The gold buckles were lifted from the spring 2002 collection he showed in the wake of 9/11. Kors wasn’t just riffing on his 1970s icons, he was also quoting himself-he is an essential part of the American fashion lexicon. The décolletage was the erogenous zone, braless naturally, though the legs got plenty of play with all the fringed pareos. The button-down, once the traditional accompaniment for a suit, was excised from the equation almost entirely, and the few times it did appear it was undone to the navel. An elongated blazer topped a bandeau and sarong, and maillots were paired with fluid pleated trousers. ![]() Halston, Burrows, and Rudi Gernreich, it was about freeing the body, all in different ways.” Kors was up to something similar here, combining the chic urban tailoring he’s known for with the relaxed, yet hedonistic spirit of resort wear. Fashion is a mirror of the time, so it makes sense that the body has come into such sharp focus on the runways.Īt a showroom preview, Kors was talking about the hallmarks of good American design: movement and sensuality. We’re fighting for control of our bodies. Wade, the fight for women’s rights has become more urgent. There’s a link between those eras, which covered the second and third waves of feminism, and now. ![]() Other designers have been looking to ’90s minimalism. At Michael Kors, they’re evocative of the 1970s, when Lauren Hutton and Naomi Sims appeared on the covers of magazines and Halston (dresses and the man himself) ruled the Studio 54 dance floor. Sexy, streamlined clothes are trending at New York Fashion Week.
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