It’s typical of designers to list a variety of inspiration points — past decades, pieces of art, periods of history or some esoteric topic, waxing poetic on how it can be seen in their garments. It’s a rare few who instead look inside, exposing their soft underbelly and vulnerabilities to tell their sartorial story. Brandon Maxwell is one such talent.
In September, his show was quite intimate, held in an all-white compact space. Walking into his fall show, the space was again all white but expansive, airy and light with beams of sun shining down on a lush white carpet — it was clear, change is in the air. “I look at this show and last season, it’s sort of two bookends to a period in my life,” Maxwell said at a preview at his studio. He went on to say that he had taken a short trip to the Southwest that was “very meaningful,” and while he isn’t someone who designs thematically, he called it an “impactful” experience being in the “vastness” of nature which gave him time to think on life, casting it in a renewed light.
As the lights came up, “Wait for Now,” a poignant song by The Cinematic Orchestra, played and the first look emerged: A white sleeveless halter gown cut low exposing the hip, with light bands of fabric floating as the model walked, a red pump peaking out — a quick “Wizard of Oz” moment, a film Maxwell relished as a kid. It felt like an effervescent bit of connective tissue to his last collection and a way to hold space for what was to come.
You May Also Like
The subtle duality of soft meeting hard edges could be seen in the outerwear — a waxed coated jacket with a hint of workwear over a silky soft leaf-print dress, based on images he took of the mountains out West. Knits were luxurious — they came as blazers, while a gray or black dress with twisted fold over the bust with a cocooning scarf looked buttery. In fact, long knit scarves were folded around several looks, creating a “let it all go” polish to wardrobe staples, a medium-wash pair of jeans and the perfect white shirt update.
A pyrite crystal on his desk meant for “healing and to protect the body” was reproduced in silver and gold as rough hoops or pins to clasp tops. There were many such thoughtful personal touches, like an update to his bestselling belt with hardware with a hint of Texas charm. He topped it all off with large triangle-shaped handbags and menswear-style coats.
“While I was sitting in nature I was reminded that it has weathered a lot — droughts, hardships, both rain and fire and it continues to grow and be beautiful,” he said of his transformative travels. The same can be said for his contemplative work — it continues to bloom anew.
For more New York Fashion Week reviews, click here.