Highsnobiety is on the ground at the world’s fashion capitals, bringing you up-to-date reporting on the latest shows and events from the SS17 fashion weeks.
To save you the hassle of checking countless different collection reports, we’re bringing you all the most important happenings in one easy-to-digest daily roundup.
Here’s everything you need to know from Day 3 of New York Fashion Week: Men’s SS17. Check out Day 2’s action here.
John Elliott Walks on Water
The third day of this week’s fashion fair was inaugurated by LA-based designer John Elliott, whose SS17 show brought out some of the more recognizable faces I’ve seen so far, including Pusha T and Virgil Abloh (guess they came on behalf of their homie ‘Ye, a known fan of the designer). Last season, Elliott stepped into a deep black vortex with a moody collection inspired by the notorious Berlin techno club, Berghain, but for SS17, the designer took a much lighter approach – the “comedown” follow-up to FW16’s drug-fueled gothy narrative.
Dubbed Watching Water, the catwalk was transformed into a mirrored pool while projections of waterfalls swirled at the front of the stage. The soundtrack, which was created in collaboration with Boiler Room and DJ Lee Bannon, boomed sounds of abrasive ambient music that swallowed up faint R&B vocals. The show’s watery theme was translated into the collection through an array of translucent tees, shimmery silk bombers, waterproof linen, mesh lining, terrycloth Moroccan towels that draped over models’ shoulders and a spectrum of greens, blues and metallics.
This season also introduced some new accessories, including eyewear, belts, bags and vintage Nike “aqua socks,” which according to Elliott, “haven’t been produced since the 1990’s.” On the technical side of things, Elliott experimented with a new cutting method called needle punch, which contributed to the ethereal quality of the more liquid-like pieces.
It’s interesting to see designers step out their comfort zones, and for Elliott, a designer mainly recognized for his pared-back color palette and washed cotton jerseys, the experiment certainly worked in his favor.
Rochambeau Goes #Geniecore
Rochambeau’s SS17 collection was inspired by “creatives in exile,” using Sergei Parajanov’s 1969 avant-garde Soviet film, The Color of Pomegranates, as a specific point of reference. Drawing from the film’s ornate cinematography and baroque costume design, the line included an eclectic mix of luxe-lounge streetwear looks with a swath of continental influences – Moroccan mosaic patterns printed on flowing button-ups and track shorts, genie caps, turbans and camel graphics emblazoned on elongated tees and silky blousons. The collection also saw a collaboration with Nike, who debuted its Chapuka sneaker exclusively on Rochambeau’s runway.
Overall, nothing really to write home about, as the collection came across as a bit misguided and underwhelming – like a magic carpet ride looking to discover a whole new world, but not quite finding it in the end.
Don’t agree with me? Well then maybe you should read what Lil Durk thought.
Feng Chen Wang Goes HAM With Deconstruction
London by way of Shanghai designer Feng Chen Wang first came on our radar near a year ago at VFILES’ SS16 show during New York Fashion Week. The designer’s debut presentation (which actually featured her MA thesis collection while she was still attending the Royal College of Art) left a salient impression with its cumulus-sized silhouettes, gratuitous zipper embellishments and hi-tech fabrics. Fast forward to the present, and the designer shows no sign of slowing down; Wang was recently invited to showcase her SS17 creations at LCM’s MAN show.
Though she first revealed the collection in London, the designer felt it appropriate to give New Yorkers an intimate viewing at the place that singlehandedly launched her career: VFILES’ brick and mortar retail space in SoHo.
The collection’s press release stated that SS17 was an exploration of the various ways in which people meet and interact with one another in the digital age. To be honest, I’m still having trouble gathering what Wang meant by this after being up close and personal with the clothes, but they were still pretty sick nonetheless.
Upholding her penchant for tech cloth and experimental cuts, garments were deconstructed then repaired via webs of tangled cables that could be either tightened or loosened, manipulating the pieces’ silhouettes in the process. 3D fabric letters spelling out the words “YOU” and “WE” were emblazoned on chests and sleeves throughout, while tonal pops of frothy grey, sterile white, fiery amber and crisp navy gave a futuristic, Aeon Flux vibe.
Like conceptual heavyweights Craig Green and Aitor Throup, Wang’s designs are really on another level. Definitely one to watch in the seasons to come.
The views and opinions expressed in this piece are those of the author, and do not necessarily reflect the position of Highsnobiety as a whole.