As northern hemisphere dwellers are bundling up in multiple layers, so too is Proenza Schouler. But in a different way. For their pre-fall 2015 collection, Jack McCollough and Lazaro Hernandez took the greatest hits of their last couple of collections, tweaked and jumbled them ever so, then cobbled them back together to novel effect. Bundling done right.
For the most part, the duo combined and recombined argyles, plaids, checks, and some dark florals — all of which, despite their differences, looked great together. It helped to have a nearly monochromatic palette, save for a beautiful blue. The long pleated skirts of two seasons ago reappeared, as did the showstopping jungly fringe of last season that hung to the models' knees. Accessories, too, didn't disappoint. Proenza's revamped accessories team has been cranking out killer shoes and boots, and in this collection they debuted what will be likely be another bag destined for wait lists, a schoolgirl-ish satchel named Kent.
The label is in the midst of rolling out standalone boutiques across Asia — specifically in Singapore, Bangkok, and Hong Kong — not to mention their two relatively new shops in New York. This collection will telegraph the brand's codes nicely in all of the above. Which is to say, no grand gestures that require a fair of contemplation, but rather a homey stew that sits well.
You hardly need to see it in color to appreciate the boho-folkish psychedelia of Hedi Slimane's Psych Rock line for Saint Laurent. At his spring men's collection in June, he teased the crowd with a few women's looks. Now, with model Grace Hartzel, he's photographed and unveiled the rest.
The highest possible craftsmanship is the clear focus, not unlike the métiers of another French house. Here we have embroidery, beading, crochet, plumery, leatherwork, denim, and lace, not to mention an array of fine jewelry — all dancing in unison like the peace-loving throngs at Woodstock.
Since opening a studio in Los Angeles, formerly Paris-based designer Bernhard Willhelm has been in an especially sunny, colorful, American sort of mood. Here are the best looks of spring 2015, both men's and women's.
While the clothes spring straight from the designer's vernal mind, the shoes are part of his collaboration with Camper, the sunglasses are from his line with Mykita, the nail polish from Uslu Airlines for Bernhard Willhelm, and the jewelry from Sonia Boyajian for Bernhard Willhelm. The print motifs are based on animated GIFs by Alec Mackenzie and Gustavo Torres. Finally, the photos are by Willhelm's frequent collaborator, Josh Paul Thomas...
Alexander Wang debuted a collection for H&M that was both street-inspired and sport-based — the sport of boxing, in particular. Free from the constraints of tailoring, the almost entirely black men's and women's pieces either clung to models' skin, as in logo-splashed gym tights, or formed a cocoon around them, as in neoprene sweatshirts.
A wide array of accessories and personal objects including a yoga mat, towels, a water bottle, and goggles were certainly not left out. These looks were essentially stripped-down staples and high-functioning hybrids that will probably do very well when they go on sale November 6, even if the notion of fast-fashion collaborations has, at this late stage, lost some of its luster.
Which is surely why Wang arranged for a festive environment in the vast Fort Washington Avenue Armory in Upper Manhattan that harked back to the mid-aughts, when his elaborate after-parties were the stuff of legend. And so, following the runway show, rapper Missy Elliott performed retro classics Get Ur Freak On and Work It, along with her protégée Sharaya J., to a crowd that included Solange and Jessica Chastain. Wang, as he's wont to do, danced onstage.
Solange, Jessica Chastain
Mary J. Blige, Eddie Redmayne
A sense of randomness often pervades a Nicolas Ghesquière collection. His sophomore showing for Louis Vuitton today — held in LV's state-of-the-art, spaceship-like, sparkling new Fondation designed by Frank Gehry — brought together disparate elements in ways novel, unexpected, spectacular, and at times mystifying.
The show opened with large monitors displaying a diverse cast of faces reciting lines from the David Lynch sci-fi thriller Dune (which may explain some of the ergonomic-looking knee pads later in the show), starting with: "A beginning is a very delicate time. Day zero in the heart of the project..." Very meta.
Strangely enough, Dune made sense. Not that the clothes were particularly sci-fi, at least not to the degree of those C-3PO pants Ghesquière made for Balenciaga in 2008. First out of the gate were doily-like lacy white dresses, which, over the course of the first third of the show, were mixed and matched with phenomenal leather pieces in bright orange and red or stark black, some of them mere leather strips placed here and there. As if that weren't random enough, he also toyed with a print showing an assortment of lipstick, telephones, cars — like something from the art magazine Toilet Paper.
What came next were trompe l'oeil all-sequin mini-dresses, suggestive of animal prints or curtains. They demanded double- and triple-takes. After that were several stabs at jolie laide, i.e. velvet sports bras and flared pants or flouncy dresses with faded wallpaper patterns and a bulky zipper all the way down the front. Ghesquière seemed to be packaging himself as the misfit who made it. One thing's for sure — he likes to keep us guessing. And why not?
Miuccia Prada further mined her twisted fifties vision for Miu Miu that, for spring, borrowed from John Waters' dark comedy Female Trouble. The soundtrack, which included the film's theme song, confirmed as much. Prada sent out garishly frilly yet finely polished pencil skirts; snug sweaters with daring décolletage; lots of exposed midriff; capri pants with contrasting belts; plaids pushed into new terrain; alt-opera leather overcoats; the occasional sizzle of acid blue; and heels with big good-girl ribbons on them. Here are the best looks...
In the absence of an haute couture line, Alexander McQueen's ready-to-wear makes a convincing stand-in, a plausible proxy. There's really no other way to explain the elevated craftsmanship of Sarah Burton's collections of late. Spring 2015 was no exception.
Essentially she extrapolated ideas from an assortment of antique kimonos she acquired on trips to Japan. Mindful of being overly literal, she interpreted some elements for a contemporary palate while discarding others altogether — obi belts, for example — all in a limited palette of black, white, red, and pink. she connected the results with house codes by way of amazon-like strappy bodices and lace-up sandals.
Meanwhile, deep-V, wide-sleeve silk dresses were printed with flowers and, perhaps, a stylized scene from a Japanese screen. But it was the Incredible leather and snake coats so flawlessly pieced together from smaller skins that stole the show.