For women, from minis to maximalist
Alright, everyone, gird your loins!” barked Nigel Kipling, Runway magazine’s creative director, warning his staff of the impending arrival of the formidable editor Miranda Priestly in the movie “The Devil Wears Prada.”
The atmosphere at Bench Fashion Week (BFW) Holiday 2024 seemed to reflect the same sense of urgency, as the womenswear emphasized feminine curves, exposed midriffs and daring thigh-high hemlines.
R’bonney Nola
At this writing, Miss Universe 2022 R’bonney Gabriel was leading the pack of BFW celebrities in social media engagement on Bench’s platforms. Her half-Filipino heritage undoubtedly contributed to her popularity, but her designs also played a significant role. Following the presentation of her namesake label, R’bonney Nola, jackets from her collection were flying off the shelves at the pop-up sale.
“I aim for a boxy fit that can be worn by both women and men,” she explained to Lifestyle. “The jacket can accommodate a variety of body types because everyone is unique.”
Flared pants, miniskirts and halter jumpsuits evoked the “Charlie’s Angels” fashion of the late ’70s. Blending streetwear and resort influences, the casual pieces featured duo-tone denim pants and jackets adorned with seashells. Instead of boots, scrunched denim leggings added a contrasting texture to the calves. Spray paint lent a streetwear vibe.
The draped gown was dramatically enhanced by a cascading waterfall of seashells. Mulberry silk injected a touch of luxury into the draped gowns and separates that hugged the female form. Gabriel revealed that her design process involved draping fabric on dress forms rather than sketching.
While the clothes seemed tailored for a beauty queen’s physique, Gabriel emphasized that her goal was to demonstrate the inclusivity of her designs. A plus-size model donned a denim bustier with crinoline side panels and a miniskirt. Likewise, Gabriel cast a model who was shorter than the industry standard.
“The navy silk halter with the abalone shell flowed beautifully as she walked,” she said. “I focused on the model embodying the design.”
Kashieca X Rhett Eala
Rhett Eala may be a man of few words, but his third collaboration for Kashieca spoke volumes about his ready-to-wear savvy. Quality fabrics and effortless fits were the hallmarks of the collection. “It must look expensive without breaking the bank,” he explained. “Cotton receives special treatment to achieve a brocade-like sheen.”
Actress and Kashieca muse Gabbi Garcia donned shoulder-baring midriff tops in Japanese cotton. Eala noted there were forgiving styles, such as the olive blouson dress that could be cinched at the waist, and the blouses that didn’t require tucking.
The collection featured versatile separates—shiny tailored tops paired with shorts or slacks—that transitioned seamlessly into evening wear, including floating tulle skirts with leotard tops and cotton blousons with capelets and contrasting lace separates. The color palette remained classic, with black, white and neutrals. “The inspiration was a ballerina in her off-duty clothes—straightforward yet feminine,” Eala said.
“Women appreciate dresses and coordinated sets,” he explained. “They want to simplify their wardrobe choices and often prefer to purchase complete ensembles.”
Chito Vijandre
After the restrained color palettes and textures that dominated BFW, Chito Vijandre’s homage to the ’60s and ’70s emerged as a rebellious statement. His signature style of mixing and matching different patterns and surface treatments created lively looks that were eclectic yet well-balanced. While maximalist in detail, the clothes were remarkably lightweight.
The “Retro Future” collection referenced Paco Rabanne’s space-age dresses, featuring shiny discs and chainmail. In their time, these outfits were seen as symbols of women empowerment, akin to armor.
Unlike the heavy and stiff metallic garments of the era, Vijandre created silk jersey dresses that gracefully followed the curves of the female body. These dresses were layered with pinafores adorned with chainmail and paillettes, offering a vintage aesthetic.
Vijandre acknowledged his driver, who painstakingly pieced together brass discs, metal links and holographic paillettes that changed color according to the light.
In the “Boho Deluxe” segment, baby boomers reminisced about paisley prints paired with Chantilly lace, bell-bottom pants in silk velvet, and micro shorts (hot pants in the ’70s) with vibrant stockings. A Brazilian model with an Afro hairstyle wore a maxi vest with gilded metal fringes over a paisley-printed midriff blouse and silk velvet bell-bottom pants made from individual stripes sewn together.
On another model, the mini kaftan, crafted from silk sari fabric, billowed with layers of colorful silk chiffon and tie-dyed silk.
The collection was rich in historical references. The green silk velvet shrug with gold embroidery and silver tassels evoked the North African and Middle Eastern-inspired kaftan silhouettes of American designer Paul Poiret. It was worn over an uneven-hemmed chiffon dress with graduating shades of purple and pants made from sari fabric.
The Russian peasant look, popularized by Yves Saint Laurent in the ’70s, was reimagined in Mughal-printed silk brocade skirts and billowy-sleeved sheer blouses adorned with intricate handmade gold trimmings called passementerie.
In another look, Vijandre incorporated elements from Renaissance fashion, such as puffed sleeves, ruching techniques and ruffs—the stiff, crimped lace frills that adorned the models’ wrists. Chiffon dresses were topped with crocheted pinafores embellished with paillettes.
The ultimate eclecticism was interpreted in a lace baby doll blouse and skirt embroidered with roses. The sleeves were an explosion of handmade lace rosettes with a large rose at the center and unexpected chain details. The outfit was accessorized with an African-inspired multiring collar and gilt chains. “It’s like mixing hardware, lace, flowers and a bit of BDSM,” Vijandre said jokingly.
The fabrication of the flowers was not only a major element of Vijandre’s maximalism, but also an example of the intricate craftsmanship that distinguished his works in the fashion world.
In a time of uncertainty about the artificial, the emphasis on handmade crafts highlights the humanity and eccentricity of creativity.
