And it’s a point of view that clearly resonates – his namesake label, Luar, has been on an ascendent trajectory, not only for its covetable (and affordable handbags) but for its ability to speak to different communities as well. The show, titled ‘New Life’, offered a glance at times past – a couple of looks comprised moth-eaten vests and underpants only, while a ruby red double-breasted blazer with brass buttons had been cleverly aged to implied years of sun bleaching on the hanger, collecting dust. Afro hair was coiffed and twisted into elegant rolls, straight hair was pulled into teddy quiffs, scalp tattoos were visible under buzz cuts. The sensational casting reflected the diverse and extraordinary multicultural beauty of the city. Suits so structured they could have had broom handles threaded across the shoulders gave gravitas to youthful, slender models. White tights and patent shoes were teamed with basketball shorts. A white dinner jacket with a dramatically oversized corsage was worn with a pointed lapel and black shirt. Eveningwear and tailoring took precedence over streetwear. Similarly, his reach is grasping characters that prop up American contemporary culture – namely musicians and athletes (Venus Williams arrived at the US Open, racquet bag in hand, wearing a Chavarria blazer and enormous corsage just a week earlier). A red T-shirt with puffed-up shoulders was as big as an American football jersey a T-shirt emblazoned with ‘USA’ subversively printed upside down. He applied his own lens to tropes of American life, recasting familiar garments into symbols: Stetson hats, varsity T-shirts, sporty windcheaters, preppy monogrammed brass buttons. It’s a New York landmark, and Chavarria wanted to give his audience a New York experience. The Woolworth Building, an impressive Gothic revival skyscraper that was once, for a time, the tallest building in the world, stupendous in decoration and scale, provided the stage.
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