Proenza Schouler Pay Homage to New York City With Latest Collection

by SHOWstudio on 16 November 2020

Proenza Schouler resist the digital fashion trend with their new S/S 21 collection by collaborating with Daniel Shea to create a book detailing their latest designs.

Proenza Schouler resist the digital fashion trend with their new S/S 21 collection by collaborating with Daniel Shea to create a book detailing their latest designs.

Despite fashion's move towards the digital realm only being accelerated by the arrival of the pandemic, Proenza Schouler have decided to take a step back by paying homage to what seems to be one of the most important, yet forgotten senses: touch. By collaborating with photographer Daniel Shea, Proenza Schouler's creative directors, Jack McCollough and Lazaro Hernandez have decided to go (what may currently seem) a little bit old school for their S/S 21 collection, creating a book that exists as a love letter and homage to the metropolis that is New York City.

Released in four different colours - 'Imperial Blue', 'Savannah Brown', 'Savannah Red' and 'Ecru'- the book in question is a simultaneous ode to the chaos and simplicity of city life. Inside its pages presents a collated series of photographs of the new collection, styled by Brian Molloy and taken by Daniel Shea, that sees the idyllic New York City woman go about her daily life from morning to night.

Available to pre-order for the first time on the brand's website, the collection falls hand in hand with the wardrobe demands of a city woman living the city life: uncomplicated and streamlined silhouettes. Soft colours at times contrast bolder ones against others with a focus on fabrics that offer warmth and cosiness. Putting sustainability at the heart of the collection, knitwear has been designed with hand-knotted dying techniques, whilst old season Proenza Schouler fabrics have been up-cycled and given a new lease of life.

Designers Jack McCollough and Lazaro Hernandez say of the inspiration behind the collection:

'During the early days of our collective, deliberate isolation, the world seemed to be moving towards an almost purely digital, and therefore ephemeral, existence. We were deprived of the material world and longer for touch, for feel, for the nuance and delicacy of the tactile world...for the feeling and physicality of objects and things. This book is a product of these feelings: a physical and lasting material document of an extraordinary moment in time, and of a collection that came to be under such unimaginable circumstances.'

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