Nicole Kidman Calvin Klein Show at New York Fashion Week Tuesday
Popcorn is a way-approved snack, so editors in New York for fashion week would have appreciated the invitation for Calvin Klein's show: a bag of popcorn wrapped in a silverish envelope.
The popcorn theme continued at the venue, but turned the emoji-friendly symbol for a night at the movies into something more surreal.
For the show on Tuesday evening, there was a rug of the stuff covering the floor of New York's stock exchange building.
Popcorn is, of course, the forage of trashy entertainment, simply this was far from the case here. Calvin Klein under Raf Simons is about highbrow fashion with artistic references.
Topping the popcorn carpet were several knocked-together barns and scaffolding with huge red pompoms attached. It looked less similar a typical runway show and more like an art installation, and was one in fact – set-designed by Bureau Betak, it featured artwork past Simons' collaborator Sterling Blood-red.
This one had more celebrities in situ: Nicole Kidman, Lupita Nyong'o and Margot Robbie were in the forepart row, along with Simons' favourite Stranger Affair, Millie Bobby Brown. This is Simons' third collection for Calvin Klein since joining the brand in summer 2016.
His previous outings take been equally thoughtful but had a cleaner, more graphic have on American dressing. This was more layered: models wore long overcoats over longer skirts, with silver elbow-length gloves and balaclavas that looked manus-knitted.
The reflective strips plant on the uniforms of workmen and firemen were transferred to cropped jackets and billowing parkas, while some dresses had the sheen of the blanket given to marathon runners at the terminate of a race.
These industrial details were assorted with a series of pretty prairie dresses in the middle of the show and playful knits of Wile E Coyote and Road Runner.
The soundtrack was equally discordant, mixing classics such as Sound of Silence and California Dreaming with headache-inducing bass tones. Put simply, this was a collection for turbulent times.
Afterward the show, Simons said he had been inspired past "heroes, a lot of them, from firefighters onwards". He said he was now able to experiment with American symbolism more, and that references included Nasa and Sofia Coppola's 2017 film The Beguiled. This mix created, equally the show notes said, "A dissimilar dream".
In less than 18 months, Simons has transformed Calvin Klein from the domicile of minimalism and naked supermodels to something that aims to drill down into where America is at now.
Simons, who is Belgian-born and worked at Christian Dior prior to Calvin Klein, has used his outsider edge to add much-needed cool. Nether his directive, Calvin Klein has collaborated with the Andy Warhol Foundation for the Visual Arts, dressed the bandage of Stranger Things and – most recently – photographed the Kardashians wrapped in a patchwork quilt for their underwear campaign.
This show is the latest chapter in rewriting what an all-American icon looks like in a world of burn and fury. Information technology's a whole lot weirder than that bag of popcorn might suggest.
While Simons' catwalk piece of work has been greeted with rave reviews, the bottom line is where information technology matters for parent visitor PVH. At that place is evidence this is working; acquirement was $467m in Europe in the third quarter of 2017, upward 20% on the previous year.
The sellout rate from May 2017 – the number of products that sell out entirely – has been ten.9%, compared with 6.4% for Giorgio Armani. It still has a way to go, however, to catch hyped brands on the radar of younger consumers.
In trend forecaster Lyst's hottest brand index, Calvin Klein was at 49, while Gucci was at number i.
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