It's an unavoidable consequence that we cast our eyes over industry heavy hitters while we ramp up for fashion month. I was guilty of this last year amid Alessandro's power plays at Gucci, while he delivered what many would consider one of the more challenging perspectives of runway in some time. There are still many that are appropriately risk averse to something akin to a bell-bottom, but he has toed that line well. So while Gucci continues to draw laudable fanfare in busting out that gutsy seventies affair we all can't seem to shake, Wingate's narrative for spring is a welcome aside to all that that storied house laid before us. If Gucci's ethos is coup de foudre, Escada stands like a gentle giant: considered and subdued, but absolutely dripping with sex.






Wingate recalls central Africa as the entry point of this season. Some boozy off-shoulder riffs of gypsy tops and tunic-esque dresses, drawn up in flattened olive greens and cyan, seemed quite tame for the wild. As expected, the tenets described earlier seemed to shift as the presentation drew on. For all twenty odd looks, each was supported by identical jetty black footwear. There is power in uniformity, after all.

The flatness of the colors takes precedence here, though it should be noted that it's a signal that points positively, not otherwise. Some species of belted, knee length trenchs and a roman striped shift dress shown midway abstracted any idea of conformity. It's widely regarded that the seventies was an era of 'anti-fashion', a place in time where no one theme prevailed upon the other. Perhaps that's the tipping point in the brand's composition - a deformalization of old world standbys in the feminine form. A black jumpsuit immediately following the show's opener helped to make this idea easier to digest. With no rules at play, Escada is making the game that much better.
*all images courtesy of Vogue.com and Escada*


The above referenced title is a very obvious (and kitschy) jab at Esco and Future's latest compilation (*note*Project E.T. is, all points considered, a stunted but highly enjoyable release). Any strong assumptions of me actually going knee-deep into disc jockey-isms are partially true - if one were to exchange turntables and Ableton macros for Adobe Lightroom and VSCO's Film preset functionalities. Art and music are intertwined commodities, after all.

I think I went a lil' heavy on the Kodak and process filters, but the images below are indeed a testament to the freshness of films old-world sentimentality. The renders at the top are original, underexposed shots taken straight from my D2X. The ones immediately beneath it are the post-processed edits. 






I'm changing tack. While my show reviews from this season are in final edits, I have unedited content not yet uploaded on my IG that's worth sharing. 







That Matthew Miller review that I teased earlier last month is very close to dropping.
Keep it locked  ^_^