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The Soundtrack of NYFW: An Uncomprehensive List

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How could you not picture Boy George's face bobbing over all those Herchovitch looks—the candy-colored bowlers alone!
How could you not picture Boy George's face bobbing over all those Herchovitch looks—the candy-colored bowlers alone!

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One of the most important (and least buzzed about) aspects of a fashion show is its soundtrack. The music sets the mood for a collection of clothing (who's wearing this and where?) and the overall tone for the show (whether we're having splashy good times or gloomy goth times). Further, the music is often a direct representation of the designer's aesthetic; or, at the very least, an underlying theme and tiny little window into a designer's inspirations during a given season.

One show that really wore its music inspiration on its sleeve this New York Fashion Week was Alexandre Herchcovitch—the Jewish-Brazilian avant-gardist with a penchant for print and reinterpretation. For Spring/Summer '13, Herchcovitch borrowed those checkerboard satins, bold tartans, and pop colors from Boy George and the Culture Club. Rather fittingly, the soundtrack was a Culture Club greatest hits moment—including snippets of "Do You Really Want to Hurt Me," "Karma Chameleon," and others.

Timo Weiland's show presented another striking set—it turns out the hip, young designers behind the hip, young brand are tight with electro-hip hop group Spank Rock. The two parties collaborated on a bold playlist that opened with Kanye West's "Clique" and closed with "Be a Body" by Grimes; all while including bits of new wave-inflected punk by the Feelies ("Forces at Work") and electro-goth by Zomby ("Mozaik").

At Michael Bastian, Donna Summer's classic "Love to Love You Baby" was accompanied by a designer Donna Summer tee shirt (and some Groove Armada). And at First Lady fave Tracy Reese, a megamix was built around a spirited electronic track called "Time After Time" by We Have Band. Spliced in, highlighting all that sherbert-hued flounce: High energy tidbits by the Cure, Muse and Sergio Mendes.

Speaking of the Cure, Rodarte set the a gloomy tone with "A Forest;" and Carlos Campos used a high-energy assemblage of punk-wave jams by the Cure, as well as Generation X and Joey Ramone. Richard Chai borrowed from the same general era and genre (let's not knit-pick) as well—choosing two Jane's Addiction songs to showcase his men's and women's contemporary collections.

General Idea was also edgy and glum—albeit in a very contemporary way. His set of lumberjack-inspired menswear was accompanied by electro-thrash from the Glitch Mob, Blamorhea and !!!. The darkness continued at Duckie Brown—despite the sun-soaked loft-style venue—with "L.A. Murder Motel" by Poni Hoax along with tracks by Paris and an Italian jazz pianist named Michele di Toro.

A highlight was the set at Billy Reid—a summery, sultry set of alt. country, indie rock, and Americana. The show opened with "Down in the Valley" by the Head and the Heart before winding through strummy, velvety tracks by Cheyenne Marie Mize, Tift Meritt, and Willy Moon.

Another highlight: the beautiful mess at Parke & Ronen's show; which took place overlooking the Hudson River at the massive Pier 57. The surreal, pitch-black, semi-outdoor calm was initially shattered by "O Mio Babbino Caro," an aria from Puccini's "Gianni Schicchi." From there, the designers behind those signature splashy swimsuits and matching resortwear weaved through snippets from the Beatles, Santigold, Duran Duran and Bonde do Rolê.

Finally, it's worth noting that Marc by Marc Jacobs went super upbeat Italo-disco with "Can't You Feel It" by Time; and the DKNY show blended "99 Luftballons" (Nena) with "99 Problems" (Jay-Z). And a personal favorite: Antonio Azzuolo's choosing a remix of "Ice Cream" by the New Young Pony Club.

Our Spotify playlists thank you, NYFW.
· All NYFW Coverage [Racked]