The morning after. Francisco Costa titled his spring Calvin Klein Collection to conjure the intimate daze of undone sensuality captured in moments of deconstructed purity and grunge glamour.

The show was beautiful with a caveat: One of Costa’s main propositions was the oversize slipdress, loosely constructed to fall from the body with exaggerated soft cups. Phoebe Philo put a similar idea on her unforgettable fall runway for Céline last season. While Costa’s versions were different, more clinical and edgy with their poetically crude apron constructions and flap details, the connection was ready and waiting to be made. Costa has rights to the slipdress, a constant in his own oeuvre and an item native to the house he helms, but at the very least he should’ve put a few more seasons between his and Philo’s artfully deflated cups.

Moving on. The collection was divided between slick modernizations of two Nineties megatrends — neo-grunge and stark street minimalism — that are particularly relevant now amid the current Nineties renaissance. Fluid slips, camisoles, wide trousers and trenches came in shades of stark white and porcelain with deliberately large yet gentle proportions. To decorate, Costa slashed, traced seams in rough-hewn stitching, and left garments trailing with loose straps and elongated sleeves for a bit of asylum chic.

Photographic peony and bouquet prints offered a vividly melancholy contrast to all the purist black and white. Some florals were faded, others featured saturated blooms that popped against sepia backgrounds, giving the prints a trippy power. Costa showed them mixed and spliced with solids on long, lean silhouettes — dresses, trenches and slips. Layering some of the looks with delicate chains worn like dainty harnesses added an exotic street glamour. There were sequins, too, but Costa dressed everything down with white-soled sneakers, grounding it in cool comfort.

By  on September 17, 2015

The morning after. Francisco Costa titled his spring Calvin Klein Collection to conjure the intimate daze of undone sensuality captured in moments of deconstructed purity and grunge glamour.

The show was beautiful with a caveat: One of Costa’s main propositions was the oversize slipdress, loosely constructed to fall from the body with exaggerated soft cups. Phoebe Philo put a similar idea on her unforgettable fall runway for Céline last season. While Costa’s versions were different, more clinical and edgy with their poetically crude apron constructions and flap details, the connection was ready and waiting to be made. Costa has rights to the slipdress, a constant in his own oeuvre and an item native to the house he helms, but at the very least he should’ve put a few more seasons between his and Philo’s artfully deflated cups.

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