Movement. It’s what fashion’s all about — change, forward motion, quick reaction to stimuli. For Vera Wang, movement is part of her ethos as a designer. It’s the athlete in her; clothes that don’t move just don’t work.

Her spring collection was all about clothes that move, either in concert with the body like a second skin or wafting gracefully around it. “Artsy meets athletic,” she said before her show. “I really wanted to see the body in action.”

There were literal sports references, such as cropped and full-length baseball jackets. She gave equal attention to the artful side — along with black, her palette featured “Rothko red, Franz Kline blue, Van Gogh golden yellow” — with dramatic effect.

She opened with a gazar blouson and full skirt, the rounded seams hinting at the major ergonomic curvature to come. Dresses and separates were crafted from multiple fabrics worked into artful collages — a jersey stretch dress with mesh and net insets; a chiffon dress with mesh sleeves. These were sewn with a marrow machine, the kind used for athleticwear. Some looks had racer backs; others had the work of layered tanks in contrasting textures.

Wang relaxed her silhouette beautifully for evening, via colorful chiffons and gauzes that were airy in weight but strong in message: flyaway tank shapes, often worn layered, sometimes over graceful palazzos. Decoration came in bold brush strokes and demonstrative paillettes. Yet she didn’t stay completely on the loose, closing the show with a pair of stunners, one black, one white, in intricate mélanges of chiffon, techno mesh and a spectacular circular lace.

“We fit these dresses almost like couture,” she said. So how to translate for production? “It’s tough,” Wang replied.

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