“WHAT IS REAL is what lasts,” said Oprah Winfrey in her toast to Ralph Lauren at his recent anniversary event in Central Park. After 50 years as a pivotal fashion figure with an unwavering American aesthetic, Mr. Lauren has outlasted his contemporaries like Donna Karan and Calvin Klein, both of whom no longer design for their namesake companies. At the close of a season marked by change, Mr. Lauren’s consistency stands out in a mutable fashion landscape. While some brands are still defined by their core DNA, others have been reinvented by a revolving-door procession of creative directors.
At the label Mr. Klein launched in 1968, originally known for its beige-y minimalism, Belgian designer Raf Simons proposed inventive, postmodern clothing for spring with references from prom to “Jaws.” It was heart-poundingly fun, and relevant, but bore little resemblance to Mr. Klein’s blueprint. At Celine, which former creative head Phoebe Philo turned into a brand beloved by women for its professional yet comforting shapes, Hedi Slimane divisively pulled the accent off the first “e” and sent sharp, very-Slimane tailoring and abbreviated dresses down the runway. The renegade designer Demna Gvasalia continued his sleight of hand at Balenciaga, combining elements from the brand’s past (like architectural waistlines) with technical fabrics. More faithfully, Pierpaolo Piccioli drew gasps for his gowns at Valentino, many in the brand’s signature scarlet color. And as one of the few designers who rivals Ralph Lauren’s longevity, Miuccia Prada unveiled delightfully (and characteristically) eccentric efforts at both Prada and Miu Miu. A variation on Ms. Winfrey’s sentiment seems likely to be chewed over in seasons to come: Do women want consistency or evolution?
That Betty Boop-ish vintage standby, polka dots, was given new life. From left: a sweet minidress at Carolina Herrera (care of a new designer, Wes Gordon); a sheer frock (slip required) at Prada; volume play at Celine; va-va-voom mega-dots at Dolce & Gabbana; a baby-doll at Burberry (newly designed by Riccardo Tisci).
To Dye For
This season proved that tie-dye, against all odds, can be refined. From left: An acid-washed interpretation on the cool girls at Proenza Schouler; a ladylike, deconstructed, shibori-style skirt at Prada; hints of a Bali summer gone absolutely right by Paco Rabanne; a silken slip dress at Christian Dior ; a showstopping, full-tie-dye jumpsuit (on Kaia Gerber, Cindy Crawford’s daughter) at Stella McCartney.
Retro beach vibes harked back to more glamorous summer travel. From left: patterned splendor at Etro; that Goa lifestyle at Chloé, a fringed ensemble at Valentino for SPF-50 types; the ultimate embroidered caftan at Tory Burch; a yé-yé-girl shift at Chanel, where the models walked barefoot on a ‘beach.’
Inky, gathered, voluminous dresses were a novel idea for evening. From left: Thick navy knots show Rei Kawakubo’s mastery at Comme des Garçons; an off-the-shoulder gown at Valentino; The Row’s sheer layers of chicness; Simone Rocha’s silk taffeta garment, topped off with a lacy veil.
Refined utility looks will make phone storage a cinch in spring. From left: Sheer pocket play at Fendi; Givenchy’s luxe cargo pants are wish list-worthy; Hermès nailed the pocket-y jumpsuit; at Loewe the pockets were almost as big as the garment; Louis Vuitton’s futuristic woman uses old-school utility tricks.
From left: Croc coat at Burberry; a pearly gradient at Gabriela Hearst; ruffled sleeves at Max Mara; stripped-down stripes at Tod’s.
Appeared in the October 6, 2018, print edition as ‘SPRING THEORIES ROLL Things We (Mostly) Loved.’