You hate to say it, but there’s been a lot that’s looked derivative on the New York runways this week. So what a treat it was to see Brandon Maxwell’s show this morning. Maxwell had scaled down dramatically from recent seasons. His invite read: “The show will be an intimate gathering of Brandon’s family, friends, and close brand supporters, and we would love for you to join us,” and for once a PR hadn’t misused the word intimate. There were seats for just over 100 people.
This wasn’t a smaller venue, smaller ambitions kind of situation. It’s just that Maxwell has learned to know himself—knows what he likes, what he’s good at, and what his clients want from him. It starts with tailoring of the streamlined, but not boring, variety. Smartly cut jackets came with spliced sleeves so they can be worn like capes; Maxwell paired them with flowing maxiskirts for a sort of fresh alternative to black tie. Other more traditionally tailored jackets were accompanied by ripped and faded jeans, the way you’d see them in real life on the street.
Backstage afterward, he said, “When I look at the collection, it’s this constant push and pull between freedom and restraint.” Freedom came out on top. It was a shift from Maxwell’s show in February, which was much more structured and, in retrospect, looks quite buttoned up, even bulky at times. Here, the key silhouette was a midi-dress, which was fitted through the body to a dropped waist, then fluid from the hips to the hem. They were cut in stretch linen embroidered with gradated paillettes and in sheer knits with soft fringing at the sleeve openings. Sensual is the word that comes to mind.
At a resort appointment in June, Maxwell said something that held true today. “Lately, to be considered ‘design,’ it’s had to be a lot. That doesn’t interest me.” This was Maxwell at his most minimal, and it was convincing.
