Carly Mark‘s spring-summer 2022 collection for Puppets & Puppets indulged in a surreal spookiness – to a level-headed extent. Why were there saucers on the butt of a toile skirt? Why was a gymnastics leotard layered with a button-down? And why did that model have cheese on her head? But things aren’t as madly subverted as in the past collections of the label. Part of this season’s success has to do with Mark’s growing business awareness. She hired a production team and every piece on the runway was production ready; no more one-offs or art projects. Fruit printed denim, trompe l’oeil nude knits, and printed midi-skirts felt like her most salable items ever – even the hoop skirts had a new wearability. Then there were Mark’s kooky accessories. Her first to-market collection of chocolate chip cookie bags and Ferrero Rocher heels sold out on Ssense in few days. This season she’s offering shoppers a choice of Swiss cheese wedges, black-and-white cookie bags, and a cruller purse.
No one in New York does opera-level drama like Thom Browne. At his spring 2022 presentation, which was an artistic performance and a fashion spectacle at the same time, the audience could be carried off in awe in so many directions: pegasuses rode penny-farthings, a couple of bachelors haunted a raw wood house, models turned from shrubs into statues… just wow. The presentation began with a voice-over about a couple of bachelors stuck indoors, looking out over an aging garden. Classic statuary, the tradition of carving a marble block into a contrapposto David, charted the show’s three parts: part one, twenty Platonic suiting ideals; part two, the pure marble slab as tunic and maxi, fastened with a hook-and-eye up the back; part three, a trick of the eye, a flex of artistry, full force in tulle. At the end, the show’s two bachelors chained their gates, unzipped each other’s gray wool dresses, and orbited each other, never quite touching hands. Passion thrives in the littlest gestures; Browne’s show was full of beauty to pluck your heartstrings and stoke your sartorial flame. And oh, the details! Those rainbow-color tulle dresses that made up the finale, with trompe l’oeil drapery and abs (the exact Greek statues Browne visited were in The Met), were not painted, but dozens of layers of tulle built up like a topography of the human form. Teddy Quinlivan’s long sheath had an arm sewn to the torso, and the models who walked in the show’s first passage were layered in at least four Browne tailoring separates. This show was not only awesome for its theatricality but for its scale; other designers would struggle to make a single garment to Browne’s standard. Browne made about 200. Each of those 200 shirts, pants, skirts, suits, jackets, bags, shoes, and hand-made gray flowers was, in not-so-coded language, a love letter to American fashion. Browne moved his show back to New York for one season only in support of his partner Andrew Bolton’s exhibition “In America: A Lexicon of Fashion” opening at The Met this week.
What Eckhaus Latta sent out this season was one of their most concise and quintessential collections ever. “It’s about feeling more free,” said Mike Eckhaus and Zoe Latta. “Really feeling yourself, coming out of the past year-and-a-half and wanting to feel sexy and confident and free.” Garments were filmy, thin dust-colored layers of nylon layered together, ivory cotton dresses and bodysuits with oval cutouts and hundreds of snaps, and airy shirts in lime and faux leather jackets in cinnamon left open. Pieces were named after transient, erotic words: vapor turtleneck, undone jumpsuit, wisp dress. The torsos were out, the nipples were out, and in a statement of intent: models wore black thongs instead of the industry-standard beige. This collection felt like a Helmut Lang tribute, even if this wasn’t the intention. Back to the designers – both Latta and Eckhaus had a reckoning with their own bodies this past year; she became a first-time mother, he had a breakup and then the requisite hot boy summer. “We’re going through different things, but we both have a desire to just be fucking real,” said Latta.
This was an exuberant, joyful and extremely uplifting Batsheva collection. Batsheva Hay’s spring-summer 2022 runway show pushed her prairie, girly aesthetic to electric new heights, at some points even camp-y territories. We’ve got crinolines, yards and yards of silver lamé, diva-worthy gowns with early-’60s swing backs, and simple white eyelet sundresses with tie dye tights. The show, which started with a ballad and swung into grunge, was a spectrum of Batsheva’s evolving asethetics. As the world opens up, Hay explained post-show, she can’t stop thinking of home: starting her brand in her home, her family in her home, and the freedom we have in our private homebound moments. Dialing up the collection’s glitz and campiness was her way of honoring dressing up at home, that moment when you throw it all on, do too much, and feel fashionable and free of peering gazes. Busy Philipps, Ego Nwodim, Amy Fine Collins, Chloe Fineman, Heidi Gardner, Veronica Webb, and more New York legends – and Batsheva clients – took turns in cascading frills and sweet dresses. This was one of these New York Fashion Week moments that we all missed during the pandemic seasons.
The Bevza staples: a slinky, ab-revealing dress; a white slip; and a muted color palette. For spring-summer 2022, Svitlana Bevza emphasizes her label’s classics. Bevza was inspired by her own archives as well as the ocean. The latter allowed her to experiment with seashell bra tops, sailor scarves and hats, and wavelike seams adding texture to the body of dresses. The distinctly nautical details were charming. There’s also the sustainability factor: the boxy necklines of some pieces were meant to resemble plastic shopping bags, for instance, and several of the square patchwork dresses were made from scraps of fabrics in Bevza’s studio. Those frocks were quite appealing: they moved gorgeously when worn and had a subtle complexity that revealed itself the closer you got to the garments. This collection is for all the sun, sea and sand babes out there, ready to spend their time at the beach all day, all night.
