Fo and Foo
Foo and Foo presented an improvised eclectic line on Tuesday, demonstrating that there is a niche for every style lover during New York Fashion Week. The brand, which was started in 2017 by designer Elizabeth Hilfiger—yes, the daughter of this Hilfiger, unveiled its new collection at a small appliance store on Manhattan’s Lower East Side.
Various models of varying sizes and body types graced the appliance store with a sexy, sweaty energy, as if no excessive effort was needed for their looks. Exaggerated cargo pants, casual ties (thanks Avril Lavigne), and heavily worn white sneakers gave props to the edgy side of the Y2K era. (The pair of multi-strap flat maryjanes with socks gave this ’80s babe immense nostalgia.)
Elizabeth boxers made an appearance with low rise jeans. Matching the neighborhood’s grunge-hipster aesthetic, muted-color miniskirts and shorts, baggy jeans, baggier hoodies and clunky shoes paraded the runway. Welcome to the early punk side. Brooke Leigh Howard
Tuesday afternoon’s blue skies and spring-like weather perfectly complemented the Adeam collection displayed on the rooftop of the penthouse at 75 Varick.
Designer Hanako Maeda commemorated a decade of the brand’s fashion with a whimsical collection of pastel dresses full of ruffles and tiers, and fun and flirty looks in bright red. A cheery floral-print dress paid homage to traditional Japanese woodblock prints while demure structured silhouettes still managed to sneak in some cuteness. Sarah Shears
ASHLYN’s debut at New York Fashion Week told a shocking and bittersweet story for new mothers to experience when they make the life-changing decision to bring the world to life.
Cradled on the black box stage of Manhattan’s La MaMa theatre, the production began with a lyrical dancer dressed in a flowing red jumpsuit. She danced to the dark, bass-heavy melody that pounded like a heartbeat.
During the brand’s debut show, designer Ashlynn Park detailed the early days of motherhood. From the femininity rediscovered in the ruffle and the lace, to the professional rediscovery in the pragmatic costumes on the bias, the complexity of maternal identity is personified within the collection. In this, the designer does not limit her creativity when meshing long skirts and work pants with frills. Simultaneously, she sends the message that motherhood can be embraced without losing a sense of self. Brooke Leigh Howard