Starting with a flashing red stage screen as its backdrop, The Blonds Gallery hit the runway on February 11 for the 2018 New York Fashion Week.
The first outfit hit like a razor sharp cut to the initial darkness of the room: Valentine-red pants, red high heels blending, even acting as an attached piece to the outfit, and a low, V-neck-cut, blazer-like top, all intricately-woven with a sharp, jagged, golden beading throughout the entire outfit. This gives it the sharp, curvy and strongly-built physique the collection works to convey.
Every upper body top was given that same cutting edge, almost archetypal “biker chick” image – some with jutting, knife-sharp materials in the wardrobe’s focus on the upper body stamina and posture, some even with fringe on the shoulders or arms, enveloping the entire shape with a certain poise of the true roughest and toughest woman.
The corset top wear also gave a sense of former generations reemerging into the spotlight. While the top attire boldly shouted the strong-willed and fearless woman, the corset image brought back an older societal version of femininity – the accent to the curvy, smaller waist was known as an emphasis to a woman’s physique. Of course, we now challenge that conception with a more broad variety in wardrobe – this was the addition to The Blonds’ collection: the hybrid look between the early twentieth-century upper bodice, to the new twenty-first-century evolution of what femininity was to the world back then.
And now for the unforgettable ending to this gallery – the last model to walk the runway finalized the collection with a simpler shape, but with a bright sight-for-sore-eyes vision. With the familiar upper body, pointed shoulder and low-cut V-neck top, the entire outfit was adorned with individually-encrusted jewels, grasping those illuminating spotlights directly onto it. And now for the real twist – the star-shining woman modeling the last outfit, Daphne Guinness, grabbed a microphone and sang her single, “Riot,” with two musicians, all the while the other models were standing behind them in a line: a vision of a team, a vision of togetherness, a vision of community, almost a vision of an army.
Guinness’s “Riot” definitely came into play here – a riot of the good and the bad, the old and the new, and altogether, the modern woman of authority and confidence.
David and Phillipe Blonds’ collection can definitely appear as the contrast and collision of the good and the evil in this world, but it also portrays evolution – the ongoing change in women’s fashion, as well as the strong physicality and mentality that modern day is seeing.