Fashion Trends Take a Turn for the Extreme
In recent fashion discourse, the spotlight is on the increasingly extravagant runway ensembles. Consider Duran Lantink’s inflatable denim, Marni’s 3-D floral embellishments, Christian Cowan’s oversized fur balls, Schiaparelli’s skirt accompanied by an enormous lobster, Rick Owens’ bold shoulders and flowing capes, and Mugler’s ethereal silk displays that spanned around 30 feet. Germanier and Vaquera showcased colossal dresses that nearly engulfed the attendees, rendering public transportation, let alone Uber or Lyft, impractical. While designers have always embraced drama, the current inclination toward the extreme is unprecedented.
“Ready for a surprise?” Christian Cowan quips incredulously, alluding to the spherical dresses that envelop the wearer’s head, arms, and torso, presented during Paris Fashion Week. “No sitting down—these are for dancing.” Inspired by the subversive music icon Pete Burns, Cowan’s collection challenges conventional boundaries. Despite challenges faced by models wearing the voluminous garments, such as limited visibility and mobility, Cowan emphasizes their allure. “They’re the ultimate party statement. Enter, dance, then slip it off to reveal a chic minidress,” he explains. “While most prefer defined shoulders and a narrow waist, I appreciate the ball’s antithesis.”
If you’ve observed a sudden surge in bulbous shapes, you’re not alone. Olivia Cheng of Dauphinette introduced a plethora of dresses featuring bell-shaped bottoms and skirts resembling pillowy orbs. “They may not be the most practical, but they possess their own wearable charm,” she notes. Transitioning from printed T-shirts and food-inspired resin jewelry, the young designer ventures into creating daring silhouettes with voluminous forms and intricately embellished pieces adorned with whimsical beading. “I grew dissatisfied with our previous designs when I tried to make everything wearable,” she admits. “Embracing more extreme silhouettes aligns better with our brand message and allows for greater exploration of materials.”
XANRAN XIONG / COURTESY OF DAUPHINETTE Dauphinette spring 2024.
On the flip side, Germanier unveiled its most extravagant collection to date for the spring 2024 season, teeming with a spectrum of vibrant tulle designs and a plethora of opulent beads. Designer Kevin Germanier’s creations are so avant-garde that they are frequently donned by Björk during her performances. “I view myself as a mad alchemist-slash-doctor,” he explains. “I manipulate the body, and one aspect I aim to highlight is my unique shapes. I always tell my team, ‘If we continue repeating the same shapes and silhouettes, we aren’t progressing. We aren’t pushing boundaries.'”
Both Dauphinette and Germanier emphasize upcycling—utilizing materials from various sources and repurposing them into their designs. Naturally, this approach lends itself to the creation of intricately layered silhouettes, adorned with a mix of materials that evoke a topographical wonderland of fashion. There exists a dedicated clientele that craves such innovation. “I attempted to cater to a more mainstream audience, but then I realized, ‘I’m not here to do something ordinary.’ Who cares?” Germanier remarks. “There’s a market for individuals who want to stand out, who crave eccentricity, who are willing to splurge $2,000 on a skirt.” The designer increasingly regards his work as couture.
Undoubtedly, fashion has always embraced extreme silhouettes. Designers like Rei Kawakubo of Comme des Garçons, Junya Watanabe, and Noir Kei Ninomiya (all under the CDG umbrella) have consistently crafted visually striking, avant-garde shapes that challenge traditional notions of wearability. “The exploration of diverse forms of expression through attire, as well as the quest to innovate, lies at the core of my creations,” Ninomiya explains. Often described as alien or otherworldly by critics, his spring 2024 collection featured ethereal clouds of wire-like white materials reminiscent of baby’s breath flowers, alongside swathes of black, spiky, masked fabrics evoking a sense of enigmatic darkness.
WWD Germanier spring 2024.
In the annals of fashion history, Patricia Mears, the deputy director of The Museum at the Fashion Institute of Technology, points to the court attire of 18th-century France as early manifestations of the trend. “You had dresses so wide, with panniers, that one had to turn sideways to pass through a door, or hairstyles so extravagant they risked catching fire near chandeliers,” she remarks. She also mentions chopines, the towering platform shoes (sometimes exceeding 20 inches) worn by Venetian courtesans. “That was certainly a form of self-promotion,” she notes. “You couldn’t help but notice a woman striding through Venice two feet taller than everyone else.”
Following a period of commendable body diversity that has regrettably waned, perhaps we are now witnessing a new epoch that challenges conventional notions of bodily aesthetics through eccentric attire. “It’s more about, what can we do that’s unconventional?” Germanier muses. “We no longer adhere to the notion that a woman must always have a tiny waist. Who dictated that? Who defined the rules of shapes and silhouettes? As a designer, it’s my duty and aspiration to challenge people’s perceptions of beauty.”
A cursory glance at Bad Binch TONGTONG’s creations reveals the emergence of a new movement. The designer’s spring 2024 show featured massive, otherworldly horns, wings, and oversized puffy spheres that literally grazed spectators’ heads. The entire spectacle was surreal—perhaps one of the most unconventional shows in New York Fashion Week history. Caroline Hu’s spring 2024 collection enveloped women in graceful drapery and extraordinarily large cushions. “I believe the extreme trend correlates with body modification and adult cosplay,” Mears remarks. “Even professionals attend these conventions, reflecting a societal shift away from conventional attire.”
NOAM GALAI A look from Bad Binch TONG TONG’s spring/summer 2024 show during New York Fashion Week.
Setting aside cosplay conventions, it’s undeniable that an extreme ensemble almost guarantees attention and influence on social media. Most designers acknowledge this impact. “If you’re investing hundreds of hours with a small team, it needs to resonate beyond just your craftsmanship,” Cheng remarks. Similarly, individuals define their personal style with such pieces—like Sara Camposarcone, who has amassed a devoted following for her bold outfits. She frequently dons items like green, knee-high AVAVAV finger toe-shaped boots or a voluminous ribbon dress by Montreal-based designer Tristan Réhel. “I usually reserve my more extravagant pieces for events or photoshoots, but wearing them unexpectedly, like in a grocery store, empowers me,” she explains. “When I wear something unconventional, I know I’ll stand out, and that’s the point. I enjoy wearing pieces that prompt people to stare at me in confusion. It brings a smile to my face.”
During the pandemic, the trend cycle accelerated and diversified rapidly with microtrends—such as cottagecore and quiet luxury—culminating in today’s amalgamation of indefinable aesthetics drawing inspiration from various eras. Conversely, there’s a consistent theme among individuals who don’t consider themselves fashion-forward: ultra-casual, minimalist, and comfortable attire.
Perhaps designers and daring dressers find solace in these wonderfully peculiar silhouettes and shapes amidst uncertain, tumultuous times, especially with an impending election. Many of these shapes exude softness and coziness. History often repeats itself. “The 1930s marked a period of increasing frenzy, and fashion became increasingly extravagant,” Mears notes. “They sensed something was on the horizon.” While surrealism thrived a few years ago, perhaps unconventional shapes are the next frontier. There’s undeniable delight in embracing the unpredictably bizarre.