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McCardell’s clothesfor the market, rather than the museum, were already roomy, simple, anddesigned for activity, ranging from playsuits to denim, with bigpockets, wide skirts, and wrapped tops. Her models wore flats.Newspapers called it the “American look.” O’Keeffe’s McCardells, whichhave full skirts and belts, and little bows at the neck, were purchasedfrom department stores such as Saks Fifth Avenue and Bergdorf Goodman.They are more formal to our eye than เสื้อ คู่ ขายส่ง Marimekko’s paper-doll shapes, butaimed for the same modern woman a decade earlier. If O’Keeffe liked adress she had it copied, making her own intellectual’s uniform beforeshe could buy the Marimekkos. This happens to be an excellent moment for New Yorkers to gaze uponclothing that, as Rudofsky advocated, embraces squares, triangles, andcircles rather than some idealized human form. O’Keeffe’s clothes at theBrooklyn Museum, mostly confined to a palette of white and black, standout from the gallery’s white walls like silhouettes. In one compellingjuxtaposition, the deep V of earth against sky in the painter’sPolaroids of Glen Canyon abut a full-skirted 1954 Emilio Pucci dress,whose pieced black side panels create an almost identical cleft down thecenter of the body. At the Metropolitan Museum of Art, the retrospective of the work ofJapanese designer Rei Kawakubo, “ Rei Kawakubo/Comme des Garçons: Art ofthe In-Between ,” features all manner of bulging silhouettes, some seemingly inspired by the same cinching corsets, huge sleeves, and lumpy bustles thatRudofsky’s show treated as curiosities. Kawakubo’s clothing for Commedes Garçons also underlines the artifice of women’s fashion through theages. It is also rather wonderfully housed in a sort of ghost villagethat would, transposed into a dense urban environment, make an excellentmarketplace. The most Marimekko-like creation by Kawakubo, from Autumn/Winter 2012–13 , layers a pink dress over a blue one, so the wearer seems to be preparedto carry another woman on her back—or is it a child on her front? Thesilhouette of both dresses is pure nineteen-sixties: A-line skirts, widesleeves, no waist, brilliant dumb color, made in thick felt rather thanstiff cotton.
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Inside a multistory parking lot, the casual “no-show” featured poster-size photographs of Zurich locals wearing the new collection — all shot by Demna Gvasalia. Guests who attended the event drank free beer while the Berlin-based Love Hotel Band performed onstage. The Comme des Garçons Homme Plus show was pure fun. Under flashing club lights, models dressed in patchwork jackets, sequined shorts and animal-print knits whirled across the stage in a frenzy of pattern and color. The show concluded with all the models crowding the stage, dancing to the pulsating music. (Though front-row guests were even encouraged to join the dance floor, everyone remained seated.) The thrilling and high-energy sight left the attendees in a euphoric shock, garnering the longest and loudest postshow applause in recent fashion-week memory. From left: Thom Browne; Dries van Noten.CreditFrom left: Francois Guillot/AFP/ Getty Images, Bertrand Guay/AFP/Getty Images 9) Men’s and Women’s Wear Got Thoroughly Mashed Up Fashion’s embrace of gender-fluid dressing felt ever more relevant this season after the recent news story of British schoolboys wearing plaid skirts in protest of a dress-code policy forbidding shorts. At Thome Browne , models wore pleated skirts in classic men’s wear fabrics and lengthy untucked shirts that mimicked dresses. The final look was a hybrid of a traditional tuxedo with its female counterpart in the back: a full-skirted white lace wedding gown.
For the original version including any supplementary images or video, visit https://www.nytimes.com/2017/06/28/t-magazine/fashion/top-10-moments-mens-fashion-week-spring-2018.html
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