Inspired by the English countryside and the notion of the “perfect gentleman’s hunting weekend wardrobe,” Kayne took traditional menswear fabrics like herringbone and tweed and made them her own, mixing in pops of chartreuse, kelly green, yellow, and orange. The designer cited the collection’s two print looks as her favorites: one a blown-up, digitized image of whales gracing a top and skirt, the other a graphic floral—”which I picture as wallpaper in an amazing English house in the countryside,” Kayne said—covering a sheer top and maxi skirt.
It’s a season of firsts for young designer Ermilio: she shaped her fall collection around hand-drawn patterns of stripes and dots, marking her first use of prints; introduced both hosiery (sheer with dots) and fur (fox and rabbit) into the mix; and “purged” herself of color, focusing instead largely on black and white for the first time. As she explained, “I did so much color last season, I knew I wanted something a little bit cleaner.” The influence of her father—a bespoke menswear designer—was felt in the use of men’s cashmere suit fabric in a lightweight rabbit fur jacket.
Ivanka Trump and J.Crew’s Jenna Lyons turned up front row for Ovitz’s Gothic fall turn. A black-heavy palette was tempered with “mud” and “pine”-colored jersey dresses and sheer wolf-print chiffon tanks. Textural faux fur jackets, brushed velvet pants, and hair-accented skirts rounded out the offering.
Making his return to the New York Fashion Week scene after a couple of years’ absence, TSE’s new creative director, Brian Reyes, eased his way in with a low-key presentation in the knit-centric brand’s Soho boutique. Taking note that knits are often associated with words like “soft” and “casual,” Reyes was fascinated by ideas “foreign to knit,” thus finding inspiration in architecture and glass. A bubble-stitch sweater, for instance, was made “to look like an old-fashioned chandelier,” he explained.
Against a backdrop mimicking fallen skyscrapers, Gallagher’s “Silent Soil”-dubbed collection, inspired by her rural Pennsylvania upbringing, boasted mossy-hued peplum tops, earthy-toned cropped jackets, and culminated in a black lace tiered dress.
Citing Art Deco and the ’20s as her starting point, Kaelen Haworth turned out textural suiting, graphic black and white paneled dresses, and asymmetric gold wrap skirts for the modern-day flapper. One print, on a simple button-down, was based on a scanned-in piece of string, reworked on the computer “to look a little bit like lace,” the designer explained.
Juan Carlos Obando
The minimalist Lehmann Maupin gallery highlighted Juan Carlos Obando’s neon jacquard skirt suits, patchworked fur chubbies, and rash of brightly-hued halter dresses. Asymmetrical lines and sequined appliques were oft-used motifs within the collection.