Eckhaus Latta Goes Metal for SS19

Eckhaus Latta Goes Metal for SS19

To a metal factory, that is.

To a metal factory, that is.

Text: SAMUEL ANDERSON

Despite being synonymous with crafty idiosyncrasy, Eckhaus Latta became canon this year with the opening of their solo show “Possessed” at the Whitney. As if in response to doubts that the they could continue to destabilize fashion norms while also showing in the country’s most famous American Art museum, the DIY designers’ SS19 showcase yesterday featured some literal disruption: a live soundtrack provided by small children banging on makeshift instruments.

The event unfolded miles inland from the ongoing solo exhibition on the top floor of a metal factory (located on a block in Bushwick that is technically L Train-accessible but requires crossing a footbridge). Befitting the brand’s emphasis on craftsmanship over accessibility, the industrial setting did not detract from the warmth of the spring/summer showcase; amplified by the uplifting cacophony of children (many of whom were offspring of the Eckhaus Latta “family,” a network of artists and muses) the show itself was dissonant yet unified, a mix of wearable eveningwear, beads, erratically pruned wigs, and more.

With its mosaic of Eckhaus Latta trademarks, from porous knitwear to slip dresses to Western accents, the cerebral yet breezy collection also felt like a return to form. Having closed the gaps between craft, high fashion, and non-model castings (and making way for other brands to follow suit), Eckhaus Latta delved into the commercial and dystopian for the Whitney show, with central themes ranging from commerce to surveillance to supermodel Gemma Ward. But with their SS19’s show’s combination of heart and metal, Mike Eckhaus and Zoe Latta affirmed their status as two of the foremost independent American designers of their generation.

ELIZABETH WEARS GREENBRIAR GATHER DRESS

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