Advertisement

jeremy scott rocks fall/winter 16 with the perfect 50s flashback

Fashion’s most fun designer remixed the codes of cowboy culture and rockabilly rebelliousness.

by Emily Manning
|
Feb 16 2016, 4:20pm

Photography Jason Lloyd-Evans

Driven to shelter by heavy snowfall following Jeremy Scott's show yesterday afternoon, I wound up alone at Trailer Park Lounge. Completely covered in vintage Americana (from velvet Elvis paintings and bowling league ephemera to an actual trailer inside) the West side watering hole is an almost archeological site -- a time warped window into the very images and ideas Scott presented in his knockout 50s, early 60s-inspired show. 

Truly unflinching in his pop-timistic outlook, Scott is perfectly suited for the era of "howdy, neighbor"'s and hometown pride. But though his kids are soda pop sweet, they're always looking for a good time. That lighthearted edge is probably what drew the designer to play with, as he called it, "cowboys and poodles" -- classic American youth subcultures with delightfully stylish rebellious streaks. Scott expertly mined and mixed the codes of bang-bang Westerns and raucous rockabilly to create one of his most focused collections yet.

"I was thinking all about cowboys and gussied up girls, then I kind of went mad with it!" he explained backstage, beaming for pap snaps with buddies like K-Pop sensation CL. "A bit more 'Dolly on Molly' instead of just Dolly Parton." It was an insanely apt description; the Grand Ole' Opry goddess (and her psychedelic goddaughter Miley Cyrus) will likely be smitten with Scott's leather fringe trousers and bustiers, satin Western shirt dresses, bold belt buckles, cropped cattle print jackets, and plastic fantastic cowboy boots.

Decidedly more country and rock n' roll than Donnie or Marie Osmond, Scott really cranked up the volume with graphics -- think jukebox-ready intarsia-knit mini dresses, all-over guitar prints, and one lusty pinup girl rocketing to space aboard a flying V. Scott's anticipated cartoon collaboration, Ren & Stimpy, even got groovy: "[The animators] told me they'd draw me anything, so I wanted to do some Elvis poses with a mic and guitar. We just had fun with it!" Scott said. If the cult cartoon recalls 90s vibes, remember its distorted shapes and unique colors actually draw on late 40s, early 50s aesthetics.

Though Scott's gang -- lead by fellow midwestern angel Karlie Kloss, who made three trips down his runway -- wore his shocking pinks and bright blues loud and proud, the designer's silhouettes remained streamlined and sharp. Cry-Baby bad girl Wanda Woodward seemed like a touch point: she paired simple, skin-tight knits with a boxy moto jacket. Scott cropped the look to perfection. "I always love sleek silhouettes because of how many graphics I do," he explained. The straightforward styles also proved the perfect canvas for embellishment: studs, tinsel, and charms brought exciting tactility to the offering without feeling overworked. "I tend to sometimes keep a lot of simple shapes because they really lend to this kind of overall vision and impact," Scott explained. 

Credits


Text Emily Manning
Photography Jason Lloyd Evans