Jeremy Scott was a Lucid '70s Dream Sequence with Political Hints [NYFW]
On one hand, we know to some degree what to expect from Jeremy Scott. On the other, we don’t. Case in point: his Fall 2017 runway show, which saw Skylight Clarkson Square’s Gallery teeming with fur-clad superfans and A-list elite alike. There were political messages (expected). There was Jesus (not so much). There were deified celebrities, besequined ensembles, and seventies mod-meets-althleisure, all marching down white shag carpet. Texture was king, a common thread above all.
To dissect and to deeply dive is a requisite in decoding of Jeremy Scott’s (dare we say) pièce de résistance. Take the subliminal divinity, for example: a reference to our country’s (and perhaps the world’s) tendency to blindly glorify figures of power, often to our detriment? Marie Antoinette’s bust emblazoned across a stretch fabric bell-sleeved mock turtleneck is a perfect illustration. Boas: a symbol of our constriction? Tin lunchboxes: homage to the children threatened by privatization? And then there were headdresses, as ornate as they were gracefully upheld. Another term for headdress: war bonnet. It’s as if Scott has subtly and ethereally declared war via his best collection yet.
Images shot exclusively for Milk by Jeff Sutera
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