Calvin Klein Fall 2018: Prairie Apocalypse (for femininitymagazine.com)

Closing day 6 of NYFW was none other than the Calvin Klein Fall 2018 collection, paying homage, once again, to Andy Warhol, the 1960s, and films. After securing a collaboration with The Andy Warhol Foundation for the Visual Arts Inc. which has given Raf Simons unprecedented access to Warhol's work, even unpublished, until 2020, the label has kept up with the inspiration shown through the collection and the showcasing of the legendary artist's work scattered around the set, like a 1970 photograph of Sandy Brant printed right on the barn. The set was also heavily inspired by a classic horror film scene from Friday the 13th, having the models emerge from the three barns built into the set similar to the one showcased in the SS18 campaign photo-shoots, with objects created by artist Sterling Ruby. 

Going meta, Simons makes sure we all know that we're not actually in a horror film, no - we're watching this film play out and how do we know that? From the popcorn covered floor and the popcorn buckets handed out to the guests, but I'm sure the entire room is covered with popcorn would have sufficed, to say the least. Later on, Simons mentioned the 1995 film Safe as an inspiration for both his designs and the set, making sure to mention that this was no longer about horror, but about hope. A major contrast that was an overlying haunting reminder during the show? California Dreaming by The Mamas and The Papas playing as opposed to the popcorn on the floor which closely resembled snow and the ski (or construction site) attire inspiration that dominated the Fall 2018 collection. Bringing together the laid back lifestyle of the west coast and the hectic rush of the east one. Raf Simons has managed to create a jarring and eerie set, stripped down this time to the bare necessities and has put the focus on the designs that contrasted the design perfectly.  

Extra Special Nods

·       The bright orange overalls that opened the show, complete with the emergency neon lining and a balaclava.

·       Feeling your coats: Whether they were lined with the same emergency neon stripes (in case you find yourself lost in the snow or fighting a fire or even, helping out at your local construction site), coated with faux fur, a yellow and black tartan for a 60s feel, oversized or whether they were leopard, it was a true nod to the need to say warm and the need to turn heads. 

·       Little House on the Prairie Dresses: 19th century, chiffon and ruffled, in muted or pastel tones with brightly coloured balaclavas to contrast paired with leather over-the-knee boots, the dresses this season gave a 60s Americana feel.

·       Popcorn: An homage to films? The ritual of going to the cinema? Something that connects all Americans, rich or poor is that ritual. The feeling that never gets old. The entire venue was filled with popcorn that the guests and models had to wade through, some models even carrying popcorn buckets serving as accessories.

·       Metalic everything: Foil headpieces that look like raincoat hoods, mylar blankets with patterned prints paired with chiffon dresses and foil coats, made for a post-apocalyptic ending of a film where the heroes sit by the sidewalk wrapped in mylar blankets thinking about how they saved the world and tomorrow will be a new and safer day. 

·        Inside-out knitwear: Wile E. Coyote and the Roar Runner knits matching the 1940s art pieces scattered around the show's set and other intriguing patterns displayed on inside-out knitwear gave a jarring feel to the collection, almost as if something wasn't right when in fact, it really was. 

·       Contrasting and mixing of texture: Softer, sheer fabrics paired with chunky knits or foil fabric made for the perfect oppositions. The striped dresses contrasting the tartan ones layered over them and the button downs that have found their way in Simons' past two collections for Calvin Klein connect the 2018 spring collection with the 2017 and 2018 fall ones, almost as if his collections serve as parts of an anthology series of films directed by Raf Simons. Is this a trilogy? 

·       Not part of the design or set, but Kyle Maclachlan was attending the show on behalf of Vogue, fulfilling my Twin Peaks narrative that I, rather selfishly, have pushed onto this collection and its set. 

Overall, Raf Simons has presented his best work with Calvin Klein yet. A collection that seems to be complete, unlike its past two counterparts that look almost realized but not fully yet when in comparison to this one. Making New York Fashion Week a better place, Calvin Klein has made its guests and everyone else watching think about the meaning behind the collection and has fully rejected the idea that fashion is a waste of time because all you do is look at pretty clothes. Proving once and for all that through design and art, you can portray the most powerful messages, in Simons' case, hope.