Oh and the peacock feathered suit was killer. See it, and our other favorite looks from backstage at the presentation, below.
Depicting a typical "day in the life" for the team, the campaign was set along the coast of the North Sea, known for its rich energy sources, including fossil fuels, wind, and early efforts in wave power. Being a popular destination for European shipping lanes and fisheries, the North Sea coast was the perfect scene for the streetwear inspired surf brand.
The collection focuses on full looks, bringing more knits, jackets, shirting and pants into the brand’s repertoire, keeping in line with the “fisherman” aesthetic. Originally starting as a graphic tee company, this collection adds more elements of city streetwear that is at the core of the brand’s ethos. With plaid jackets, knit bucket hats, graphic shirting, and puffer jackets filled with padding made from recycled plastic, the Offshore collection is NASA’s most comprehensive collection yet.
Cheng meditates on the idea of death within this 50 percent upcycled collection — a topic that is fitting as Cheng seems to have mastered the idea of rebirth. But through this range of garments, Cheng does not seek to romanticize or decorate death, but rather, to investigate the unique set of beliefs that we as humans adopt throughout the topsy-turvy journey of life. Dissecting religion, marriage, and traditional ideals of both femininity and masculinity, Cheng presents a collection that honors the “little deaths” we experience every single day. And with every new cycle, these little deaths bring forth radiant new beginnings.
Little deaths can be hopeful or auspicious. Friendships and relationships may end and bring forth a pain unlike any other, but there is a bittersweet tinge to that pain — a reminder that there is a new chapter yet to unfurl. In celebration of these moments, and the many conflicting or clashing elements that characterize us all as humans, the designer brought forth a collection full of vintage mementos — from deadstock jackets embellished with broken jewelry, collected seashells, and pre-loved potholders, to dresses and co-ord sets pieced together from vintage bedding, to lampshade corsets. Cheng also collaborated with phone accessory brand Bandolier to create six phone cases for the collection, embezzled with googly eyes and wig hair, as well as The Real Real for sustainably-sourced footwear and eyewear. And, of course, in classic Dauphinette style, the collection’s silhouettes are unexpected and larger-than-life, like everything else the designer dreams up.
“‘A god, a girl, a monster — within the single span of most days I manage to feel like all three,” Cheng shares. See the full collection below.
After the show, I went backstage with office to speak with Alejandro Gómez Palomo about his spectacular return to NYFW.
Welcome back to New York! How does it feel to be back for fashion week?
Alejandro Gómez Palomo— It is amazing. I feel like I delivered what I've been wanting to deliver in New York for a while, and it feels really really nice. I love coming to New York in September when it's still beautiful and sunny. I love the energy of the city, and the inspiring people that I see around.
What were you the most excited for people to see in this show?
Just a real strong Palomo collection, a glamorous grand collection. I've never shown in New York in a space like this. I could never really deliver a collection how I would do it in Paris or Madrid or something — in a grand space, with this kind of historical reference to Spanish culture, full of sexuality and all that. What we did in the collection that we presented today is really what I wanted people in New York to see from me.
It was a beautiful show. You mentioned that tone of sensuality, and of course, the title was “Cruising in the Rose Garden.” Where did that theme come from, and what does it mean to you?
It really came from the idea of both of our sides, the more romantic, soft and feminine side, and then the really straightforward sexual, dark, animalistic, maybe cruisey part that pretty much all of us have inside as well.
I was trying to create a universe that was the crux of both: the darkness that we almost want to hide from, but in a beautiful place, creating this kind of magical scene where sexuality and beauty and romance could live together.
I noticed that it came out even in the models’ walks, and the way that they looked into the audience. My favorite, there was one that lifted up their shirt and made eye contact.
Yeah, definitely, definitely. They were cruising at the Plaza!
I love it. How did you decide to do this as a collaboration with Bimba y Lola?
Well, this is a conversation that we've had for a while, and it's been a beautiful magical journey because it's really allowed me to explore a lot of things that I'm not normally able to explore at Palomo, which is a smaller independent brand.
I had the chance to really do whatever I wanted, like big jewelry, beautiful necklaces, things that cost a lot of investment for a brand like mine to do. I have my resources and they’re great, but with this I could really expand and be free to create.
The jewelry was stunning, like wearable art. If you had to pick, what was your favorite look or element from the show?
I had this moment yesterday — let me show you on my phone — where I was like, this is it, I'm already happy even if tomorrow doesn’t go well. We had this moment at the fitting yesterday… [A model] came in and put on this look and the energy in the room kind of changed. We all stopped and cried, and we lived this magical, beautiful moment. So that for me was my favorite this season.
That’s so special, thank you for sharing it. My last question: how do you feel that Palomo has grown as a brand since you started?
It's grown and it keeps growing but I think it keeps being really true to itself, to myself. There's coats and other things that I've been doing since the beginning of my career, since my first collection. I even look at some looks of this season, and I'm like, this is pretty similar to what I did for my graduate collection.
It’s real, it is me, it’s my life, and this is what I do. So, of course, I keep growing and I have more experience and more techniques and we explore different places, but the way I make fashion, it really always is the same.
