An Emotional Patchwork at Linder

Set inside a townhouse in Gramercy, just off Union Square Park, Sam Linder and Kirk Miller opened New York Fashion Week with their joined womenswear and menswear collections. 

The New York-based label has over the past few seasons developed a particular kind of aesthetic which cultivates a specific form of intriguing strangeness, merging urbane bohemian vibes with some dreamy, romantic drift. It is indeed this kind of refreshing gender-fluid style and at times intensely personal, emotional and intellectual energy that has made the brand stand out in the American scene. 

This season, the two designers showcased their latest offering by having an intimate soiree where women were trying on (and potentially buying) garments straight off the rack in a makeshift changing room that transformed the living room. A photographer roamed around the room, taking polaroids of the guests wearing the clothing.

Downstairs, it was all about the menswear offering headed by Kirk Millar. This season, Millar was inspired by both inspired by American cabin houses in the woods and 19th-century paintings. Playing with knitwear intarsia, ribbons, pearls, frayed jeans, tie-dyes and antique store treasures which were reworked into clothing, the collection felt like a sort of emotional patchwork of types. Artist Marc Armitano Domingo’s handmade ceramics also surrounded the clothes as part of the set.

A more minimal aesthetic distinguished Linder’s womenswear offering upstairs, as low rise fitted trousers, knitted tube dresses, romantic crochet knits and well-constructed printed workwear sets gave away 90s inspired vibes. Tones of blacks, greys, browns and burnt umber denoted the workwear sets and the sleek 90s dresses, while the occasional pop of bright pink and yellow set apart a few shirts and knitwear dresses.

Although the two collections presented some exciting pieces, overall what lacked was a fil rouge connecting the women’s and mens’ offering.

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