thinking about the future

we are in the year 2014 and that seems like so into the future. we thought we'd be in the Jetsons by now, maybe, and although we aren't whizzing around in flying cars, i think now definitely feels like the future.

i'm not so much a futurist as i am a modernist i think. i like to live in the now and think about now although i do think about now within the context of what's happened and what's to come. it's important to always do that, otherwise you get stuck in a weird place.

a group of friends and i have all written down our goals for the year in a communal list. it keeps them and our wishes alive. everything you write down is a spell and so we are just a cyber coven energizing our spells through and through. it's very powerful.


i've been obsessed with this image since zoe posted it early this year. she is one of my favorite internet people that i don't know IRL which seems weird at this point. i can't exactly describe what i mean when i say that this image is all that matters right now, that this image feels like the now and the future but it just does. i have it saved on my desktop and i keep coming back to it again and again and again.

i started writing this in early january and now it's late february. my concerns remain the same. fashion week just started. i used to get excited about it then i was over it and now i am excited about it again. mostly because now when i look through all the images i am making mental notes for things that i will be taking part of in the future and this is exciting. styling can be like christmas sometimes, like christmas when you were little and you see toys in the toys r' us catalog and then you see them in real life, under the tree and everything is better than you imagined. except you don't just get stuff under a tree you have to walk to the west side and pick them up yourself or wait til the wee hours for a messenger because they are running on a delay.

everything is always running on a delay! tell me something i don 't know.

in new york, everyone seemed to be thinking about the future. it occurred to me while i was looking through the pre-fall collections a few months ago that we've finally reached the point where we're beginning to dress like what we thought future people would dress back in the 50's or 60's.

they call that retro-futurism, but that's not really what's going on now, just a starting point.

i think it started all with celine, you know. rip all the artifice and embellishment from everything. leave only what's necessary. sleek shapes can be layered, muted colors even everyone out. we all know phoebe philo set the new pace, and everyone else noticed and then everything started sprouting from there. (well, not everyone, but i'd bet if karl at chanel had noticed, there wouldn't be cowboys and indians running amok in that runway, but that's neither here nor there). but the point is she took it back to zero and that is a great place to start.

derek lam, thakoon, alexandre herchcovitch, del pozo

minimalism is the ideal of future living so this evolution is natural, and while there are hints of the 90's, i think we are doing a new kind of minimalism that derives pleasure in textures and artful layering. you couldn't possibly take anything off before you left the house because the everything that you are wearing is essential. derek lam did a little showing, with sleek ribbed knits that weren't skin tight and a wrap-around the neck sweater that was not in the slightest 80's preppy. against my better judgment i have come around to dresses over pants situations, mostly by default because i have been so into oversized dressing lately. is that a skirt or a longer layer underneath the top? i don't care either way, i've found. thakoon went for the stronger colors and a little bit of print, but the subtle drapes and pleats in the slim dresses seemed to say more than the fire print. the turtleneck/scarf thing with one arm home is at the height of simple accessories, even if it takes so many words to describe it. at the end of the day, it's all very throw it on and go. alexandre herchcovitch went there too, and even if his interpretation was was feminine, there was nothing saccharine about it. a boredom with the current cold temperatures has forced to start experimenting with layers and so i fully support frilly fitted trousers worn under cropped wide ones. haphazard layering always screams apocalypse! even if done in very delicate lace or eyelet. it's all about protection, changing environments, exploring. especially when worn with sturdy shoes for unknown terrains. are we all ready for a mass exodus for mars come september? (it's the ghost of global warming). even at del pozo, beneath all the fantasy layers, there was still a sense of the every day. the pink oversized patent leather(?) vest that was paired with slate trousers and a tight-fitting black top had all the makings of armor. i can't imagine stepping out into the street in it and feeling anything but safe. (mostly because the avant scares people, but you know what i mean)

the row, organic by john patrick, zero + maria cornejo, edun

there were urban explorers at the row, whose chunky layers were borderline ridiculous, but i've never been one to shun anyone for oversized ridiculousness, especially when it comes from an olsen because let's all admit their nyu oversized-hiding-under-clothes days were perfect on a million levels. at organic by john patrick, the inspiration was straight up moon exploring, so there's no surprise there were touches of silver and grey, but it was their white turtleneck layered under a sheer sweatshirt that really made me weak at the knees. maria cornejo was also thinking exploration at zero, and although hers took place here on earth (chile, to be exact), there were hints of space-age exploration everywhere, especially since she's always been so good at thinking in practical layers and action-ready fabrics. at edun, new designer danielle sherman made me die a little for the second season in a row with her stretched out knits and velvet pairings. it's got a hint of gwen doing her wide pant/adidas thing, and well, i will always, always, fall for a gwen moment.

proenza schouler, prabal gurung, calvin klein, marc by marc jacobs

even the more luxe people were thinking practical. jack and lazaro at proenza schouler are still on the balenciaga binge, and who can blame them, shit's mad-alluring, but with those cozy leg o' mutton sleeves were two-tone oxford shoes ready to hit the road. their nubby tweeds recalled both marbled composition notebooks and maybe the universe if you can imagine everything that is black with specks of color of it as being the universe, which i often do. prabal, too, threw a big overcoat over a turtleneck and skirt, in off-key shades of grey and wine and hunter green that were not exactly "forgotten" colors, but they didn't feel shiny and new either. even with the skirt cut up to there and the heels, his woman can still knock you out and knock down a few others. even francisco costa at calvin klein turned off an unexpected road and came back with earthy clothes in open knits and colors that will surely be called moss and wet earth. the oversized sweater with bell sleeves worn with matching-but-not-matching knit trousers was probably the best look in the collection. anchored by knee-high combat boots, that recalled daria and jane, and will no doubt inspire countless revolution spreads (paired with pieces from luella bartley at marc by marc, the revolution jacket, in particular).

marc jacobs

it was at marc jacobs where everything came together except he turned them into a story. the first looks were reminiscent of one of my favorite calvin klein dresses ever from spring 96', but everything after that felt way more disco. disco has died so many times i know, but this felt different. there was no shine there was no glory there were no sky high platforms there was no cocaine. it still felt through to all the things i'd already seen during the week, minimal layering, the head-to-toe-knits, a sense of wrapping yourself under long layers, big layers for protection. except suddenly after you have found protection you need to figure out a way to keep on living and you turn to dance (because if human movies have taught us anything, it is that dancing is freedom). and there was a definite sense of freedom imbued in these clothes. perhaps it's there by osmosis, after all, marc is no longer doing vuitton in paris and he gave reigns of marc by marc to luella bartley. marc has survived it all and he's ready to have fun now. real fun.

...and i think i do too.

 come on 2014, show me what you've got.

1 comment:

Joy Agnes said...

You are such a talented writer <3