Batsheva. Fall 2021 RTW - New York

 

(Images:  Batsheva)

In 2020, amidst the beginning of the lockdowns, I wrote an article titled the Simulacrum of  Utopian Decay, a theorized opinion piece, that, from my observations of the last decade or more of economic and social expansion, namely through digital  media, our society, within a historic context has fused 1800s French Utopia concepts of cities and urbanization onto a 1950s pragmatic and what could be deemed a safe and institutionalized concept of socialized living.   I personally believe we developed into a more conservative society rather than any counter culture imprint, only picking out so called counter cultures of the past as nostalgic aesthetics.  So, it was very interesting to seeing fashion designer Batsheva Hay's presenting her latest collection mirroring the 1950s or at least its domestic aspects, that being the stay-at-home housewife, cooking their favorite meals whilst adorned in her Fall 2021 styles.  Whether there is a correlation, echoes of creativity and its social cues are abundant in general observations, don't always represent the linage to a possible reasoning for why it is so, still, it all plays out as an interesting dynamic of possibilities.  Does it not?

Hay as encapsulated the loungey, frock styles that, if one is to perceive the 1950s as a template to the current institutionalization of society, it is done so under the auspiciousness of homogenized wealth.   In the 50's the middle class was evenly dispersed with their wealthiness, occasionally buying a luxury item, such as designer clothing, but it was more so the pragmatism of purchasing a new television and fridge when it was needed.  Even their materialism was balanced, except they weren't as indebted as we have become mixed with dashes of overconsumption sprinkled on top. Yet, Hay's lookbook shots, the consumption has clearly being toned down, it is not an extravagant array, as we peer into each of the model's kitchens, viewing snapshots of modesty and what seems like domestic stability – these reflected images could easily be the kitchen of over forty years ago, with the ghosts of their grandmothers and great grandmothers. 

The collection feels relaxed and as mentioned safe and convenient.   Velvet, satin and fine cottons, neatly created and conservatively fitted.   There is not an ounce of risqué here, rather it is very subdued and defined to be what it is, which is Hay experimenting with the domesticated, rather than any pop culture fleeting trend of mid-century styles, she has even implemented 1800s looks into some of the other outfits on display.  Overall the whole collection, with its kitchen cooking theme feels protected and insulated which can hold a feminine appeal in all of its stability.