Cathy Horyn is the general fashion critic for The Cut. Before joining The Cut in 2015, she was a New York Times fashion critic (the second person to hold the title) from 1999 to 2014.
Photo-Illustration: El Corte. Photos: Filippo Fior; Selwyn Tungol; dan lecca
It has been drifting for some time. When he was at Gucci, Tom Ford owned the space he was showing in; you could say he owned milan in the late 90s and early 2000s. he was in complete control of the lighting, the look of the girls, and your attention. No one did better sex. When he took over designing for Yves Saint Laurent, he reproduced the Fordian scene: the low, plush armchairs, the glittering catwalk, the danceable rhythms.
But for the last few years (excluding the pandemic), Ford, which is based in Los Angeles, has shown up at a couple of different venues there and in New York. Last night she presented her spring 2023 collection (the one that closes New York Fashion Week) in an anonymous-looking room in one of those modern sugar cube buildings near the Freedom Tower. He recreated the scene, but somehow the magic wasn’t there. He showed off metallic blazers with embroidered satin briefs, rodeo-style flared shirts with tiny bras and ultra-short satin gym shorts, tracksuits and lightweight jackets in reflective pastels, and more lingerie with black leather jackets and boots.
Tom Ford.
Photo: Dan Lecca
A year ago, when Ford last showed up here, he also made glamorous streetwear, with the only material difference being that, on Wednesday night, he used far less fabric. Instead of the stretchy black cotton bras he sent out last September, he now had lace or cupless bras with just two open triangles of fabric. When established designers do something youthful and contemporary, and clothing that reveals sexual body parts is certainly a phenomenon, we tend to praise them for being hip.
However, it is also possible that Ford does not understand today’s world. There are boys all over New York City tonight and tomorrow night who may be so much sexier than him and who would cringe at her lilac satin shorts and pretty bras of his. Ford and his business partner Domenico De Sole, president of Tom Ford International, are said to be in talks to sell the company. Ford may want to spend the rest of his career doing other creative work, like continuing to make movies. If so, could he have chosen a more suitable song to close his show than “Time Waits for No One”, the Freddie Mercury version?
Willy Chavarria.
Photo: Selwyn Tungol
It’s been a strange and chaotic season in New York with most of the emotions away from the old establishment center. At the historic Marble Collegiate Church on Fifth Avenue, Willy Chavarria presented a show called Please Get Up, which was earnest in its elegance and playful in its procession of high-waisted suits—some sporting fat taffeta corsets—with billowing pants or wide and modern pants Shorts. The cut of the jackets was the thing. Naturally, there were also references to church robes. An hour later, the show featured a large cast of mostly Latino and Black models and drew a houseful of guests, including Madonna.
Michael Kors.
Photo: Filippo Fior/Gorunway.com
Michael Kors, also showing Wednesday, presented a sharp collection of glamorous minimalist suits in vivid white, red and camel (the colors of the Kors flag) with blazers thrown off the shoulders of silky blouses and bra tops and used. with silk. fringed skirts, metallic beaded sarongs or matching minis hung with belts tied through a large metal ring. What looked new were dark tailored jackets with fringed backs and woodcut-print shirtdresses with fringed hems. There seemed to be a nod to 1970s Halston with a red silk caftan and some of the streamlined knit styles, as well as belts, metal cuffs and tiny flask pendants. The belt was actually a duplicate of one Kors first made in the spring of 2002. But the combination of the three accessories brought to mind the original and enduring designs (the bone bracelet, the perfume bottle pendant). from Elsa Peretti, who worked with Halston. Even if the Kors versions were different, the Peretti label is too well known to simply ignore.
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