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Ever since the Covid-19 lockdowns lifted in 2021, when people began to emerge from social isolation and the fashion system started to work again, we\u2019ve been asking the same question: What do we wear? The world was different; we were different. Staring into your closet was like staring into a foreign land.<\/p>\n
First, the answer was continuity: comfort clothes, elastic waists, sneakers, leggings. Then there were predictions that the Roaring \u201920s would return in all their glittering, befeathered glamour. Then that started to seem premature, because \u2026 well, the war in Ukraine. And it turned out that Covid wasn\u2019t exactly over. Then everyone threw up their hands and said, \u201cIt\u2019s a mess!\u201d<\/p>\n
So was fashion, and that\u2019s pretty much where things stood.<\/p>\n
But as the New York shows drew to a close this week, a different answer emerged: a hybrid look for a hybrid world. A style that isn\u2019t armored or swaddled, decorative or in denial, but instead connects pragmatism to polish, building a bridge that is also enabling. In a good way. Imagine a world where you could have your structure and freedom too.<\/p>\n<\/div>\n<\/div>\n
It\u2019s one where the sleeves of a no-nonsense suit jacket might be sliced open (free the forearm!), and the jacket then worn over an elaborately ruched jersey minidress, like a little amethyst cloud, as at Tory Burch \u2014 who has finally fully escaped her dependence on Lee Radziwill to lead the way (fast, in flat shoes and maybe that dress with flying saucer hems) toward whatever is coming next.<\/p>\n<\/div>\n<\/div>\n
\u201cIt was time for a new direction,\u201d Joseph Altuzarra said before a show that traded his usual executive shibori silhouette for one that had come slightly undone. Sheer slip skirts came pre-crinkled via metallic thread, bra tops peeked out from under trapeze coats, and cotton dresses slipped off the shoulders to show the straps beneath. The idea was right, but his new direction looked a lot like Prada\u2019s old direction, which was a problem.<\/p>\n<\/div>\n<\/div>\n
Michael Kors said it a different way: \u201cNo one needs more tight melton pencil skirts.\u201d Hard to argue with that. Instead he offered a collection that was heavy on the light \u2014 Empire-waist dresses with leotard tops and airy skirts caught with tough leather belts at the breast; Jane Birkin-era lace caftans \u2014 without being flimsy. In fact, \u201clight\u201d might have been the mantra of the week. Brandon Maxwell ended his show with an elegant black gown caught up on one shoulder with a metallic knot, the skirt featuring a dove in midflight.<\/p>\n<\/div>\n<\/div>\n
At Gabriela Hearst, there was lightness in the chiffon inserts hidden between the pleats of an otherwise no-nonsense cotton trench and in the tiny glass beads handwoven into a crocheted fishnet dress. Lightness at Carolina Herrera, in a straight sequined skirt sliced up the back and paired with a black shirt, and in a lemon yellow skirt constructed from four layers of tulle but no crinolines.<\/p>\n<\/div>\n<\/div>\n
\u201cI found myself at fittings taking off a ruffle or eliminating a seam,\u201d Wes Gordon, the creative director of Herrera, said before the show, the goal being what he called \u201cminimalism with soul\u201d (minimalism being a relative term in the Herrera world). Which is a fairly good explanation of where this may be going and why it\u2019s appealing. Also, perhaps, why there are so many echoes of the \u201990s around, like sonar pings from a distant land.<\/p>\n
\u201cSoul\u201d is one of those terms that can sound hokey when it comes to clothing \u2014 clothes do not have souls, duh \u2014 but actually means the way garments can serve as wormholes to memories that are the building blocks of a life, so wearing them becomes a choice filled with meaning.<\/p>\n<\/div>\n<\/div>\n
That\u2019s what makes Raul Lopez\u2019s work at Luar \u2014 a chaotic mix of raised-shoulder tension, suits rent open at the thighs and after-dark slink caught between communities \u2014 so resonant. It\u2019s what powers the patched-together mix of shredded denim and sequins, lace and frayed suiting of Ev Bravado and Tela D\u2019Amore at Who Decides War. And it\u2019s what complicates the narrative at Elena Velez, who set up a mud pit in Brooklyn the better to illustrate a didactic manifesto about \u201cantiheroines\u201d and the need for \u201cresistance to a monolithic cultural paradigm.\u201d<\/p>\n<\/div>\n<\/div>\n
That translated into a primal scream of a collection in rough-cut toiles, so the seams of a trench and a corseted minidress bristled outward, as if the clothes themselves were raising their hackles. (Ms. Velez has been yelling into the void for a while now, sometimes about the hands that would feed her.) At the end the show predictably deteriorated into a wrestling match, dragging everyone down into the swamp. It wasn\u2019t necessary. Nor was the silly proclamation.<\/p>\n
Ms. Velez\u2019s point had already been made as effectively as possible by a single accessory: a stiletto shoe, the spike heel jammed into the sole of a Nike slide (Nike having sponsored the show), forcing the woman who wore it to watch each step she took, casting her progression in terror.<\/p>\n
Yet under all the mud, progress was there. So was a really great bomber jacket.<\/p>\n
Still, no designer did more to crystallize the way forward than Willy Chavarria, whose genderless suiting deserves to redefine New York fashion. It doesn\u2019t just break boundaries between cultural traditions, the street and the skyscraper, and old stereotypes of who can wear what when. It erases them completely.<\/p>\n<\/div>\n<\/div>\n
See jackets with sharp shoulders and widened, jutting lapels; waists nipped in by a single button and paired with pleated trousers cut like the swishiest skirt; see sweeping overcoats adorned with an explosive crimson rose. See tuxedos where the culottes are actually basketball shorts; choirboy collars as stiff and soaring as those of a high court judge; hammered bronze and silver sequins matched with sweats or T-shirts; and the most dramatic taffeta opera cloaks over ratty old tighty whities.<\/p>\n
The result is both a grand gesture and an easy one. A sweatshirt came with the slogan \u201cGrupo Nuevo Vision por Vida,\u201d or \u201cNew Group Vision for Life.\u201d Mr. Chavarria actually offered one. At this point, who doesn\u2019t need that?<\/p>\n<\/div>\n<\/div>\n