SEVEN CRASH Sp 2020: Fabrication, Function & Fashion’s Future
Patrick Michael Hughes Men’s Fashion Editor
Committing to a sustainably crafted fashion future is a movement not a trend…
SEVEN CRASH NEW YORK, collection presentation at New York Fashion Week Spring/ Summer 2020 was a head first jump into making clothing responsibly using materials which are biodegradable and recycled. In the future there won’t be an artifact of or trace of clothing.
The creative streetwear brand was founded by Jason Yao and Enchi Shen who’s aesthetic is heavily influenced by 1990s American Hip-Hop and a passion for street culture. Yao, became an expert in pattern making and technical design after spending more than ten years working in haute couture and accessory design. Shen is a creative designer who has spent time a musician, stylist and media journalist.
The Spring 2020 collection was focused on bringing together science’s advancements in new fabrication for the future. The socially conscious collection was divided into three sections The Lab, Future Commuter and Futuristic Work wear. All of the pieces are rooted in functionality and transformation.
The Lab, was framed in the center of the presentation suggesting sterile environment complete with beakers and test tubes. The marbleized black and white section of the collection showcases the eco-friendly fabrics adopting the International Environmental Protection benchmark UNIFI and recycled PET bottles. There was lightness to the sensibility as well as a vocabulary easily recognizable to street wear fashion. Hoodies, wide-open collars, zip front bomber style jackets next to outerwear with a multitude of pockets ideal for a ‘ready society’. Street wear is strapped in and harnessed. A standout item in this section was a clear multi- paneled anorak styled outwear garment. ‘Clear ‘ always seems to be a go to element when designer’s fashion the future.
What is the fashion news?… these looks are not in the oversize camp. They are roomy but not excessive showing an economy of materials with and astute pattern-making leaning toward zero waste. A styling highlight was the white in the models hair.
The Future Commuter, highlighted Material RGD, safe garment dying and knit and woven integration. The neutral footprint theme was carried through in the color palate of khaki, olive, black and grey further showcased the DNA of the SEVEN CRASH style, street, skate, music, messenger. The details are in the harnesses, transformative jumpsuits and hand painted denim.
Future Workwear was the most transformative section, jackets that change into bags jackets with attached bags pull apart waist bags and suspenders with detachable pouches. What was noteworthy was the fact that the neutral color sensibility was stronger in this section featuring the variety of textures this type of fabrication is capable of .The SEVEN CRASH future is covered we were left wondering is this due to sun exposure and pollution.
This was another solid collection from the brand, IRK was at last season’s runway debut and has been looking with interest to see how they grow…Spring 2020 is still keeping hip… now with a heavy dose of savvy social conscious streetwear in step with a new generation of fashion client.
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Patrick Michael Hughes is a fashion and decorative arts historian. He writes about fashion culture past and present making connections to New York, London and Copenhagen's fashion weeks with an eye toward men's fashion. He joined IRK Magazine as a fashion men's editor during winter of 2017.
He is often cited as a historical source for numerous pieces appearing in the Wall Street Journal, The New York Times, CNN, LVMH, Conde Nast, Highsnobiety and others. His fashion career includes years as a fashion reporter/producer of branded content for the New York local news in the hyper digital sector. Patrick's love of travel and terrain enabled him to becoming an experienced cross-country equestrian intensively riding in a number of locations in South America Scandinavia,The United Kingdom and Germany. However, he is not currently riding, but rather speaking internationally to designers, product development teams, marketing teams and ascending designers in the US, Europe and China.
Following his BA in the History of Art from Manhattanville College in Purchase, New York he later completed graduate studios in exhibition design in New York. it was with the nudge and a conversation in regard to a design assignment interviewing Richard Martin curator of the Costume Institute at the Metropolitan Museum of Art he was encouraged to consider shifting his focus to the decorative arts with a concentration in fashion history and curation.
Patrick completed graduate studies 17th and 18th century French Royal interiors and decoration and 18th century French fashion culture at Musée Les Arts Decoratifs-Musée de Louvre in Paris. Upon his return to New York along with other classes and independent studies in American fashion he earned his MA in the History of Decorative Arts and Design from the Parsons/Cooper Hewitt Design Museum program in New York. His final specialist focus was in 19th century English fashion and interiors with distinction in 20th century American fashion history and design.
Currently, he is an Associate Teaching Professor at Parsons School of Design leading fashion history lecture-studios within the School of Art and Design History and Theory,
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