In the early 2000s, I was the proud owner of a black Helmut Lang pantsuit. Despite my initial aversion to the term “pantsuit,” this particular outfit had a unique cut that defied traditional expectations. With its three-button, single-breasted jacket and relaxed, yet stylish, flat-front pants, it made me feel like the coolest and most confident version of myself. Wearing it, I believed I could navigate any social situation with ease.
I cherished that pantsuit until it became worn out, and ever since then, I’ve mourned its loss. Whenever I mention it, I find that there is always someone who shares their own story about a Helmut Lang item they owned. His designs captured a rebellious, angst-filled cultural moment and transcended it, making him a tremendously influential figure in both the individual and industry contexts.
His impact was so significant that in 1998, he caused a shift in the entire fashion show schedule by moving his show from Paris to New York Fashion Week. Traditionally, New York was the last city on the collection calendar, with shows taking place in mid-October. However, Mr. Lang desired to be the first to showcase his collection, so he moved his show to early September, and the rest of the city followed suit.
Since Mr. Lang’s departure from his brand in 2005, Fast Retailing, the company that acquired it the following year, has been attempting to revive it. However, they have struggled to maintain the brand’s image, cycling through a series of designers and “editors-in-residence” who have muddled its identity.
As New York Fashion Week began on Friday, another effort was made to revive the brand.
In theory, the timing seemed perfect. The late 90s and early 2000s, the years before social media transformed our lives, have become a ubiquitous point of reference.
The new designer, Peter Do, appeared to be tailor-made for the post-Helmut Lang era. He is a rising star known for his impeccably tailored suits that incorporate unexpected elements, placing him directly in the lineage of Lang’s design philosophy.
The venue for the show, located in the Lower East Side, was brimming with anticipation. The floor had been adorned with a poem by Ocean Vuong, a friend of Mr. Do and an accomplished writer. This artistic display mirrored Mr. Lang’s past practice of featuring slogans from artist Jenny Holzer in his store. It was evident that Mr. Do had thoroughly researched his predecessor.
However, this is where the problem arose.
The collection was filled with Helmut Lang “Easter eggs”: straps, a taxicab print referencing Lang’s notable ad campaign, and t-shirt dresses with sheer silk chiffon overlays reminiscent of Stella Tennant’s wedding gown. Every piece had been expertly crafted using Lang’s sartorial vocabulary, including flat-front pants, Crombie coats, and lacquered jeans.
The color palette consisted of Lang’s classic black, white, and beige, with occasional pops of bright pink and marigold. Color blocking and message shirting were incorporated, with shirts worn backwards for easy visibility of the messages. Even the models chosen for the show had ties to Lang’s past, such as Mipam Thurman (Uma’s brother) and Sasha Pivovarova.
The collection was polished, accessible, and highly marketable. It will likely sell very well — and it should. Mr. Do demonstrated a deep understanding of the Helmut Lang aesthetic, surpassing the efforts of previous designers who attempted to carry on the legacy. However, what was lacking was the element of subversion.
One of the reasons Lang’s clothing resonated so deeply was its ability to infuse classic elements with a subtle hint of rebellion, throwing everything slightly off balance. In contrast, Mr. Do’s designs felt earnest, showing too much reverence for a legacy that thrived on calculated defiance. Lang’s straps alluded to bondage and underground culture, while Do’s resembled seatbelts and doormen. Rather than redefining fashion, these clothes merely filled in existing wardrobes.
Think of it as Lang lite. Easy to consume, but lacking a lasting impact.
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