#SuzyNYFW: Triple Vision – The Row, Mansur Gavriel And Sies Marjan
The Row: Shades of Simplicity
Mary-Kate and Ashley Olsen were the first American designers of their 30-something generation to express fashion as outward simplicity with intense attention to shape and to detail.
To that you can add “colour”, for The Row collection that was shown this season on mannequins and even coat hangers still succeeded in capturing the artful simplicity with which they have made their mark. And for Spring/Summer 2019 there was a surprise: A focus on menswear tailoring as much as on womenswear.
There was also a complementary line of handbags, designed with as much attention as The Row’s dresses. Also included were shoes and other accessories in this season’s deep-jungle green tinged with grey.
The importance of a clear, clean-cut silhouette, part of the New York scene during the heyday of Calvin Klein and Donna Karan, seemed to have skipped a fashion generation. But the Olsen Twins have a special relationship with both cut and texture.
In the showroom, grainy wood shelves were the backdrop for sandals made from twisted ropes; while masculine clothes set against white walls were a symphony of olive tones and pale or richer pink.
Subtlety and quality are the story from The Row, not to mention bold design in a short cape or a long smock dress, as if the aim was a noble millennial version of down-on-the-farm.
Mansur Gavriel: Macaroon Inspiration
Two things stood out at Mansur Gavriel: First, the tower of Ladurée macaroons dominating a room of tea tables laden with evermore sweet treats. Then there was the simplicity of shape, whisked up with pretty colours, of the Spring/Summer 2019 collection.
And not just the favoured pink from this duo of Rachel Mansur and Floriana Gavriel. Here was a cable sweater in rain-washed sky-blue; a loose jacket with narrow trousers, both in pistachio green; and a similarly shaped outfit in bright bronze.
The rounded shoulders on tailored outfits underlined the softness of tailoring drawn with a compass, not a T-square. This shaping was evident from the moment the show opened, with ankle-length coats in shades of beige and stone before the sweeter colours kicked in. An occasional touch of whimsy came in a long dress glistening with flowers and, of course, from the sugary pink confections placed in front of the audience in the tea-salon setting.
Sies Marjan: No Place Like Home
How poetic the colours looked at Sies Marjan, as the intrepid models walked the rain-soaked terrace, clutching their umbrellas. The flow of water from the skies only added to the elegant romance of the clothes, for both sexes, that followed the bodyline.
That was less evident in men’s tailoring and sportswear, but powerful for the female models, for whom everything from a shapely white dress to a striped wraparound traced the outlines of the body.
This focus on shape added to designer Sander Lak’s inventive play with colours, especially in his treatment of a spectrum of mustard through bronze that illuminated the clothes, and a softer, gentler shade of russet beige melded with white that captured the sharp/soft dynamic. Fabrics such as crinkled papery and plastic-coated materials made the insertion of white seem natural.
Backstage, the emotional designer explained how so much of his life was invested in the show, including his own mother walking the runway.
“I guess it’s very much about home and my upbringing, about my parents – it’s very, very personal,” he said. “It’s really a collection that came about with everything that has happened in the last two or three years. I have lived all around the world in so many different countries – perhaps 20 countries by now – and this is the first time that I feel at home. That is very new to me – like a first love.”
Whatever the complex backstory, the Sies Marjan look has an original touch that makes the fashion refreshing.