Baggy jeans, workwear and plenty of grit: luxury reimagined at Coach | New York fashion week

New York Fashion Week proves that it is particularly surprising for brands. a global slowdownMany of them direct what they mean today.

For some consumers, it will always be related to a sparkling five bag. For others, it is a limited number of labs. A particular cohort thinks that a flat cashmere Jumper is the summit of high status, while Logomania is based on others. Vintage shopping is now used to indicate quality, but it has become a strong indicator to buy nothing equally.

However, before the coach show on Monday afternoon, Stuart Vevers, the creative director of the brand, said the word luxury was “over -used”. Yorkshire, who has been working with the US house since 2013, announced that he is no longer interested in excessive polish or excellence associated with luxury for a long time ”.

Instead, Vevers’ podium collection aimed to capture what is desired in the eyes of today’s youth. This was translated into low elevations, so stylish, the group along the podium could be heard to scraping along the podium by rubbing it. The shrunken braids seemed to eat moth. Some models wore boots inspired by work clothes with shoes and scratch leather. In addition, there were real work clothes, including reorganized trousers with visible paint splashes. Meanwhile, motorcycle jackets seemed worn out, because the brand, which was released in 2023, was shaped by Upcycled Leather, a part of a wider sustainability attempt.

Welcome to Luxury 2.0. This is what Gen Z wants to wear, and on the lower east side of the city is already wearing it. Vevers likes to watch people and the time spent to do it is efficient. In a distracted world, Koç was able to attract the attention of Gen Z.

Latest Lyst directoryKoç, a three -month report that lists brands according to sales, sits at number five, which is a sandwich between Prada and Row. In August, the parent company Gblelen said Coach continued to sell in the group and increased by 14%. 1.43 billion dollars since January. The success of the coach means that the show has become one of the largest of the program. This time he took over a 70,000 square meter event area overlooking East River and filled with guests, including the actor Elle Fanning and the NBA star Jayson Tatum.

While the previous collections focused on American iconography, including Heart NY ‘T -shirts, cultural references were much quieter this time. Vevers said he was thinking about Grit: “Grit, durability and the beauty of how the city returns every morning.”

Vevers, as a part of his charm, is ıl A differentiated perspective and a differentiated aesthetics ”. “Our parts have a certain earth. There is a certain convenience for them.

The coach’s pricing strategy also works. The Toyby bag swinging on the arm of the pop star Charli XCX wanders around the £ 200 sign – something that fans can save instead of adding to a fantasy request list. The giant ‘Kisslock’ clutches, which were Riff stuck in 1969 and sit closer to the 600 -£ sign, saw an increase in the last episode of Carrie Bradshaw and a grasping like this.

Koç is leaning on his 84 -year -old history. Anne Hathaway was depicted on Devil Wears Prada sequel to the 1986 collection. Meanwhile, after realizing that young people bought vintage pieces containing the coach’s signature monogram, he made a new return to the idea of ​​vevers logo dressing. This time, it comes with control patterns on plaid and pleated skirts and pants.

Elsewhere, Luar Sunday night was closed with a show for Joy’s poem Joy’s justice. Founded in 2011 by Raul Lopez, the color Queer designer created the latest US appearance of Venus Williams and considers Beyoncé and Madonna as a fan.

Lopez used previous podiums to emphasize problems such as migration and homophobia. This time he said that he wanted to pay tribute to the synchous spirit of the Dominican Republic. Lopez, a third generation Dominican, played with tissue using feathers and beads to add depth to the bodysuites and make tailoring. His collection confronted with “the brutal heritage of slavery – how it breaks bodies, families and the future – but at the same time, radical creativity, expression and resistance”.