The presentation of trends denim for Spring/Summer 2024 offered by the experts at Denim Dudes, which kicked off the Kingpins show in New York on Wednesday, is decidedly retro. These have been divided into four with different environments, textile suggestions, details and color palettes.
This is a youthful and sassy take on the inescapable ’90s revival. It focuses on rampant, decadent exhibitionism and self-expression with a palette of acid colors and greencast, the process in which the garment is dyed with green sulfur followed by indigo to give it a teal look.
Hyper-individualism and social networks have created a community of content creators who do not need to leave their bedrooms, in this sector, they personalize and create looks at home, often with humble materials but with maximum media impact. High design without the usual keepers. The indie-aesthetic vibe evokes the culture of the Turnaround Society, where stars fell out of London cabs or stumbled out of Hollywood nightclubs.
Proponents of this look include ThoughtWeFriends, who have caused a sensation on Instagram with their overworked, overworked jean designs, or cybernetic experimentalists Space Paradiso with their clever sprays and airbrushing. Representative of this trend is the work of British youth photographer Ewen Spencer, whom Diesel commissioned the campaign for its new Track Denim range.
It’s time to get True Religion, Guess, D & G and Von Dutch clothes out of the back of the closet.
“The world is on fire but we keep buying shoes”, as Alec Leach said, or in this case, jeans. While XS celebrates Nero frolicking while Rome burned, the second story, Burned Out, focuses on a much less fun setting. It’s a reaction to the dark times we live in, a reflection of studies that suggest happiness is declining amid a movement against capitalist values and the fetishization of productivity and hustle culture.
The mood is dark, layered and casual, the outfits are protective and the palette is limited to all shades of black, flecked with inky blues and greys. Mineral washes give a dirty effect, the upcycling is now a staple, and the couture textures in denimAs in the delicately handcrafted pieces at Paradoxe Paris, offset by comfortable, muted garments from brands like Fear of God, they call to mind the tonal, columnar layers of ’90s Helmut Lang.
The Last Tourist
Get ready for a cultural explosion from countries around the world whose heritage is reflected in fashion for perhaps the first time. The renewed interest in travel after the coronavirus brings with it a cultural sensitivity that translates into a more authentic narrative. Brands like Kardo from New Delhi, Bode from New York, the English SS Daly and the Indian-Canadian Norblack Norwhite occupy this field.
The defunct West African airline Air Afrique has been recovered by a Parisian collective bent on letting the world know about the company’s pan-African philosophy, which influenced fashion, art and film. A new preppy look it rethinks those elitist, European and typically white activities, like golf, to break the status quo. Jeans embellished with souvenir patches are popular, while Indian block print, perforated jeans, expressive washing and hand-embellished embellishments are other features of this narrative.
Probably the most commercial of the four trends, Ethos highlights the resurgence of truly holistic garment production that approaches spirituality and nature in a way that runs counter to early capitalism and the dawn of the industrial age. The decision of the founder of Patagonia, Yvon Chouinard, to hand over his company to fight climate change is a reformulation of capitalism whose impact remains to be seen.
This search for a new balance is reflected in durable lightweight workwear, country style and simple blazer, light and raw denim in sun-bleached hues, sand and stone-inspired washes and natural overdyes. Denim is stylized with the ease of crinkled jacquards, hems in bright colors take center stage, rustic sheers, hemp and linen blends.
This article was originally published on FashionUnited.COM, and later translated from English to Spanish and edited by Alicia Reyes Sarmiento.