DKNY Fall/Winter 2016-2017 RTW – NYFW

Photos from Vogue

One of the biggest design motions of previous times several years is genderless design, whose exponents are, little by little, extremely increasing in variety. DKNY innovative administrators Dao-Yi Chow and Maxwell Osborne have just included their titles on the record, introduction the DKNY fall/winter 2016-17 ready-to-wear collection that surprised most of those participating their display at New York Fashion  week.To sum up the whole selection in just one term, we could say ‘extra-large’, to be looked at both however you like and soul. Most of the amounts are even larger and billowier than the common XL dimensions, and cloud the collections not only between what is traditionally regarded elegant and macho, but also between the European and Southern societies. Instead of contouring men’s design to the women’s numbers, feminizing the collections, Chow and Osborne designed something that is genuine genderless design, without establishing any type of gender-conforming restriction.

New York-born Dao-Yi Chow and Maxwell Osborne also filled the collection with their universal street-style feelings, often revisited in a more great fashion way. Chow and Osborne are known for experiencing getting both traditional and street-style silhouettes just to upgrade them through their contemporary (and at this aspect even post-modern) sight, combining low-end with great products and womenswear with men's clothing. For their DKNY FW 2016-17 selection they also attracted motivation from the hip-hop lifestyle, as we know that performers, graffiti-artists and break-dancers have always performed an important part in the designers’ lifestyles.

Photos from Vogue

We could particularly see the impact of their street-style and hip-hop sources in the harem trousers, geometrically large hooded sweatshirts, XL windbreakers and Nineties-inspired crop-tops, which certainly add personality to the women’s numbers which makes them look like modern-day androgynous heroines. This stuff function powerful silhouettes that are emphasized by the lineup’s black shade scheme, which mainly functions shades of black and white wines. Flame red and depressing wine red products are to be seen just by the end of the display, focusing the lineup’s overall melancholic feelings.To emphasize all those shades of black, white wines and wine red shades, Chow and Maxwell combined and printed different components and designs, disturbing the large numbers with smooth components, see-through ribbons and fishnet outlining. Other exciting information, which help liven up the numbers, consist of raw and ribbed border and zig-zag laces accessories. Although mainly presenting big, large silhouettes, the selection comes with some curve-hugging products, the greater part of which was designed to tense up the waistlines and stretch out the feet.

Asymmetrical shirts and technique cut-outs will certainly create the Nineties-lover laugh, probably as much as the distinct long-sleeved raglan covers, checked dungarees and pinstripe large covers, the latter of which may not be the collection’s key-pieces but are anyways similarly attractive (and are Chow and Maxwell’s trademark pieces). Kimono-inspired outfits and cardigans could be looked at as the lineup’s most stand apart products, as they completely mix Southern elements with street-style feelings type the 90's (a.k.a the outfits identified in The Matrix’s first two episodes).

As for the models’ cosmetics, Chow and Maxwell emphasized the face and the inner area of the sight with the help of Yadim for Maybelline, just to create sure we could all determine the 90's are (fully) back again.

Photos from Vogue