Christopher John Rogers and more
Photo-Illustration: by The Cut; Photos: Courtesy of Jil Sander, Christopher John Rogers, Oscar De La Renta
The Spring 2022 collections brought us back to live shows last September, and the best of the early fall collections, now out, are teeming with a similar vitality. Who knows if the current surge in COVID cases in New York and across Europe will cause fashion houses to revert to digital formats for the big shows in February and March. It suddenly seems possible.
Fortunately, designers have become more proficient, and perhaps more instinctive, working under constraints. As Laura Kim, Creative Co-Director with Fernando Garcia, Oscar de la Renta told me: âI have a smaller team but better relationships. I think as a team we are stronger. We work fewer hours. The result was a remarkably high number of sales, that is, the amount of clothing sold at full price. At Oscar de la Renta, according to Kim, it’s around 90 percent, unlike the more typical 60 percent.
Oscar de la Renta before the fall.
Photo: Courtesy of Oscar De La Renta
A conductor, surely, is electric in color; another is a casual suit. Garcia and Kim extended their spring idea of ââtailored tweed mini dresses and jackets with fringed hems, some paired with shorts. The designers pulled out the Oscars archives for a weird and wonderful print that looks like a preppy ’70s madras and plaid patchwork, as well as different floral prints, which were then bundled together for a flowing chiffon dress, various knits. and a pointed tunic dress on a white background, which they put on with silver sequined trousers. The brand has a history of being decorative and ultra-feminine, and unsurprisingly, it gets a lot of play in the new Sex and the city series. In the latest collection, there are bubble taffeta dresses, party looks made of solid taffeta knot crush, and a white mini dress fully embroidered in eyelash-shaped sequins, its floral details beautifully muted.
But, for me, the look that best reflected the designers’ intentions, the mix of nonchalant-casual and decorative, was perfectly. ageless black suit with a fitted skirt below the knee. The whole thing was made in a kind of faux tweed woven from thin slanted bands of black lace, tulle and crepe de chine. It’s probably weightless too.
Christophe john rogers
Photo: Courtesy of Christopher John Rogers
Christopher John Rogers had hoped to put on a real show this fall, but between COVID and the costs, he said, “it started to look like a litter.” He added, on a Zoom call, “I’m glad we shot the lookbook instead. It’s so much more impactful.”
The images, released today, show Rogers’ ever-evolving eye, wit, and remarkably strong sense for line and proportion. What’s new is the addition of more neutral tones – white, cream, biscuit de SÃ¨vres gray (for a subtly striped linen suit-coat combo – and a few built-in elements that suggest natural wear to a garment. By that I mean modest gathers for the front of a suit jacket or on the side of a long skirt to convey the trace of a fold made while sitting or the look when you partially tuck the flaps of your shirt in. . Rogers incorporated gestures – you might say, accidents – into his designs. For him, it was another way of overturning the formality of tailored clothing. He also executed the idea very well – by first experimenting with a men’s jacket from the 70s to see how the pleats would work.
Rogers is one of those rare young creators who really progress each season (his ninth) without losing his way. There’s always the big bow-wow color, but, in a striped viscose twill kaftan, it’s made more graphic with the addition of wider black stripes. Or he skillfully transformed video game footage into a âfun faceâ print or the irregular squares of a magic marker test board into a pattern for a clear PVC trench coat. A signature of Rogers is the ruffled tuxedo shirt. This season, he’s tearing it up with a long, lurex-infused shiny white organza shirtdress with an all-over ruffle panel. Shown on a model in matching balloon pants, one hand tucked into a pocket for the dress to partially open, the ruffles appear to twist – an effect Rogers obviously loves. No less versatile and fun is a sleeveless mid-calf dress and wide leg jumpsuit, in a mix of black and white polka dots. An invisible zipper on the front of the dress brings out the shock of the stitches. Or you can just wear the dress on its own and close the zip for more discretion. Either way, Rogers is thinking about it.
Photo: courtesy of Proenza Schouler
âWe just love simple clothes,â Lazaro Hernandez said during a Zoom call with his partner Proenza Schouler Jack McCollough. âThe idea of ââreducing things to their essence.
McCollough and Hernandez also used matte and stretchy fabrics for a nice effect, most notably in a stretch crepe (“It’s almost like knits,” McCollough says) and a beautifully solid white matte jersey shirt with ribbing. The collection picks up on many of the ideas from their September runway, with biker shorts now trimmed in a feather haze, and almost every look featured in brogues and other low heels. âEveryone just wants a flat shoe,â Hernandez explains, adding that the shoes have become a big deal for the brand.
Photo: Courtesy of Jil Sander
Simplicity is actually the general meaning of the best of pre-fall collections – the sleek, minimalist lines of clothing from Daniel Del Core in Milan, the ribbed summer dresses in muted tones by Tory Burch, and the insanely good offering from Jil Sander. designers, Luke and Lucie Meier. Their collection wins with fresh colors – mango, banana, weird but interesting combinations of pale blue and chocolate – and flattering shapes achieved in part by matte, compact fabrics and knits. Their clothes have such a mature sensuality.
Dior before the fall.
Photo: Courtesy of Dior
The collections of Maria Grazia Chiuri at Dior and Chris Leba at R13 were also strong. Both were drawn to punk, but of course with different results – Leba with almost Gumby-like proportions that stretched her figure and included deliciously oversized pieces. Chiuri was an affair, with both maxi and mini kilts, fluffy tartan knits, biker shorts (a pair worn with a cool black lace “T-shirt” dress) and elements of men’s clothing. .
It was the infusion of male uniforms (school, work clothes) or rather the interplay of female and male fashions that kept things interesting and undermined the classic romanticism of Dior.