Left to right: Proenza Schouler, Elena Velez, Collina Strada Photo-Illustration: by The Cut; Photos: Courtesy of Proenza Schouler, Loft Creative Group, Collina Strada Twenty years ago, on the eve of what became 9/11, the New York shows were mostly held in tents in Bryant Park. The shows weren’t called Fashion Week then; they were just “the shows,” and those who attended knew each other, like members of a club. There were outliers.
Collina Strada. Photo: Courtesy of Collina Strada In Harlem, almost all the speakers commented on the rapid changes of the past year or two, the fact that more people of color are represented across the fashion industry. That diversity was also reflected in the huge turnout. Aside from fanning out across the city — thereby rejecting the notion of a central, cohering location — younger designers also want to acknowledge their roots.
This kind of attitude — determined, autonomous, maybe naïve — is the hallmark of this generation of fashion creators. And I hesitate to say if it sets them apart from their peers in Europe , but it certainly makes the world of 2001 seem very distant. Maryam Nassir Zadeh. Photo: Madison Voelkel / Courtesy of Maryam Nassir Zadeh What I love about Velez’s mostly deconstructed shapes, and pieces like a boiler suit coated in plaster and rigid, almost cardboard-like boots, is that they project a gutsiness that doesn’t feel New York or London, where she studied at Central Saint Martins . The aesthetic is coming from its own place — from the industrial Midwest. It’s so new and evolving that it’s hard to quantify.
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