After experiencing the historic moment created by John Galliano in the Maison Margiela show, the whole industry and outside have once again raised the expectation of the fashion show itself as a release form, and the famous scenes that can be met but cannot be sought almost make us dare not miss any of the big shows that may be recorded in history.

Throughout the Fall/Winter 2024 New York Fashion Week, from the anniversary of Tory Burch and Altuzarra to the return of Tommy Hilfiger and Thom Browne, To Ludovic de Saint Sernin, Raul Lopez and other young generation fearless release of carnival energy, in the major shows in New York City, there are really too many worthy of the birth of the new classic moment is staged, waiting for us to witness.

Unconsciously, Tory Burch has reached the 20th year of the establishment of the brand, but for the designer himself, the stable customer base and loyal accessories fans that have accumulated now can not let her meet, but the more stable the business moment, the more she can prompt her to re-examine her design, and then launch a new "adventure".

In fact, Burch's adventurous spirit in women's design has been on display in recent seasons, and following her "modular" design experiment, this season she also invited guests to the New York Public Library, which has become her "style laboratory."

Starting with old jackets, lamp shades and shower caps, Burch makes these everyday elements a breakthrough to inspire shapes and silhouettes. "We continue to explore silhouettes and silhouettes in new ways, including sharp corners, unusual materials and high-tech sporty details."

In a series of skirts and dresses, Burch reproduced the stark trapezoid silhouette of a lamp shade by bonding and wire molding, as well as wire simulated fur coats, bright vinyl tights, and knitted hoodies modeled after shower caps, all reflecting Burch's creative passion in detail. "I don't want to go back to the past at all, I think in a way the development of the brand is more of a journey, and now we are just beginning."

Altuzarra celebrates its 15th anniversary this season. To this end, the designer Joseph Altuzarra held a small salon show, with fewer than 100 guests invited to witness his prudent and rational celebration. Altuzarra did not design a grand theme for the collection, but did it entirely on his own terms. "I wanted the designs to feel like I was stepping into a closet that someone had worn for a long time, and everything in it was about that person's personality."

From the series of new works he presented, we can be sure that the man described by Altuzarra, just like the juxtated double-breasted super-long coat, plaid turtleneck knitwear and silk twill sundresses in the show, must be sensitive, determined and varied, and if we must give it a concrete visual presentation, Then the paintings of Tamara de Lempicka presented in Altuzarra's inspiration board must be the best answer. These female images that have been flowing for hundreds of years are still full of meaningful charm today, which may also be the vision that Altuzarra hopes to give to today's women through design.

Coinciding with the celebration of the anniversary of the major brands, another part of the brand is ushered in a new chapter in the season after the celebration.

Stuart Vevers, who celebrated his 10th anniversary in charge of Coach last season, has set out to pave the way for the brand's future. The opening taffeta dress signaled Vevers' determination to change. "The show is all about experimenting and trying new things, so we push ourselves creatively and aesthetically, but also try to be sustainable."

As he says, the recycling, upgrading and reuse of sustainable fabrics is the highlight of the season. The old jeans and leather flight jackets collected by the brand team were dismantled and reassembled one by one into a series of extremely retro and drappy coats on the show. Looking at the details, the various New York City pendants hanging on the bag, from yellow taxis to the Big Apple to the Statue of Liberty, are made from lightly worn leather and recycled.

"I think as an American brand, we can try to do something different. Perfection is not my focus right now. I'm more interested in individuality and self-expression."

For Proenza Schouler creative duo Jack McCollough and Lazaro Hernandez, the Autumn/Winter 2024 collection could be seen as the start of the brand's next 20 years.

Last season, Proenza Schouler introduced a new presbyard pattern, and for the new season, McCollough and Hernandez decided to tone down all decorative elements and let the fabric and cut speak for themselves. The combination of lightweight fabrics, wrapped around the body in the form of a package, brings a feeling of being cared for and cured, which is also the "intimacy" that designers hope to convey.

Considering the current global turmoil and the collective demand of the fashion industry to return to the essence, it seems that nothing can be more impressive than truly outstanding texture and wearing experience. Proenza Schouler clearly captures the demands of the moment and clearly demonstrates the control and balance of high-quality day wear.

By contrast, Thom Browne, who celebrated his brand's 20th anniversary last year, still maintains a "my own way" attitude on the runway, performing a dramatic fashion anthem that says, "I don't always look back, I like to move forward."

It has been a full year since I last attended New York Fashion Week. During this time, he brought his brand to the stage of the Paris Haute Couture week for the first time, and also slowed down the pace of the conference. As it turned out, that buffer allowed him to be more creative.

For The Fall/Winter 2024 collection, centered on a giant broken window installation and a humanoid mountain fort stacked with gray velvet coats, Browne's fashion translation of Edgar Allan Poe's 19th-century poem The Raven continued the visual theme of black, white and gray.

The raven is incorporated into the design elements of tuxedos, coats and classic tailored uniforms, while hand-woven tweed and gold thread embroidery are embellished, and the bow ribbon that seems to float freely around the cuff is carefully crafted by hand embroidery.

At the same time, Browne made use of his creative experience in the haute couture series, combining the hourglass rigorous silhouette with the pioneer deconstruction to create a dramatic fashion, which imperceptibly promoted the development of the story in the march of the model until the appearance of the gold beetle cloak in the final scene.

The Raven's original work is tragic and rueful, but Browne has written a bright future for it in the fashion world, especially when he presents his heart-shaped gift box to his partner Andrew Bolton in the guest seat, which brings the long, poignant poem to a happy ending in the real world.