“Wonderful Grace,” by Sally Singer, was initially printed within the November 2001 problem of Vogue.
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Uncommon occasions name for uncommon measures. In these pages, we provide a preview of American trend for spring 2002—an exception to our customary follow of exhibiting solely designs which are, or will imminently be, accessible for buy by the point Vogue lands on the newsstand. The seems to be right here won’t be in shops for a number of months but, however the qualities that underlie them—optimism, vivacity, confidence—communicate to us with irresistible urgency. Maybe a particular showcasing of labor that, beneath regular circumstances, would have been introduced beneath the tents in Bryant Park, Manhattan, merely gratifies our intuition for patriotic self-expression.
Up till September 11, the New York collections had proceeded with predictable doses of giddiness (Imitation of Christ insisted that the viewers stroll down the catwalk whereas the mod- els occupied the entrance row) and tedium (why was moving into Marc Jacobs’s present a dismal throwback to the velvet-rope frustrations of the Mike Todd room on the Palladium, circa 1986?). Then got here Tuesday. All exhibits had been canceled, and it was not till the next week that the business felt in a position to go on, after which solely in a sober, scaled-back type. Small teams of editors had been invited to no-frills Seventh Avenue showrooms to see a choice of a designer’s key seems to be, typically with out music.
