Runway
Forget the cliché fringe and beaded flapper costumes. Odette Álvarez's "SWING" collection delivers the true, slinky elegance of the 1920s and New York City's Art Deco architecture, and the masterful art of "less is more."
Updated 04:07 pm EDT, March 29, 2026
Published 04:07 pm EDT, March 29, 2026
Photo Courtesy: © IFEMA MADRID
Forget the cliché fringe and beaded flapper costumes. Odette Álvarez's "SWING" collection delivers the true, slinky elegance of the 1920s and New York City's Art Deco architecture, and the masterful art of "less is more."
Updated 04:07 pm EDT, March 29, 2026
Published 04:07 pm EDT, March 29, 2026
Photo Courtesy: © IFEMA MADRID
There’s a common misconception that the 1920s were a decade of fringe and beading. If you go looking for “1920s” dresses online, that’s probably going to be the majority of the results you see, beaded slip dresses purporting to be recreations from the iconic era. The idea of fringe and tassels actually stems from stage costumes of the era, and completely neglects the simple slinkiness of the decade.
Odette Álvarez’s new collection, SWING, for Mercedes-Benz Fashion Week Madrid, understands the assignment. Taking inspiration from the effortless elegance of the period, her collection is a fantastic study on “less is more.” Inspired by New York City’s art deco elements, the collection is at once both free-flowing and geometric, much like the city itself.
There are a number of pieces with dropped waists, such as a pair of gowns, one in black and one in white, with subtle silver beading at the waist and hem. They are a love letter to the scandalous draping of late 1920s (verging into the 1930s) gowns. The material is light, whispering over the wearer, but creating the most delightful motion.
Many pieces are combined with statement fur coats redolent of the “cocoon coats” of the period. The furs are paired with wonderfully fun lining (hot pink satin!) and worn unapologetically over sheer lingerie-inspired pieces. The heaviness of the fur is lightened completely by pairing it this way, letting both pieces speak for themselves. It would be an almost cliched look if not styled with such effortless cool.
There’s a focus on a number of pieces on the hem, many of which are bias cut and flared to give the most motion possible to an otherwise relatively simple silhouette. A blue and gold brocade ensemble is elevated by this design choice, with the skirt draped in a sarong-like fashion but still managing to be wonderfully tailored.
Delightfully, the ’20s solid thumbing of the nose at gender lines is also brought up to the current. A white satin suit comprised of pleated-waist pants, a short vest, and a sweeping duster jacket is almost impossibly chic. Gold beading dots the jacket like little bursts of fireworks. It’s “masculine” in its tailoring, but not in the fit or wearing, as if the ensemble couldn’t be bothered to limit itself.
There’s even a nod to one of the overlooked scandalous garments of the period: pajamas. The idea that women would sleep in pants was somehow as damning as wearing them during the day, if not more so. A cheery pink ensemble brings them right out of the bedroom and onto the street, demanding attention and not caring if it receives it. The pink velvet pants are elegantly pleated into the waistband, creating a draping effect, while the blouse in silk chiffon is worn loosely with a pink velvet and gold vest over the top. It avoids the pitfall of looking like a costume with its casual wear. Velvets, satins, and furs are all worn next to each other, catching the light and letting the simple, understated elegance of the pieces speak for themselves.
Jordan emerged from a cornfield in Indiana in 1986. She went on to gain education in history, art history, and literature. She has predominately made a living writing for a variety of media, as well as a dress/fashion historian. She currently resides in a bog in Sweden and emerges every so often to forage for cheese and point at dogs.
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