Oxford Fashion Studio’s second show hosted designs that ranged from sleek loungewear to grungy streetwear. However, what kept most of the independent designers unified was their dedication to innovation.
From the dim gray environment shone bright designs as models stepped to the beat clad in Doyeon Yoni Yu’s creations. Yu created C’est D. with the purpose of supporting body positivity and size inclusivity. Bodies of all shapes, sizes and colors strutted in vivid pastel blues and pink, accented by deep corals and violets. The designs repped classic collars and ruffles and were detailed with ribbons and buttons, but the looks were anything but traditional. On top of the modern cut of the clothing, Yu played with layering sheer tulle and thick fleece over the smooth satin, compelling the audience to take a closer look.
The beat of the music intensified into a harsh blare, signaling the shift to “Code 417,” Out-Of-Order’s mixed streetwear collection. Out-Of-Order played with slogans, printing words like “Guns Kill People” and “I’m Killin’ It” across the backs of the models. With navy, black, white and khaki tones accented with orange, Code 417 separates itself from the standard hoodie and sweats with a latex blazer and pant set, bucket hats and hygienic face masks — the most defining piece of the collection. The masks, along with the final piece — a female model with her breasts exposed yet censored with black tape — speak upon the ills of society.
Hip-hop beats transitioned into punk rock noise as women strutted the stage in latex and lace. Seeking to empower women, Dixon released her collection, “Boundaries,” to teach women to “embrace their inner vixen.” Contrasting tulle with leather and faux fur with metal gave off an edgy romantic narrative. The models strutted like metallic warriors, wearing cool tones of silver and cobalt blue. The deep plunges and modern cut-outs of the designs conveyed the message that femininity does not equate weakness. Like Out-Of-Order, Dixon’s final piece was an open-chested multi-layered obsidian dress of latex and dark floral. When Dixon came out with arm-in-arm with the last model, her bow was a move of solidarity with female empowerment.
Feminism doesn’t always have to be seen as aggressive, and Meg Beck proves strength in softness in her Autumn/Winter 2019 collection. Models walked barefoot clad in plaid and butterfly hair clips, and the sheer tulle overlays added an ethereal element. The deeper colors of charcoal and indigo were lifted by tones of lilac, and the cuts accentuated the physical form of the models’ bodies.
Designer Pheren Soepadhi constructed her creations for this collection like Rococo architecture, carving out cuts that are revealing and make the sheer lace designs seem inseparable from the model’s body. Masquerade mask-like accessories accentuated the pieces. Amid the almost galactical and battle-cry music, models stepped out in a multitude of sheer white, black and silver gowns that were reminiscent of royalty.
In Quaint’s collection, “Urban Media,” basics are back — but with no discernible twist. Classic colors of cream, black and beige reigned Quant’s color palette, and the initial asymmetrical designs accented with silk, sparkles and sequins seemed eye-catching. However, as the models walked to the mundane beat of a pop-alternative mix with the same messy Bardot look it became apparent that Quaint brought nothing new to the table. While Oxford Fashion Studio began politically and socially relevant, the final trite, mass-produced designs state that “black really isn’t the new black.”
Read more of WSN’s New York Fashion Week coverage here. Email Anna de la Rosa at [email protected]