As part of a special series this week, we give our reactions to the recent fashion weeks…
“I love New York, I’m a New Yorker, I can’t imagine living anywhere else” – video, DKNY S/S 2015
The city of New York has played a role in the shaping of American fashion since industrial professionals such as Eleanor Lambert and Dorothy Shaver worked to promote original American design in the 1930s and 40s. As the site of the country’s garment industry as well as, in advertisements, a prime space of imagined consumption of clothing, New York became synonymous with fashion over the course of the twentieth century. Since its creation in 1988, DKNY, the less expensive extension of Donna Karan New York, has utilised the city as a tool of branding. DKNY even defines itself, according to its current website, as “the energy and spirit of New York. International, eclectic, fun, fast and real.” And the presentation of DKNY’s S/S 2015 collection on 7 September in Lincoln Center began with a video that visualised these ideals. A rapid patchwork of faces, clothed bodies and minute details of New York spaces – from the subway to wire fences and graffiti-covered brick walls – the video set the tone for the show, which presented models of various ethnicities in sporty and colourful garments. Styled by Jay Massacret, the models conveyed a quirky femininity in their A-line skirts and boldly patterned garments. They painted a portrait of style found, according to the video, as “you walk down the streets…different energies, different styles…a lotta noise, colours.” The show thus extended the definition of New York to its outer, less affluent spaces. And the models, dressed in sweaters and neoprene bomber jackets, recalled 1990s B-girls. With their sunglasses, foam stacked trainers, and gelled baby hair and braids (conceived by Eugene Souleiman), they commemorated inner city street style – today a part of American fashion heritage – and the specificity of this image to New York.
Audrey Hepburn’s Granddaughter Emma Ferrer Makes Her Modelling Debut
Fashion has made no secret of its fascination with Audrey Hepburn. From the mid-1950s films Sabrina (1955) and Funny Face (1957), which dramatised the gamine actress’s transformations through Hubert de Givenchy’s couture, to subsequent pronouncements that a new model has something of her eyebrows or quality of movement, fashion has remained entranced with Hepburn’s delicate, extraordinary face and waif-like, ballerina body. The latest model to be cast in Hepburn’s mould is her twenty-one-year-old grand-daughter Emma Ferrer. Ferrer, who to date has been an art student in Florence, is moving to Manhattan and embarking upon a modelling career. Her debut into fashion was the September issue of Harper’s Bazaar, where she was photographed by Michael Avedon, the grandson of the famous Richard, who worked with her grand-mother. Although Ferrer, has been ballet-trained like her grandmother and shares her deportment, she is not Hepburn’s doppelganger in either appearance or life experience. Nevertheless, in the photo-shoot, she has been made to adopt Hepburn’s characteristic poses, for example: her face in profile and tilted up to exaggerate her neck-length; or in a Funny Face style frieze-frame of quirky spontaneous movement. There is something sad and forced about asking a young woman to literally take her grandmother’s position, and in my opinion, the photo shoot is too derivative to be inspiring.
Still, the fashion industry’s interest in Hepburn’s granddaughter indicates that it values a model’s symbolic value in addition to her physical attributes. One speculates that when Lanvin asked Ferrer to make her catwalk debut at their Spring Summer 2015 show on September 25, they wanted to exhibit not only her beauty in their clothes, but the aura that manifests in her blood-relation to Hepburn. It’s too early to tell whether Ferrer will follow the successful path of Georgia May Jagger and other descendants of fashion royalty, but first, her collaborators have to allow her to emerge from Hepburn’s shadow.