Spring/Summer 2018 Fashion Week Part 1: New York and London
Summer’s barely gone, autumn hardly begun, but in the fashion world, it’s Spring 2018. Take a peek at the styles you’ll be yearning for once those winter months truly set in.
Spring sees a continuation of key fall trends, including utilitarian uniforms and Studio 54 sequins. Monochrome remains the color scheme, neutrals become pastels and saturated colors resembling Starburst wrappers command attention at Tom Ford and Marc Jacobs.
Nostalgic love of country endures at Adam Selman with home on the range gingham, (not to mention feathers, another favorite of fall). Fernando Garcia and Laura Kim put on a pep rally at Monse, arguably similar to last season’s collection for Calvin Klein. Varsity sweaters, jock track suits, and rah-rah fringe take shape in stars and stripes textiles that would make Betsy Ross proud. However, Raf Simmons’ sophomore collection for Calvin Klein, transgresses Americana, becoming American Psycho. Blood stained textiles clash with nurse-white skirts and true blue splatter proof ponchos. Whether clinical or cutesy, the anorak replaces fall’s double-breasted trench coat as the staple jacket.
Romantic country frocks persist. Fall hearkened 19th Century American silhouettes, spring takes a trip across the pond. Erdem channels Queen Elizabeth (I & II) with brocade gowns and shoulder accentuating cuts. Charmeuse draped Victorian sleeves are the clear front-runner for the season, appearing at Christopher Kane, Roksanda, Carolina Herrera, and Christian Siriano.
What’s new? Post-suffragette menswear tailoring reverts to classical femininity. Shedding figure dysmorphic styles, the female form is revealed through peek-a-boo cutouts, draping, and dynamic pleats. The Kardashians won’t be the only ones exposing confident cleavage in bra tops this season. Art world favorites are paid homage across a myriad of collections. At Coach, Keith Haring lends not only his signature figures, but also his visage, to graphic tees and bomber jackets. Calvin Klein utilizes Andy Warhol’s knife prints. And Oscar de la Renta gives Jackson Pollock’s trademark splatters the minimalist treatment against white lab coats.