White on white
Nina Ricci’s Peter Copping described his spring palette as “alabaster, chalk, plaster, Chantilly and porcelain,” which is to say that he used a lot of white. This variety also reflects how nuanced the white looks were in other collections, including Preen, Ports 1961, Chanel and Jason Wu. On the maximal side of the neutral spectrum, Thom Browne’s elaborate period pieces came across as twisted and fantastical – you might call them power whites.
Overlook the cowboy connotation and fringe becomes a compelling way for a designer to explore movement and texture. Junya Watanabe tackled it with impressive craftsmanship, showing versions that were hefty like dreadlocks. Rodarte’s Kate and Laura Mulleavy edged the diagonal hemlines of miniskirts and bra tops with long threads, adding more coverage and rock-chick allure. At Céline, fringe trailed behind a long coat and from the base of handbags.
The cutouts that caused such a stir in seasons past have given way to inserts made of technical mesh.
For his final turn at Louis Vuitton, Marc Jacobs dedicated his collection to “the showgirl in all of us.” The theatricality of his jet-beaded bodysuits, ornamented sheer overlays and soaring feather headdresses made for quite the swan song. The complementary themes of sparkle and spectacle also made an appearance at
If the term
The most noteworthy aspect of the glut of gilding this season is its fluidity. Gold appeared liquid-like on slinky dresses at Saint Laurent,
Signs and slogans
Designers took a literal approach to getting their message out for spring.
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