A little after 3 p.m. on Wednesday afternoon, a crowd found their way to Great Jones Alley, a few blocks north of SoHo’s onetime renegade art scene, forrunway show. Industry types and faithful fans of the designer took their places on slim benches, in defiance of the heat wave hanging low over the city. A phalanx of photographers gathered at the far end, where Comey’s young daughter and her friend claimed impromptu spots beneath the lenses.
To create some of the textiles, Comey drew from artwork and ephemera in Jonas’s archives. Makeup artist Romy Soleimani also took inspiration from an early video piece for the asymmetrical eye designs.Two blocks south, at a loft space on Broadway serving as backstage, the same rang true for the collection, where Comey signatures—soft tailoring, denim in unexpected silhouettes, airy dresses designed to catch a merciful breeze—set the framework, with Jonas supplying poetic inspiration.
Some of the resulting nods to Jonas’s career are evident in the clothes—such as a poster for the 1976 installation,here translated into a textured minidress. Other references are more oblique. Stills from 1989’smigrated onto fabric. Comey gestured to a nearby model wearing a blazer and maxi skirt over a plunging yellow tank. “It’s a swimsuit, actually,” the designer said, explaining that its print takes after one of Jonas’s pieces. “She loves the water. She’s very connected to nature.
Two monochromatic looks felt at home in the downtown setting, accompanied by teased and crimped hair by Rutger van der Heide. An all-white moment echoed what Jonas wore in early works like 1976’s
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