#NYFW Runway Recap: Jeremy Scott’s Mod World

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Jeremy Scott always seems to walk a fine line between artistry and absurdity; sometimes swaying into art and then other times careening recklessly into absurd abstraction. No matter what his attitude for any given season, outlandishness is always on the menu. This has definitely been a red-letter year for Jeremy Scott. However his achievements have been somewhat, overshadowed by additional shady legal drama. Scott’s legal woes are of the caliber of that which have plagued his entire fashion career with a vengeance. The Moschino creative director was recently embarrassingly served with legal papers while promoting his new documentary film “Jeremy Scott: The People’s Designer” last weekend. Legal struggles and pending copyright infringement cases aside, Jeremy Scott has been participating center stage in major events such as the creative direction and much of the costume design for the VMAs. He has continued to hold the captive attention of major starlets such as Miley Cyrus, Katy Perry, and Rihanna with his zany (and possibly pirated) creations. But alas, the Jeremy Scott show at NYFW played host to its share of celebrity guests in its front row, Rita Ora, Perez Hilton, Tyga, The Beckerman sisters, and Iris Apfel just to name a few, as well as casting model of the moment Gigi Hadid to open the show in a towering platinum-blonde beehive.

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In most Scott collections, we see a bit more ironic American commercialism channeled into a new, warped form in his pieces. Scott’s MO frequently includes poking exaggerated fun at a particular subject matter, ad nauseam. This season’s SS16 runway collection carried a different attitude than past collections. It was a bit more of an overt homage to 1960s kitsch psychedelic culture, instead of an satiric play on the theme. The absence of extensive capitalism mockery was a bit of a unique path for Scott, and we have to say we approve.

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The looks in the collection where defined by vivid Day-Glo hues, micro-mini skirts, crop tops, and bra tops; Fitted babydoll shift dresses in pastel bright, groovy prints, or trippy repeat patterns. Peculiarly, the scarce batch of menswear looks interspersed throughout the collection felt like some of the most successful looks of the show.

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Additional highlights of the collection included sweater sets with vintage iconography, or in simple, powerful solids. Metallic pieces sprinkled throughout the collection made an impact, and added some dynamic shine to the ‘60s showcase. Offbeat accessories, and notable swimwear pieces finished several looks with a tinge of singularity. The tinge was slightly lost upon the emergence of the Paco Rabanne section of the collection, which seemed less than original. All in all, we are grateful to have what seems like a quieter, more subtle version of Jeremy Scott this SS16. Although, we are keeping our ears perked for the voices of artists that so often find Jeremy Scott has taken one too many liberties from his inspiration sources.