Crochet, which started edging its way in a year ago, is in full expression on New York runways this week. Crochet, pointelle and other openwork stitcheries are used for midi-dresses, pullovers and bodysuits, bringing texture and interest to basic silhouettes. Deep flounces, scallop edges, and little beads add more post-hippie chic to this crafty technique.
Tie-dye and dyed effects are uptrending, not only on Resort runways but for Menswear as well. There are big swathes of painted color for an outerwear piece, mottled effects for denim, and ombréd knit sets that have a faux dip-dye effect. For sweaters and knit tops there are tie-dyed stripes in berry shades, splotchy multi-colors, and a hippyish tie-dye tee with strategically placed tie-dye medallions and dyed sleeves.
After a fall season awash in tartans, the preference for plaids shows no signs of slowing down. For warmer weather there are crisp plaids for lightweights coats, tailored pants or easy dresses. Plaids are used head-to-toe in matched sets or jumpsuits, or as separates ensembled with florals or other plaids. Yarn-dyed checks look especially fresh for pattern-blocking, as in a twisted dress with contrasting plaid panels. The big plaid shirt is still a statement piece, worn on its own or tied around the waist for a post-grunge layer.
Many of the looks being shown for Cruise/Resort confirm our Foragers Trend Tale for Spring 19. There are all sorts of country-fresh separates and dresses cut from humble dishtowel checks, simple stripes, crinkled plaids and homespun patchworks. Raw or self-fringed edges add to the unfettered feel, as do string-ties and flounced hemlines — most hitting an inch or two above the ankle.
Last fall was all about blue velvet, but for next season the plush, lustrous fabric warms up in sumptuous shades of peach, berry, deep ochre, lush olive and creamy ecru. The velvet itself can be woven or knit, smooth or crushed. Day-glo drawstrings or contrast piping give head-to-toe velvet ensembles a sporty edge.
Fur trim is no longer just for outerwear. As seen in the current Norman Norell exhibit at The Museum at FIT, the plush detail adds a sense of luxury to suits, blazers, sweaters and woven tops. The fur can be real or faux, and is seen in natural tones or dyed pastels. Extra-deep fur cuffs look new, but designers also use it to encircle a pullover’s entire forearm or apply it in sections along the sleeve.
Textured sweaters are all the rage on the New York runways, and look especially fetching in candy-heart shades like coral, cotton candy pink and Valentine red. There are creative cables, high stand necklines, rough topstitches and fat rosettes adding extra interest to cozy pullovers. Novelty sleeves continue to gain momentum and distressed details (like placed runs) keep all the sweet colors from getting too precious.
Mock or turtleneck pullovers are becoming the new ‘it’ accessory. Layering thin knits under dresses, sweatshirts and light jackets creates a Mod-retro yet contemporary look for next Fall. This versatile base-layer can provide a bright contrast pop, or can be in a similar hue as other pieces for a subtle tonal effect. Details like cropped or slit hemlines, flared sleeves and dimensional ribs freshen up the basic item.
In the 1938 film Jezebel, Bette Davis’ rebellious southern belle character chooses to wear a red dress to the ball. Even in the film’s black-and-white, the rich gray created by the gown’s scarlet satin stands out against the sea of virginal white confections, and manages to shock polite society as well as alienate our heroine’s handsome fiance (played by Henry Fonda). All that to say there is power in the red dress, especially the ones on this season’s New York runways. While classic Hollywood may have provided inspiration for the plunging V’s and midi-lengths, the new fiery frocks are shiny, sumptuous and slithery, with asymmetric necklines or button-and-loop openings that give the dresses the feel of being caught in a moment of dishabille.
In the 1938 film Jezebel, Bette Davis’ rebellious southern belle character chooses to wear a red dress to the ball. Even in the film’s black-and-white, the rich gray created by the gown’s scarlet satin stands out against the sea of virginal white confections, and manages to shock polite society as well as alienate our heroine’s handsome fiance (played by Henry Fonda). All that to say there is power in the red dress, especially the ones on this season’s New York runways. While classic Hollywood may have provided inspiration for the plunging V’s and midi-lengths, the new fiery frocks are shiny, sumptuous and slithery, with asymmetric necklines or button-and-loop openings that give the dresses the feel of being caught in a moment of dishabille.
