Cargo pants. Knitted cardigans revealing the navel. Fuzzy sweaters. Slinky slide decks.
These pieces were staples of Y2K fashion and now in constant rotation as the style revival of the era continues to dominate fashion today. Spring 23 collections so far indicate that the macro fashion trend shows no signs of slowing down.
And while there are already plenty of mid-range and mainstream interpretations of the Y2K revival, Fendi’s latest collection shows what the trend can look like when realized on a luxury level.
For her Spring/Summer 23 womenswear line, which premiered at Milan Fashion Week on Wednesday, Fendi’s womenswear creative director Kim Jones sent a parade of models in cargo pants. But those pants weren’t the parachutes seen on every Gen-Z’er this summer. Crafted in a swingy sage green or shiny apple luxe silk satin, or perforated caramel cream leather with double F-logo buckles accenting the cargo pocket straps, the pants offered a fresh silhouette to a luxury wardrobe.
The silhouette was made entirely in the year 2000 with a series of sliding platforms, many of which were in the candy apple green hue, some blurred and all with a platform heel featuring a double F logo. with the same platform wedge heel were joined by a few platform sneakers that kept the whole collection bouncy and captured the most upbeat and youthful moments of the original Y2K style.
The vintage look continues with the knitwear of the collection, with airy cardigans, buttoned sparingly to reveal a navel or two. Ribbed silk knits were either sheer or stripped, associated with the aforementioned cargos, but also long, luxurious silk skirts (some following the utilitarian spirit of the cargo with panels attached by side sashes). On closer inspection, a series of fuzzy sweaters with sporty shapes have been made in fur (the brand still produces animal fur pieces).
Jones also continued to use sheer fabrics, especially organza, which was featured prominently in the Fall 22 collection.
The entire collection was inspired by a look at the Fendi archives, particularly in the years 1996-2002 – the heart of the Y2K era. “It’s a matter of continuity. I’m interested in looking at the things Karl has done and seeing how we can expand on them – both visually and technically,” Jones said in the collection’s presentation notes. “I constantly think about practicality as well as luxury,” he added.