In his epic presentation at Madison Square Garden on Thursday afternoon, Kanye West, a soldier for spectacle and unconventionality, premiered his third Yeezy collection for Adidas and his seventh highly-anticipated album, “The Life of Pablo” simultaneously.
Part listening party, part fashion show – Kanye with the help of artist collaborator Vanessa Beecroft, made some kind of history that night – demanding a vivification of fashion in the way that collections are conventionally presented. It is usually the case that fashion shows barre the entrance of no-name regulars, however, Mr. West made a point to include people from all backgrounds. Although Yeezy is not the first fashion house to open a fashion show to the general public – for one night, the elitist rope had been cut. In came an arena full of cheering fans.
Fans were greeted by a low-key Kanye, who sported a black cap and burgundy long-sleeve T-shirt, playing M.C. for his own show from behind the sound booth, where he’d plugged in a laptop to play his new music. At the arena’s center was a large silk tarp that unveiled dozens of models positioned on two raised platforms – in the pit below stood many models. Models stood close together, exhibiting a range of emotions from completely stoic and absent minded to weary and dismal – appearing to look like a persons camp of sorts.
Models wore signature Kanye-esque looks which included cropped shearlings, giant sweatshirts, slim leggings, body stockings, and knit dresses in warm tonal colors ranging from orange saffron to cayenne and brown. The shoes consisted of booty-like heels, desert stompers, and a variety of new colorways for the Yeezy Boosts. As the show went on for well over an hour, some of the models became visibly restless and chose to sit down (which under production rules was allowed), but were careful to not break character.
Much can be said of Mr. West’s decision to have his models stand in a quasi-apocolyptic, tribal-like formation. What was his inspiration? West modeled the show after the original 1995 picture of the Kibeho camp, of which British photographer Paul Lowe captured one day after Tutsi soldiers had massacred thousands of people in Southern Rwanda. Is it crass or innovative to use such a reference to explore contemporary issues and politics? This is up for debate.
Though the inspiration behind Kanye’s show was one of refuge, the structure of the show itself did reveal a sort of elitism on display – drawing a societal line of separation between the privileged and the unprivileged. There in the seats of New York’s grandest arena lied a stark contrast between the camp of models and the Kardashians. Seated above them were the polarizing Kardashian Klan, wearing distressed streetwear and beaded ensembles under lavish fur – a Yeezy x Balmain collaboration. Although I am all for exploration of socio political critique through the lens of art and culture, I question to what extent a historical horror can be commodified. I can agree that such an act brings awareness to those who are not as educated on the Rwandan genocide but does it not also decontextualize its history? What more does the public know about Rwanda if at all? Whether or not the intent was to spark a conversation on the events at Kibeho or more generally, on the nature of human destruction and genocide – surely, when it comes to Kanye West, people are watching and listening intently. But are they really inquiring on the most important feature of the show, that which gives it its edge? Yes, no? Maybe it’s just the high-priced threads.
Below is a closer look at all 44 looks from Yeezy’s latest collection.
Feature Images : John Castillo
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