Julia Fox and the Ultimate Revenge Dress

Celebrities showing up at a fashion show isn’t exactly an unusual thing these days, when Biden’s grandchildren are showing up for Markar...


Celebrities showing up at a fashion show isn’t exactly an unusual thing these days, when Biden’s grandchildren are showing up for Markarian and various “Euphoria” cast members appear all over the place. The nature of the celebrity-fashion relationship is an open secret. But even by this cynical measure, LaQuan Smith’s show opening model, held at 9 p.m. on Valentine’s Day, caused something of a mess.

Enter Julia Fox, fresh from her breakup with Kanye West, strutting in a form-fitting black turtleneck tube with a troika of large cutouts around the bust, a cleverly placed T-shaped strip of fabric drawing the eye in all sort of suggestive directions, her hair pulled back into a tight little bun, a swish in her hips, and “hey buster, look what you’re missing” written all over her face. (Mr. Smith has known her since he was in high school, a spokeswoman said, and he thought she would be the perfect woman to represent the spirit of the collection.)

He took the concept of the Revenge Dress and elevated it. And offered a pretty good example of the practical application of what might seem the least practical fad.

Mr. Smith can cut an average moto jacket and a smooth shearling coat, but he’s a specialist in the vernacular of trash and flash: the legs, covered in sequins; curves, barely contained; bling, shameless signage. It’s easy to dismiss, but as Ms. Fox demonstrated, it has its uses.

It also gave a bit of life to what was particularly understated fashion week.

The exuberance that pervaded last season, fueled by a palpable sense of the rise of the city and fashion’s role in it, has dissipated. Mayor Eric Adams, one of the great political racks and someone who presumably cares a great deal about the success of one of New York’s greatest industries, is otherwise busy. Instead of looking outward, many designers seem to be looking inward.

At best, it creates a sense of intimacy, as with Maryam Nassir Zadeh, who enjoys layering sartorial tropes in odd combinations, like a schoolgirl sweater over a leather skirt over sheer pants, and whose shows often resemble at a family gathering of initiates. This time, writer Ottessa Moshfegh (who provided short story for the Proenza Schouler show earlier in the week and is starting to become something of a fashion muse) walked the runway in a knee-length gray secretary skirt and a black leather scarf, while designers Mike Eckhaus and Zoe Latta of Eckhaus Latta applauded the audience. (Ms. Zadeh appeared on their show on Saturday.)

But when Tory Burch staged his show in a glass-walled tower in Midtown, apparently all of New York City lit up and sprawled below, including a fluorescent sign atop a nearby building that read in neon. bright red “New Yorker (hearts) Tory,” it was the rare — and helpful — reminder of the outside world.

And that gave her clothes, which are getting more and more interesting with their hints of mid-century chic and 1970s shades, their color-block geometry (a beaded T-shirt in red and blue over a turtleneck skinny turquoise with black arms, paired with a Lurex marigold skirt and bisected by a black leather belt) an anchor in the power structure in which they are meant to be worn.

This was missing at the Carolina Herrera show, staged in a distorted white box, in which designer Wes Gordon showed off his rainbow parade of floor-length skirted entrance dresses and beaded jumpsuits; cocktail dresses in tulle-topiary and floral sheaths; a black-tie bouquet of gala-seeking prettiness.

And it was missing in Coach, where Stuart Vevers built a “city somewhere in America” ​​according to the “neighborhood bulletin” left on every seat. “A city where it’s always the golden hour”, he said, “love is in the air” and “everything is possible”.

Sounds good, though in reality it was more like a town in some sort of haunted suburb, represented as it was by three lonely plywood houses, a parked car, and a basketball hoop in the driveway – and populated by a populace dressed almost entirely to relive grunge, in thick Scottish sheepskin, graphic tees, corduroy, baby-doll dresses and graffiti-splattered clothing. Dressed, in other words, in the old uniform of alienated and anguished youth, meant here to represent rose-tinted nostalgia and hope.

It made no sense. The 90s is one of the big trends right now, in part because the vague floating anxiety of that era feels awfully familiar at this time. Mr. Vevers understood the first part perfectly, but seems to have missed the second. This left a big gap between clothing and content. And all the celebrities (Megan Thee Stallion among them) and TikTokers in the audience couldn’t fill it.

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Newsrust - US Top News: Julia Fox and the Ultimate Revenge Dress
Julia Fox and the Ultimate Revenge Dress
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