During New York Fashion Week, where a designer holds their presentation is almost as important as the clothes. Many favor a hip, industrial venue somewhere downtown. But this afternoon, Christian Siriano brought the fashion pack to Macy’s in Herald Square among flocks of tourists and hot dog stands. (The show was sponsored by the retailer.) “I love the idea of old-school department stores and where shows used to be,” Siriano said backstage shortly before the show. Somehow, the Macy’s of it all made total sense: Siriano, after all, has always been about rebuking elitism and fostering a more inclusive ethos.
Even if the über-commercial setting was far from glamorous and entailed being accosted by salespeople spritzing perfume samples on the main level, Siriano’s fans still showed up in their finest eveningwear for the occasion, pulling up to the fluorescent-lit store in their sequined gowns and tuxedos. Downstairs, the basement setting was transformed into something far more desirable—a cream-curtained space that resembled a retro couture salon. It was also a cohesive tie-in to the clothes, given it was inspired by Old Hollywood glamour and, specifically, iconic figures like Marlene Dietrich. “I wanted to experiment between the masculine-feminine and black and white,” said Siriano.
The designer’s focus on Hollywood red-carpet dressing was a smart one, given a big portion of his business stems from outfitting A-list stars. (Celebrities in his front row included Whoopi Goldberg and Lizzo.) To channel more of a bygone era of film sirens, Siriano utilized tulle, organza, and silk to create romantic and slightly retro silhouettes that were all about drama. “I really wanted things that moved and had sculpture,” he said.
The collection began (not atypically) with a maximalist approach. Siriano’s go-to muse, Coco Rocha, wore a pin-striped and polka-dot skirt suit with a matching brimmed hat. It was followed by a voluminously puff-sleeve polka-dot minidress with sheer polka-dot tights and pumps. The black and white palette continued with a fringed minidress that swished and swayed in all the right directions as a model slinked down the runway. Totally fabulous.
These eye-popping ensembles are not for the wallflower. And perhaps sometimes they were too much. Some of the looks, like the tuxedo blazer styled with a spandex catsuit, cheapened the overall vibe. (Marlene would never.) But as usual, it was Siriano’s more subdued takes on old-school glamour that truly shined. His simple black corseted strapless gowns, for one, are the type of dress that could look smashing on just about anyone when tailored correctly. He also presented delicious cream evening coats with white lapels, a timeless piece that will never tire. (On the menswear looks, his tailoring felt especially sleek and interesting with cutouts and trains.)
At the end of the show, Siriano allowed a burst of a few colorful designs to hit the runway—as though the black-and-white era of filmmaking that he was inspired by had ended and Technicolor was being introduced. He already has his eye on some top stars to rock such finery, like a teal corseted gown with a full (huge) pleated skirt. “I need a Tilda Swinton, Cate Blanchett, and Jessica Chastain moment,” he said.
