more sculpture shapes and thinness are also spot-on. In her presentation, about seven or eight young girls were holding small stylish bags in their hands. “The bag is 3D printed with cornstarch and sugar cane, the bottom is made of recycled fishing line, and the interior is all waste in the entire collection,” she explained. “When we talk about what we ask (sustainability), are we going to push our weight forward to our kids? Who will carry your inheritance?” – Laia Garcia-Furtado
Pipenko: Rewrite Dracula with a tall story of “melancholic gorgeousness”
Nosferatu’s mark on autumn fashion – in Victoriana’s form it is as clear as a bite around the neck. Dracula herself was a cat in a hat headgear and feathered cat, and she was dramatic at the Lorena Pipenco show. This collection was a rethinking of a dark story based on the Romanian version she heard of growing up. In them, the designer writes that Dracula is not only a “villager” but a man who died of adoration, and the subsequent women were cast as muse, frozen in time.” Pipenco’s mission was to rewrite these women into history.
The room appeared to be shrinking to dollhouse proportions when the models came out in huge, often bulbous dresses and surreal club kid shoes, made in conjunction with repairs to East Village shoes. The exaggerated size and shape define the characteristics of Pipenco’s work. He explained that the fit of clothing, which is often “off”, has the effect of “almost expanding our perception” of the wearer. These are clothes as armor to create “a powerful moment for the model.”
