New York Spring 2007: “Addressing the Season”

- by Marilyn Kirschner -

Malandrino Spring 2007 Collection

Past articles:

Fall/Winter 2006 Report
Spring/Summer 2006 Report
Bernadine Morris "Ten Best Looks" of the Spring 2006 Season
Fall/Winter 2005 Report
Bernadine Morris's "10 Best Looks" of the Fall 2005 Season
Sprijng/Summer 2005 Report
Bernadine Morris's "10 Best Looks" of the Spring 2005 Season

Fall/Winter 2004 Report
Bernadine Morris's "10 Best Looks" of the Fall 2004 Season
Spring/Summer 2004 Report
Bernadine Morris's "10 Best Looks" of the Spring 2004 Season

Fall/Winter 2003 Report
Spring/Summer 2003 Report

Please note: numbers in ( ) in the text below are links to photos. All photos are by Randy Brooke. This article is best viewed with browser set to "full screen".

If ever there was a season that made me feel like I was in the movie, “Groundhog Day”, (you know, waking up each morning and seeing the same exact scenario play out over and over again)…it was this one.

I’m not saying there weren’t any highly appealing clothes, and even some highlights and great moments scattered throughout New York Fashion Week for spring 2007, but much of it was akin to “déjà vu all over again” in its repetitiveness (there was so much ‘non color’ in the way of white, ivory, tan, beige, sand, and khaki, that periodic jolts of yellow, fuchsia, and red were even more welcome); rehash of different decades (especially the 80’s); the obvious re-visitation of the archives of influential designers (both past and present) including Helmut Lang, Poiret, Balenciaga, Mme. Gres, Marni, Miuccia Prada, Elsa Schiaparelli, and As Four; and endless reinterpretations of perennial favorites and classics.

Even Marc Jacobs unapologetically revisited the 80’s (and Michael Jackson’s closets) what with all the metallic leathers, hologram sequins, and dolman sleeved bombers and blousons. Though in Marc’s case, the end result was, well, a “Thriller” because of the designer’s romantic, airborne translation, wonderfully creative mixes, and always stellar accessories (yes, he has reworked his best selling bold gold- chain handled bags in a myriad of incarnations). Of course we know there is nothing really ‘new’ under the sun (hasn’t it all been done before?) so barring the introduction of a brand new cut or fabric, it’s important that designers at least give us a new, fresh take, and relevant interpretation of past themes.

Perhaps that is also why, in a sea of commercial (or sometimes not so commercial) sameness, the young Mulleavy sisters’ unspoiled, un-filtered, beautiful and dreamy couture vision, stood out. As did the inherently modern, architectural consistency found in both Ralph Rucci’s technical mastery, and Yeohlee’s spare, well thought out, intelligent designs that keep urban life in mind and illustrate the unbeatable combination of form and function.

But perhaps even more importantly, in what seemed to be a true case of life imitating art (or is it the other way around), the vast majority of show attendees who crowded the Bryant Park Tents and assorted venues for New York Fashion Week, were already mimicking many of the very same ‘trends’ and ideas that were coming down the runway.