WHATEVER idea Alexander Wang chooses to approach - from football to Wall Street - he does so without ever losing sight of his tough girl aesthetic. It's both restricting and absorbing to see him mould the world around him to his aesthetic whims. Presented in the round at his usual space, a hangar-sized pier west of midtown Manhattan's hustle, the stage was set with a labyrinth of mirrors, making it difficult to spot notables in the front row (though Terry Richardson and Courtney Love were seen milling about after the show).
The clothes certainly possessed the typical Wang-ian characteristics fans have come to know and love: a visceral forcefulness, contemporary appeal, a compact tautness, and an inherent confidence. Broken into sections, Wang opened with masculine utility bombers and vests made from mesh layered over vibrant polos with flattened collars in orange, blue, purple, and white - a clever way to soften the ubiquitous and the otherwise glaring hues. Next were parachute ensembles - bodysuits or shorts paired with vests with drawstring waists and inflated, voluminous pockets - some in a bleached, manipulated botanical print in blue and grey and others in monochromatic navy or brown. After came the body-skimming knit intarsia jackets and leggings adorned with garish chevron stripes ready-made for a fantasy-inducing motorcycle racer. Rumour in the crowd was that the collection was inspired by scuba, but no overt references to that were made.
Everything was executed with Wang's signature élan, and despite some missteps (the closing laser-cut jerseys seemed out of place and underdeveloped, there was a monotony in the silhouette), the show balanced editorial concepts and covetable commercial items nicely. Gigantic weekenders and soaring stiletto mules were a welcome addition to his expanding accessories empire and the designer incorporated the season's strong trends without ever compromising his singular vision, which, in itself, is a triumph.
SEE THE ALEXANDER WANG SHOW ARCHIVE