September 9, 2019 |
A season’s break and $400k courtesy of the CFDA Vogue Fashion Fund later, Pyer Moss is back on the catwalk. And yes, it was all worth it. Both the money and the time obviously suit Kerby Jean-Raymond’s creativity, last night’s Brooklyn ball being just a demonstration of the power he has in his hands. The collection itself was divided into two parts. Opening the show were his mainline looks, an evolving visual mosaic of African American culture – both the past and the present. But before the fashion kicked off, author Casey Gerald presented an emotional sermon which talked about the evolving spirit of the black experience in America.
The collection, called Sister and season-lessly labeled as Sesason 3, was a rich mix of day and night, sports and elegance. It was enthusiastic and happy, an antidote to what we consider to be the reality of the world. Lines of musical instruments became design elements outlining individual pieces, with guitars turning into jackets and piano keys becoming part of bags and accessories. Continuing the feature of graphic illustrations carefully placed atop his garments, Jean-Raymond worked with Richard Phillips on this occasion. The artist was recently exonerated after wrongfully spending 45 years in prison, a period during which he continued to paint colourful scenarios full of positive spirit. Printed onto skirts, jackets and dresses, the lively narratives of the paintings arrived into the fourth dimension, particularly with the soundtrack provided by the harmonies of the 65-member choir taking over the King’s Theatre. The second part of the collection was a showcase of the next chapter in Pyer Moss’ ongoing collaboration with Reebok. This was sportswear elevated to a spiritual level, honouring the luxurious evolution of tracksuits, leggings and trainers. Even when it seemed simple, it really wasn’t – each step revealing the craft behind these objects.
Now that the wait is over, we’re safe to say that Pyer Moss is taking New York Fashion Week into his own direction. And it’s looking so damn good.
Photographs by Jason Lloyd-Evans
