New York Fashion Week: Simple, Safe, and Comforting?

Eight days.
Eighty designers.
Sixty-five-thousand square-foot tents.
Two hundred and thirty five million dollars in expected revenue for NYC.
It is New York Fashion Week 2008.

This past week the world's greatest fashion designers convened under the gauzy white tents at Bryant Park in New York City to share their ready-to-wear collections for fall 2008. As the country's most prominent celebrities, A-list fashionistas, and renowned editors dressed in their best attire they made their way into the enormous diaphanous tents and secret show locations where the next season of fashion would be unveiled. Although expectations were soaring as attendees took to their seats there was a sudden shock of reality as fashions sauntered down the runways. The entire story of New York fashion week seemed to read: "play it safe." While this tone of security might sound odd for an industry that relies entirely on transformation and new whims--the idea of familiarity was, in fact, appropriate. Considering the struggling economic backdrop New York provided for the collections, designer’s work seemed muted, conservative, and tightly stitched. “With some European fashion houses reporting a 22% increase in prices” paired with the sharp decline in consumer confidence and spending, this is surely not the time for designers or retailers to take fashion risks. So when the first outfit (see right) at Ralph Lauren’s fall 2008 show appeared on the runway—a plain, grays cashmere tank dress—the ensemble said it all. Nevertheless, fashion always manages to stitch in a few alterations.

With the juxtaposition of a wearisome economy and the blossoming of a new year, designers took to paring unlikely pieces and fabrics for their falls lines. Many can agree that most designers were aware of the dubious American market. Take for instance Alexander Wang’s “pretty-tough” girls in their ripped tights (see left) , lean chiffon blouses, and masculine oversize blazers—suggesting a robust yet abating confidence in familiar cuts and comfortable materials. Also, recent CDFA winner Derek Lam conveyed this same sense of concordance with controlled rigorous tailoring layered upon ivory floral sack dresses and black tulle sequined and feathered frocks. Lam describes this unfamiliar mixture as “controlled exuberance.”

Another common trend seen on the runways way the redefinition of classic pieces. When it comes to finding inspiration designers are usually all over the map. But at New York Fashion Week, our nation’s finest kept things pretty close to home. It seems that in a time of economic peril people everywhere are drawn to classic Americana styles because they project a carefree confidence. And so, designers like Michael Kors reached back to the ultra-conservative 1950s and 1960s by pillaging what looked like Jackie Kennedy’s wardrobe for sable coats over cashmere sweaters, delicate sheaths in lilac and olive floral, balmacaans, and camel suits with narrow skirts. Although the collection read a bit, dare I say—“retro,” overall Kors made his fall line seem approachable and not costumey. Donna Karen also adorned the runway with models draped in more conservatively classic pieces inspired by her famous “Seven Easy Pieces” collection that was meant to help women into the boardroom. Karen also focused on structured tailoring, which was represented by suits that paid close attention to the gentle female form. Case in point: a rose cashmere tweed cardigan jacket and a wrap skirt with forgiving curves (see right). Finally, perhaps the biggest risk of the season came from Marc Jacobs himself. The designer, known for his sexually infused collections, surprised his audience by showing a strangely conservative collection of “long, cocoon-shaped pastel coats,” full pants and draped velvet evening gowns—all unlikely choices for Jacobs. It seemed that the entire line maintained a traditionally classic American style concept while infusing a willfully sedate quality. Jacobs deemed his story for fall as “Calm. Glamour. Casual. Beautiful women.” Although this may sound vague, it certainly encapsulated his fall show as well as the indefinite tone his designs seemed to scream as they strolled quietly down the runway. Yet, beyond the archetypal feel to Jacobs’ fall collection and the unexpected soft pastel pallet, it was also clear that Jacobs employed very masculine cuts of the classic clothes. Nevertheless, the Jacobs’ mystique was evidently contagious, as this masculine trend seemed to touch upon the hottest collections at New York Fashion Week.

Finally, one of the most striking trends seen on the runway was the idea of "boy meets girl," where typically feminine cuts take on more masculine shapes and silhouettes. While most argue that Phillip Lim’s collection spoke to his growth and maturity as a designer it was also clear that Lim was presenting a matured femininity by accentuating typical cuts with more masculine touches. Amid Lim’s staple pieces such as mid-calf skirts and silk blouses with suede dusters, Lim proudly uncovered what he calls “the new power suit,” which is a black denim boyfriend blazer over fantastic matching wide leg pants. Presumably channeling his inner Donna Karen, Phillip Lim brought boyfriend to an entirely new level of chic. Like Lim, Calvin Klein’s Francisco Costa has also proven the beauty in masculine tailoring. True to his minimalist style, Costa set an austere mood from which the designer hardly deviated by sending models down the runway in boxy men’s jackets, asymmetrical pieces, and an excess of masculine coats and jackets. Beyond Jacobs’ and Lim’s masculine touches other traces of menswear were spotted all over the runways from socks and heels to mini-boy ties—it seems that menswear for women in back in a very serious way.

Overall, designers seemed to speak to the safety and assurance that fashion can offer with familiar styles, conservative shapes, and less than daunting materials for the fall season. And so, amidst the stark economic backdrop it seemed that designers accepted and appreciated what history offered by telling the story for fall’s fashions in a deceptively simple and simply beautiful way.