Read Cut fashion critic CathyHoryn’s review of NYFW thus far, from Fendi to Fforme:
is the Cut’s fashion critic–at–large. Before joining the Cut in 2015, she was the fashion critic at the New YorkPhoto-Illustration: by The Cut; Photos: Getty Images
Fendi gave New York a proper Friday night-Saturday morning, with police barricades outside the formerly seedy Hammerstein Ballroom on West 34th Street, supermodels and celebrities on the inside, and an after-party at Indochine. The show itself was the work of two designers, Fendi’s creative director Kim Jones and Marc Jacobs, who are also friends. When Jacobs held the top creative role at Louis Vuitton, Jones designed its men’s line for a time.
The fittings were all done in Rome, with the designers working largely together, and somehow, in spite of the obvious complexities of a project of this scale, a sense of spontaneity — winging it — came through. To be sure, a show in the creamy vastness of the Hammerstein was a major marketing vehicle for LVMH, which owns Fendi and Jacobs’ label, as well as Tiffany, which provided stones for at least one Baguette and of course, the familiar color of Evangelista’s cape.
That function of fashion hasn’t changed, though perhaps it’s harder to achieve, given the sheer volume of things competing with fashion and the general shift away from true design and toward entertainment. As the New York spring 2023 shows opened, a number of designers had decent collections, yet appeared to be struggling.
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