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NYFW: Commercial versus creative

New York is well known for producing some of the most commercial pieces of the four fashion weeks, but Thursday’s shows demonstrated there is still a big gap between the designers with commerciality at the front of their minds and those with no room in their creative brains for thoughts profit margins.

Over at Tommy Hilfiger, the safe presentation might not have wowed crowds with crazy colours or dynamic prints, but the perfectly cut cape-covered coats, slinky satin sheath dresses and louche collarbone revealing jumpsuits were definitely designed to ring in the tills. Mannish shirts with extra high collars and belted khaki jackets hinted at a country weekend influence, while asymmetric button down hot pink coats pointed towards a 1950s aesthetic.

Zac Posen had a more experimental customer in mind and preferred his outerwear to appear with pointed shoulders in brassy satins, brocade and fur fastened with gold leaf adorned skinny belts. Metallic detailing played a big part sprinkled over puff shoulder knee-skimming dresses which softly flared at the bottom.Femininity touched even the most masculine of pieces: a grey trouser suit was paired with a frill necked blouse and giant corsage, and the jacket sleeves were gently gathered at the wrist.

And with the Oscars just days away, Posen clearly had awards glory in mind, pulling out the big dress guns with scarlet flamenco-style frocks, and even more gold on sweet-wrapper fishtailed gowns with necklines daring enough for any aspiring trophy winner.

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