Sophistication, simply stated
THE gridlock in Manhattan this week has been a reminder of life beyond the runways, as world leaders meet at the United Nations to discuss matters far more important than the future of bubble skirts. Streets have been blocked off for security reasons and it has been nearly impossible to find a cab, which is why this reporter found herself in a bicycle-pulled rickshaw riding through the skyscraper canyons of Times Square.
It was a fine way to travel to see up-and-coming L.A.-based designer Jenni Kayne in a Lower West Side loft. Framed by floor-to-ceiling views of the Hudson, her collection was full of the simple summertime separates one might pack for a last-minute adventure. The tightly edited show -- which included an inky blue silk dress with latticework at the neck, a blanket-stripe shawl thrown on top; an easy navy cashmere shell paired with a lace-edged white linen skirt; and a fitted jacket in nubby linen buttoned over a crisp khaki skirt -- was spot-on for the mood of cleaned-up sophistication that is emerging for spring.
Most designers are forgoing the overtly sexual in favor of softer, more romantic looks, among them shirtdresses, bubble skirts and full trousers. Styles are not encumbered by the baroque beads, bangles and brooches that have defined fashion over the past few years. Instead, naturalistic floral and leaf patterns prevail, and embellishment is accomplished with crochet embroidery, much of it reminiscent of folk art or the Arts and Crafts movement, when artists rejected the opulence of Victorian style in favor of raw materials and simplicity of design.
Calvin Klein built a brand on clean lines and muted colors. But his successor has had trouble finding his own way -- until now. In his sixth season at the helm, Francisco Costa produced a collection that may define the new look of minimalism. In a nearly all-white show of swingy Empire-waist dresses, he stayed true to his master’s architectural vision, while managing to put his own spin on things, with surprising textures and geometric details. Chiffon discs fluttered on the hem of a long, racer-back gown, while cotton pique squares peeked out from under the layers of an A-line dress.
A light, ethereal look was achieved by layering a translucent tank dress in a circle print cotton voile over a solid slip, and a featherweight light blue silk chiffon dress over a Lurex striped skirt. Working largely in one color allowed subtleties to shine, like the delicate sequin cables on a silk organza cardigan.
Narciso Rodriguez is cut from the same no-frills cloth as Klein and Costa, and this season, he too relaxed his silhouette, giving his signature harness-backed dresses full skirts that fell below the knee. He even added a few side pockets, lending a slouchy feeling to washed linen tank dresses in soft shades of lilac, ecru and silver, paired with thong sandals. Again, the details were subtle: the shadowy vertical seams around the bottom of a fitted gold jacket; the light dusting of crystal pearls forming a corset on a black tulle top; and the pleated, crescent-shaped side vents on a black stretch canvas skirt.
Rodriguez also experimented with color blocking, using vertical bands of lilac to contour a cream linen skirt. The look was not as sleek or sexy as it has been in past seasons. But then again, the clothes may just give those who don’t have figures, like front-row fixture Claire Danes, a fighting chance.
Michael Kors turned to the West in search of the simple life, specifically the graphic style of painter Georgia O’Keeffe, who was famously photographed in a stark white shirt, long black skirt and flat-topped hat. Thankfully, the collection was less about Santa Fe cliches and more about everyday classics, such as a crinkled olive linen blazer belted with thick brown leather over a tiered white Chantilly lace skirt, and worn with some fabulous high-heeled huaraches. A black halter neck sweater vest was a fresh counterpoint to a printed silk georgette skirt in the blues of the Mojave night sky. Kors resurrected the bodysuit, pairing it with a tiered black point d’esprit ball skirt for a casually elegant party look.
There has been a thread of Hollywood glamour running through the week too, particularly at L.A. designer Monique Lhuillier’s flawless show. Her collection struck the perfect balance between high-gloss glamour and dignified restraint. A white tulle dance dress sprinkled with black caviar beads brought to mind a sweet 16, while a crisp white gazar halter number with a ruffled tuxedo bib was a sophisticated alternative to the little black dress.
Lhuillier offered a ball skirt in black lace, worn with a simple ivory cashmere shell on top. For those looking to get in touch with their inner siren, there was a seamed silk column in liquidy silver with a softly draped cowl neck, and a “blue haze” taffeta gown with a tufted ball skirt and jeweled collar that would make any actress proud.
Roland Mouret, the French designer who shows in New York, has been on a roll dressing starlets in hourglass suits, both highly constructed with strong, sharp shoulders and impossibly narrow skirts, and deconstructed, with fabric cut, folded and sewn down to create sculptural edges and points. Inspired by the film “The Women,” Mouret offered more of the same this season in ivory, pearl gray and black. The show opened with a shaped ivory jacket with slightly puffed three-quarter sleeves, a square neckline and clerical-looking collar, paired with a calf-skimming pencil skirt. Full-cut trousers in gray and black checks and plaids were topped by solid tops with bunched and molded cap sleeves.
For evening, Mouret sent out jersey dresses in vibrant shades of apple green, fuchsia and sky blue, which seemed effortlessly draped and wrapped, some with fishtail hems fluttering behind them. Smartly, he gave up on fall’s hobble skirts, cutting this collection a little more generously, perhaps with mere mortals in mind.
Mark Badgley and James Mischka’s business went south because, among other things, they seemed to be designing only for the very limited (and freeloading) red carpet set. But after a brief hiatus, the designers were back on the runway thanks to an influx of cash from new investor Iconix (formerly Candie’s shoes). The collection was diverse, with sparkly suits for the mother of the bride, along with floor-sweeping gowns for awards show customers.
Some pieces -- a light blue satin halter gown with cream lace overlay, a smattering of cameos and rhinestone curlicues on the bodice -- were too tarted up. Indeed, the best and most accessible looks were the simplest, namely a hopsack linen tank dress sprinkled with electric blue crystals. But it was a strapless black cotton dress with little more than a rosette at the hip and a trapeze hem that could really stop traffic.
Then again, this week that’s not saying much.
