Thomas Tait’s arresting fall outing hewed closer to performance art than fashion show.

There were shades of the Bauhaus and Constructivist movements in the primary color palette and exaggerated curved and angular silhouettes. Meanwhile, the models had an eerie, clownish air: They wore boots with elongated toes and curved heels, their eyes daubed with shades of blue, yellow and red.

Tait used the show to push forward a bold vision in contrast to his more approachable fare for pre-fall. An accordion pleated tabard, for instance, came in a bright graphic pattern; tailored jackets had exaggerated, cinched waists, and filmy, iridescent chiffon tops and dresses looked as if they were painted onto models.

Tait’s aesthetic might have been unsettling but the collection explored a challenging new direction.

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