SURFACE TREND

2019

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47 Canal presents SURFACE TREND by CFGNY in Seward Park

Monday, June 24th 2019

Styling
Avena Gallagher

Styling Assistant
Gregory Miller

Choreography
Kiyoto Koseki
Stephen Kwok

Makeup
Shiseido
Tomomi Shibusawa

Makeup Assistants
Mark Witmer
Max Savage

Hair
Chika Nishiyama

Hair Assistants
Yu Nakata
Miwako Urasugi

Tailoring
Grace Ryung Kim

Photography
Oto Gillen

Lookbook
Mary Inhea Kang

Video
CFGNY

Camera
Erik Saltzman
Jacob Truax
Cameron Tidball-Sciullo
Eamon Colbert

Models

Henry Bae
Eric Yue
Cynthia Leung
Tishan Hsu
Adrian Lee
Dare
Benjamin Liu
Nicholas Andersen
Trisha Baga
Annie Lee Larson
Yoma Ru Smith
Andrea Solstad
Huy Luong
Timur Si-Qin
Sarah Chow
Benedict Nguyen
West Dakota
Elliott J. Wright
Kristen Kilponen
Cici Wu
Mar Chan
E.T. Chong

Collaborators
Carissa Rodriguez
Cynthia Leung

Sponsors
Shiseido
Melissa
Retrosuperfuture

Special thanks to
47 Canal
Oliver Newton
Margaret Lee
Jamie Kenyon
Sarah Chow
Joe Heffernan
Nick Fernandez
Xochitl Perez
David Kirshoff
Lydia Rodrigues
Charriya Un

On an archipelago in Vietnam in the South China Sea, the region's first international airport recently opened to service a burgeoning global tourist industry and its luxury beach resorts sprouting along the coastline. Vacationers arrive for the weekend from Russia, Italy, China and elsewhere in Vietnam to ride the world's longest 'gondola' (aerial oversea cable car) between a network of islands. The entrance to the gondola simulates ancient ruins displaced from some vague locality between early Rome or Athens. At the beach, statues of Tiki heads line the paths where crowds of Russian and English-speaking sunbathers slather SPF 70 to protect them from the sun. As the day wears on and the tourists begin to retreat, the vista of exposed skin gives way to a mélange of ordinary, daytime ensembles worn by local islanders who wade into the water fully clothed.

Surface Trend is our attempt at tracing this moment of contact. Inspired by the loud, colorful fabrics of our surroundings in both New York and Vietnam, the collection imagines a style that interprets a global undercurrent. How does the desire for a 'modern look' collide with the existing sensibility of a given locale? What is that excess that overwhelms the surface – a look that is placeless yet recognizable, foreign yet familiar?