For three seasons now, the Delpozo show has been the moment I most look forward to on the New York Fashion Week calendar. It knocked me off my feet the first time I saw it; I felt I was witnessing one of those monumentous, historic collections of yore ~ like ye olde offerings from Cristobal Balenciaga.
That’s not to imply there’s ever anything nostalgic about the clothes. Delpozo creative director Josep Font’s color palettes, proportions, and plays on silhouette always strike me as fresh, artful, inspiring, thought-provoking and eye-opening. And they’re always achingly chic. Yesterday’s Fall 2014 showing was no exception. Font drew from an obscure, incongruous, but creatively lucent duo of references: the geometric approach to human figures taken by Italian painter Duilio Barnabé bred with the retro-futuristic aesthetic of Logan’s Run. Retro-futurism is a visual theme I’ve been thinking a lot about since seeing Her (which I talked about a bit HERE), and it certainly seems relevant in an epoch when we are evolving faster technologically than we are able to match either sociologically or physically. Especially clever artists of our time have recognized and communicated this adolescence-reminiscent dichotomy, even as we as individuals struggle for ways to reconcile ourselves to its imbalances. Reality seems to keep getting weirder, but uncomfortable contrasts are among the only guarantees in life, and thus one of my favorite touchstones in any genre of artistic work. Best to embrace the strangeness. We slipped backstage before yesterday’s Delpozo show in search of those sorts of lyrical abstractions, those moments caught between cobwebs and sunbeams. As always, the collection shone in its knowingness as much as in its naive beauty… Please click the images to enlarge the clothes’ intelligent details. |PHOTOGRAPHY| by Zachary Lynd + Kelly Framel