In the sea of meaningless or overly sophisticated (which, in the end, means the same as meaningless…) collections in New York this season, The Row stuns with confidence and actual sense of real desire put upon us, the viewers. As the models skimmed quickly by in flat slippers and boots, the thrill behind Ashley and Mary-Kate Olsen’s line-up was in the finesse of the cuts, precise but relaxed, especially with the addition of turtlenecks layered under silk button-downs or worn solo under jackets. The tailoring is refined and subtle in shilhouette, and the outerwear is a sure winner of the season. It’s quite clear that the designers looked at Martin Margiela’s Hermès for inspiration – especially the layered knits and long, grey gloves that seemed to blur with the clothes. But I’m fine with that. An installation of sculptures by Beverly Pepper, an American artist who worked in stone, corten steel, and iron until she was 97, was the centerpiece at The Row’s show. Pepper died just last week, and the New York Times’s obituary described her as a “sculptor of monumental lightness.” The Olsens’ work definitely identifies with that description.
Collage by Edward Kanarecki.