There is something alluring about timelessness.
For time flies, and to retain it is indeed difficult, if not mildly aspirational. But fashion is a medium in which time can be repeated and revisited. And a trio of designers at New York Fashion Week (NYFW) managed to embrace this facet at their Made by Milk womenswear presentations. All observed after a whimsical cocktail evening set up by Maybelline.
One of my favorites was Charles Youssef‘s Japanese and Zen garden inspired white, blue and shocking pink collection.
Literally the wardrobe colors that adorned my mom’s closets while I was growing up, these were simultaneously refreshing and calming to the eyes. With damsels perched on faux snow, it made for an ethereal visual.
I was instantly drawn to the shocking pink piece, a 70s style dress with pleats aplenty. With black silver gnarly threads on the collars and wide sleeves, it had attentive detailing which continued on one of the other pieces that was a more extravagant, night look. Not to mention, my inherent weakness for women in hot pink.
Whites were a theme too too, and made for effortless spring dresses, or transition weather clothing that could be worn beneath layers to reveal a nymph when indoors. Geometry was a key factor in Youssef’s collection, owing to his origami roots.
While the collection was predominantly solids with a few prints, one particular wide horizontal strip dress with contrasting colors, textures and accents caught my fancy. The wide lace sleeves of the 50s and 60s, the bodice hugging fit and consequential flare, and the whimsy of the model were the a striking combination.
With a focus on knitwear that was straightly cut, with stitched, sewn, printed and embossed triangles and squares, it was definitely a tribute to mathematics. The rebel high boots with a plethora of crisscross stitches ensured that this was a sexy-meets-global lineup. I spotted a few tribal prints, streetwear, and quite a bit of plaid. Turtlenecks and snoods were there too, ensuring functional warmth among the wide pinstriped blazers.
I later learned that Helene uses organic fabrics from nature. She focused on wearability and breathabilty and aspired to evoke confidence in her wearers. This showed in the comforting fits and breezy outfits, which could make it to many wardrobes in the upcoming season.
The models wore heavy MAC makeup, which blended beautifully with the shape-like collection.
The last of my elegant report spotted BabyGhost, a collection made of models in lace and black hues, in a faux graveyard with sequenced florets. The set was meant to bring back the vibe of Kate Moss in “The Craft”, which was the inspiration. And the expressions of the lucid, almost translucent eyed models, was perfect.
Designers Qiaoran Huang and Joshua Hupper utilized trends like rock-tees, logos, over sized sweaters, jewelry, trinkets, and worn style clothing to convey a sense of elegance. With lace skirts paired with boots, or juxtaposing cropped jackets with loose pants, the vibe was very much the chic heroine of yesteryears.
With the brand expanding in Europe, it was easy to see that the clothing was timeless and without cultural boundaries, as well as wearable day and night. While I would have personally preferred less black, the layers, textures, long jackets and over sized cardigans ensured enough variety to mix and match. All while retaining a sense of calm, almost ghostly silence, in its doe eyed models.
And thus concluded one segment of elegant damsels, captured by yours truly, and frequently by a certain Moschino Bear.