A few hours before the end of New York Fashion Week, it is already time to take stock. And for many, there is no doubt that the spring-summer 2024 collection signed by Alejandro Gómez Palomo for Palomo Spain is one of the best we have seen at the start of fashion month. Returning to New York after presenting his third fashion show on American soil last February, the Spanish designer from Córdoba returned in force this Saturday, September 9 with a poignant and spectacular wardrobe, which illustrated with even more ardor what means today for the couturier – and for fashion in general – the word genderless. To those who predicted a fading of the Palomo spirit, or even announced its imminent end, its founder and artistic director responded with a show of force under the gold of the famous Plaza Hotel.
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Not only did the house founded in 2016 prove that it indeed had its place on the international scene, but this resounding return to New York Fashion Week echoed Alejandro Gómez Palomo’s own love story with the city, after disappointments in Paris and Madrid. While it once again appeared on the New York women’s calendar (the holy grail for any designer) after having been presented to men for a long time, the new Palomo fashion show would probably not have seen the light of day in its current state without the collaborative support by Bimba y Lola, the other most creative Spanish brand (but Catalan this time) in Spain over the last five years, and which designed the accessories for the collection.
With a parade in the form of a living master’s painting, Palomo Spain unveiled a life-size boudoir where silhouettes from another era followed one another, making sartorial anachronism the main driving force and inspiration for this new mixed spring-summer collection. 2024. Of course, Palomo would not be Palomo without the dose of queerness dear to its artistic director. Baptized “Cruising in the Rose Garden” (Voyage dans le jardin des roses), the collection played on the polysemy of the English word “cruising”, referring both to travel and to the homosexual practice which consists of having sexual relations in certain external places. The reference to the rose established itself as the common thread of the show: the flower, symbol of love, being present almost everywhere on the catwalk and in variations through bags and accessories, among others.
Corsets, dresses and bras for everyone
But the most emblematic elements of this new summer salvo undoubtedly remain the corsets, dresses and other bras worn by a large part of the silhouettes, without distinction of gender. In addition to the feathered dresses and headdresses inspired by the Roaring Twenties and Jazz age, Alejandro Gómez Palomo demonstrates that all types of clothing, even those usually associated with one gender, are wearable by everyone. Continuing its homage to flamenco culture, the different dresses genderless of Palomo are inspired by the costumes of flamenco dancer (traditional flamenco dancers) thus adorning themselves with the ruffles characteristic of this type of clothing. The transparent fabrics and patterned veils that we see everywhere in the wardrobe also echo the flamenco style.
Another notable originality: the bras, available as desired and in various sizes, on many models. Here, all that ultimately matters is the aesthetics of the adornment, as long as it serves Beauty in its quasi-philosophical conception. Through its anachronism and its irrelevance to our times, the corset even becomes an accessory like any other – as useless as rings or necklaces, but without which a silhouette would not have the same look. Somewhere, Alejandro Gómez Palomo unknowingly provides an answer to the main question that has agitated fashion for two centuries: beyond any utilitarian consideration, what is it for? Nothing, Alejandro Gómez Palomo could answer. If not to make us (more) beautiful.
© Go Runway© Go Runway
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2023-09-11 16:28:05
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