The edgy-arty young girl with money is one Jack McCollough and Lazaro Hernandez know well. Their front row was filled with them. However, categorization is something they loathe, which inspired what Hernandez explained as a pursuit of “something a little more polished, maybe grown-up in a way but our way, which is not really grown up,” for spring. The hemlines were longer, the silhouette more mature, but most surprising about this change in direction was the collection’s softness, its signature sportiness rendered in delicate colors, such as pale lavender, pink and peach and filmy silk and chiffon. It was beautiful and felt new.


Much of the collection was anchored in shibori, a painstaking Japanese tie-dye technique that recalled the acid-color treatments that took off last spring. It appeared on clingy skirts with a spongy texture, loose T-shirt dresses and crewnecks that were slit up the back, and was just one of the collection’s hyper-engineered fabrics. Matted tweeds — mostly white with a contrast fluorescent tone — were bonded and flattened for an ultralight effect on short, molded jackets worn over buttoned-up silk shirts. Often complex textiles are better in theory but these were both remarkably crafted and pretty, all the more so thanks to understandable shapes, such as the cutaway slipdresses done in scribbled lace. Everything was done with balance. For all the color, which intensified from pastels to electric brights, there was ample black. And sheer slipdresses with ruffled drop waists were layered over black undies for a lingerie look with bite. The success came in the combination of pretty and raw.

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