Tom Ford really delivered this season! The collection was phenomenal – I would even say it’s one of the best outings of this New York Fashion Week. For spring-summer 2022, Ford is ready for the good times to start rolling again. Though there were laidback, athleisure-y shapes, these were not clothes for staying home, or going unnoticed. Quite the opposite: racer back tanks and basketball shorts or track pants were stitched all over in neon sequins: fuchsia and orange or acid green and pool blue. To finish the look: an oversize satin blazer in another bright color and accessories in the form of a crystal studded choker and barrettes, and a towering pair of satin heels. In his thoughtful show notes, Ford observed that LA has changed him, and that Instagram has changed everybody. “Photogenic clothes today by their very nature mean that they are not at all timid… My clothes this season are simple in cut but not in impact.” Then he went on to quote the imminently quotable Diana Vreeland: “I know it’s a lot but is it enough?” No to gowns and tuxedos, but a resounding yes to sparkle, the more the better. In addition to the sequins and satin, there were jean jackets encrusted with gilt chains, leopard spot lamé tailoring, and masses of gold necklaces worn over shirts unbuttoned down to there and knotted at the navel, and lots and lots of metallic ribbed knits. “Mostly,” Ford wrote, “I think that this is a hopeful collection and at a moment when we all need hope. We need that now more than ever.” Envisioning the light at the end of the tunnel, he just amped up the glam factor.
Vaquera is growing up, but it keeps on being true to its core identity of one of New York’s most daring and intriguing brands. Where the label had once used real trash bags and duct tape as textile stand-ins, it is now using specially developed fabrics. And spring-summer 2022 saw the first Vaquera handbags – shaped like classical instrument cases including shrunken carriers for a violin, snare drum and flute. “It’s changed everything, as we headed into the pandemic we probably wouldn’t have been able to keep this business open without them. We owe everything to them – it’s been an incredible partnership,” Bryn Taubensee said of Dover Street Market Paris’ September 2020 pledge to help the brand’s development. “I think this brand started with a DIY spirit and now we have this structure with Comme and have come so far with sales,” Patric DiCaprio added. The designers, which recently saw their third counterpart Claire Sullivan depart to work on personal projects, said their overall mood was swayed by notions of “luck and superstition and trying to take control of a situation that’s out of control – the rituals you can do to make yourself feel powerful”. Between the lace tights, leggings with a heart cutout perfectly aligned over the buttocks and ballooning gowns tiered in the formation of a New York City sidewalk trash heap, Vaquera delivers its underground quintessence in a less amateur manner.
This wasn’t a regular Rodarte collection. Kate and Laura Mulleavy left behind romantic ruffles and horror vacui ornaments, and resorted towards something lighter, even ethereal. Over the past 18 months, the Rodarte sisters have made a promise to meet their woman where she is. Their spring-summer 2022 collection was a proper declaration of re-emergence, of spiritual glitz, and of reconnecting to nature. From the first white dress with trailing black triangles at the sleeve to the last mushroom printed bubble dress, this was a collection meant for movement. Gusts flared out their hems, made their beaded fringe dance, and blew up their circular bubble dresses to spectacular effect. The Rodarte woman, once a wallflower, was now in the height of her natural power. And then, with the speakers crackling under a vibrato of aaaaahhhhhs, came a sunset of draped dresses and barefoot models. Was it a sun salutation, an homage to cacti, or a cult offering? In the minds of the Mulleavy sisters it was gestural, turning their models into a painter’s palette to celebrate the raw beauty of the earth. It’s a personal message for them: their mother is an artist, and their father is a botanist specializing in fungi. That blossoming mushroom finale dress was hand drawn by their mother and, in a way, about their father. So much ink has been spilled about the dynamic between Kate and Laura, but their mighty artistry was clearly cultivated and nurtured by their parents. The apple doesn’t fall far from the tree; and the Rodarte woman will feel comforted and extra glam in the family’s beautiful new collection.
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.
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.