From the get-go, Rag & Bone has held classic English tailoring asits guiding principle. David Neville and Marcus Wainwright are not thefirst designers to co-opt that notion as their creed, but they are amongthe few who have managed to remain loyal to a narrow design tenet whileconsistently drawing out something new and genuine, as they did forfall. It was a fantastic collection — sleek, modern and sexy. "Westarted with flight, aviation, Pan Am uniforms," Wainwright saidbackstage before the show. "We wanted to start with something veryclean, and then it quickly evolved from the minimal to much more modernmilitary aviation." He went on to mention Pan Am blue — used savvily andsparely on, for example, the collar of a V-neck sweater — and theairline's vintage stewardess uniform, which inspired the "ultra-minis"and modish shift dresses worn over great ribbed knits. To be clear, noone looked like anything resembling a flight attendant, which is a greatthing.

Color was key: orange, purple, the aforementioned blueand a lighter mineral green, all culled from the required uniforms ofvarious flight crews. It was broken up by and balanced against basicolive green and black. The Savile Row tailoring and military referencestook form in terrific outerwear and jackets — meltons, peacoats andparkas, most of which were oversize in cool contradiction to themicroscopic skirts, which came in satin and quilted leather. There wasan homage to the Rue Cambon going on too, with squarish jackets inrobust rubberized tweeds. By working in rubber, leather, satin andnylon, Neville and Wainwright heightened the sporty edge that feltspot-on for the contemporary Rag & Bone demo, though this collectionlooked very luxurious. As it turns out, the two family men from Englandwho started in men¹s wear have a real handle on what their women want.

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