The New York Times Tie Dye Fashion
The Crazy Quilt of Fall
A recent post on Pinterest highlights the prototype of a lanky young woman jubilant the Burning Man festival dressed in a spangled bandeau tiptop and shorts. Her zany striped hose are yanked upward by her knees; a collection of manus-tooled argent bracelets snakes up both artillery, and the turbanlike affair coiled around her head is fringed in a mass of cornrow braids.
Vera M., who posted that image, accompanies it with a playfully brazen fashion tip. "Take LSD," she urges, "and so get dressed while tripping. put everything yous bought on. every bracelet, every accessory. layer and layer it. forget that you are freezing cold in this silly outfit. put a fur glaze on over it."
Had the desert heat or some substance-fueled vision colored her musings? Not so much, information technology seems. Ms. M.'due south exotically tinged notion of festival style is of a piece, in spirit at least, with the collective vision of an influential coterie of designers whose fall collections are a bazaar-way synthesis of patterns and weaves, chimera-wrap-like techno knits, tassels, fringe and tribal motifs — a mix suggesting nil so much as an ultrahip, modern-day wayfarer.
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Subtle and worldly at the same fourth dimension, mode'due south aesthetic mash-up was reflected on the runways by designers like Dries Van Noten, who paraded a panoply of optic pieces mixed with Nordic sweaters and psychedelic florals; Kenzo, where zigzag designs mingled showily with abstract patterns that conjured a vibrant coral reef; or Alexander Wang, who played vaguely tribal geometrics against bubble-textured knits — to proper noun merely a scattering whose inventive imaginings have threaded their way into an eye-popping, and alluringly tactile, fall tapestry.
Ken Downing, the fashion director of Neiman Marcus, characterized this new global mix as the antithesis of cookie-cutter design, a crazy quilt of textures, layers and shapes that he said "point more to a kind of multicultural melding than just a fashion trend." The fashion equivalent of fusion cuisine, admitting a bit rowdier, it is, he said, "the about of import message of the runways for fall."
Anarchic though it sometimes seems, the new global fusion is in melody with a currently modish anti-fashion attitude that makes hash of the rise and fall of hemlines, and revels in transcending conventional boundaries of time and place.
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"Information technology'due south bits and bytes from everywhere," said Linda Fargo, the fashion director of Bergdorf Goodman. Noting that information technology is hardly unusual these days to be abreast of and influenced by developments in Beijing, São Paulo or Mumbai — or Brooklyn, if information technology comes to that — Ms. Fargo argued that fashion's tangy stew of cultural and way inspirations is the positive expression of an increasingly global worldview.
Nods to globalism plough upwardly at every level of the market, embraced by luxury conglomerates and, not less, by international retail giants like H & G and Topshop, which highlights on its website, amid other exotic elements, an Aztec coating jacket and a "Marrakesh-print" shirt. Mango has chimed in with a peasant blouse with Balkan-inspired embroidery.
"We're seeing a lot of response to a multicultural mix," Mr. Downing said. "It's a moment that brings patterns and textures together, and customers are responding early to that tendency."
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Some may exist taking their cues from style-setters similar Taylor Tomasi Hill, who routinely turns up on Pinterest boards wearing a relatable mix of uptown blazers and crew-cervix tops with tie-dye and totem-pole prints.
However folk- or tribal-infused such a mode may be, it does not past any stretch represent a homage to the Birkenstock and granola generation, resisting tired labels like "hippie," or "counterculture," which in the palmy days of Woodstock served as badges of subversion. Electric current rail incarnations are far less literal and certainly more sophisticated than the fringed shawls, Hopi coats, dashikis and Mexican wedding dresses that were staples of the hippie wardrobe or, for that thing, a student gap year.
For certain in that location is a degree of exoticism in Emilio Pucci's mixed geometrics, embellished with tassels and trims, or in Joseph Altuzarra'south leather dress with its multiple tiers of fringe, but in many such instances, those nomadic references are counterbalanced, indeed anchored, by conventionally tailored blazers, coats and furs.
As frequently equally not, a web of loosely ethnic references is underscored, and simultaneously undercut, in the same turnout by crinkly techno fabrics or novelties similar popcorn knits and shaggy faux fur, elements improbably mated in their plow with abstract twigs and floral designs, beast patterns and optic motifs.
Such unlikely blends are an eyeful, all right, one that has every chance of mainstreaming, of highly-seasoned, that is, to much the same crowd that has warmed to a picture like "The Hundred Pes Journey," nearly an Indian chef who penetrates the hermetic world of Gallic cuisine past infusing classical French fare with a subtle medley of Mumbai flavors. The fusion of cultures and tastes and, in this example, culinary styles may well be, as the filmmakers imply, the inevitable outgrowth of modernity.
Julia Chaplin, the author of the "Gypset" series of books, which explore the fashions and lifestyles of vagabond jet-setters, thinks of mode globalism as a colorful antidote to the soullessness endemic to the glory culture, a blandness propagated past magazines that, she said, "tell you to be similar Kim Kardashian."
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The style tin be opulent, albeit in an offhanded way. "The idea of looking for luxury has inverse," Ms. Chaplin said. "People desire something more than individual and expressive. Maybe some of them take the money they had before 2008, just they want to spend it differently."
The trend to a global pastiche runs counter to high-end minimalism of designers like Christophe Lemaire, Reed Krakoff and Raf Simons of Dior, with their understatedly sumptuous, emphatically neutral fabrics and accent on purity of line. At the same time, it flies in the confront of the studiedly unfashionable "normcore" trend, that constructing of playing field and locker-room staples.
The new hybrid artful is, in fact, rooted in much the same swoony romanticism that gave rise a few seasons ago to the raffish, whipped-up-in-the-blender style adopted by designers equally disparate as John Galliano, during his tenure at Dior, Roberto Cavalli and Mr. Altuzarra, whose past collections were garnished with tassels, gilt, swashbuckling mantle and festoons of coins.
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Only the movement, if it is that, has its homegrown evangelists, early adopters like Chloe Garcia Ponce, a mode buyer whose fashion has evolved as a advised, sometimes deliberately clashing composite of rail pieces, constitute treasures and judiciously chosen fast-fashion trophies.
"I mix ikat prints and a lot of batiks with mod pieces," Ms. Ponce said, including comparatively austere styles from Yohji Yamamoto or Comme des Garçons, her get-to Japanese designers. "For me, mixing those elements is a style of experiencing the world, of sampling strange cultures."
Kate Schelter, a stylist and fashion consultant, has spent several years living and working in California, a stay that inspired her freewheeling mix of Due west Coast pastels, floral dresses and assorted caftans. She wears them in winter, as well, adding chubby furs, chunky boots and a Balenciaga biker coat to ward off the elements.
Her look, she said, tends to mirror the runways in that it is unpredictable and seemingly uncontrived.
"It'south a confident mode of dressing," Ms. Schelter said. "It expresses where you've been on the planet. It's like, you know, 'Oh, this is my Masai necklace, this is my jacket from Morocco,' fifty-fifty if you haven't been anywhere. She sighed wistfully. "Or, who knows, maybe yous've just been to H & M."
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