New York City was in high drama mode on Tuesday as the Northeast got its first ‘big’ snowstorm in over two years, which unfortunately made for some lower-than-usual attendance levels for the shows in the earlier part of the day.
The Gabriela Hearst show seemed to be affected by the weather as several front-row seats remained open at showtime, and standing guests quickly found themselves a seat as the second row moved forward. It may have been the weather or because many folks are tired of the Brooklyn Navy Yard trek.
If they had made it, they would have been treated to a spread too beautiful to eat that outdid the broth offerings of the past season (Has anybody been scouting Yolanda Garretti’s Acquolina smorgasbords for Sabyasachi, pray tell?) and some smart wardrobe-building pieces from Hearst’s latest collection. The vegan spread echoes the collection; Hearst is equally adept in replicating animal-based food as she is animal-based clothing.
Show notes explained Hearst was referencing the paintings of Leonora Carrington depicting ethereal, dreamlike worlds where the imagination runs wild. Carrington’s paintings draw upon symbols of Ancient Celtic folktales—white horses, green forests, magical goddesses, and the like. So, if you thought the show was giving chic Game of Thrones or Outlander vibes, apparently, you were hitting the target.
The show opened with intricate ankle-grazing cashmere shearlings with a boning effect on the midsection that was particularly appealing—especially considering the extreme temps of the Agger Fish building: deep freeze in February and sweltering in September. Equally appealing were the fuzzy, shaggy knit coats, an emerging trend for the season that is best referred to as a Snuffleupagus Chic. The cashmere as fur effect was proposed as full-length tunics, which might be a tough sell for anyone not seeking the Flinstones aesthetic.
Other standouts included paper-thin patched suede tank dresses; a silk satin slip dress that framed the midsection to the pubic bone in a delicate lace trim, powerful in a white satin version. A mask by Carrington was upended and turned into a corseted bodice with a leather dress; twisted hand plissé on a leather trench highlighted the craftsmanship one appreciates and yearns for chez Hearst. The latter was applauded by Gilded Age actors Louisa Jacobson and Morgan Spector attending the show, who called out Hearst’s deft craftsmanship, an undeniable fact and what her audience comes to appreciate. A smattering of new handbags, the Winehouse bag, the Carrington, and the Leonora, among others, reconfirmed the Gabriela Hearst dedication to leather goods.
Wiederhoeft
Thom Browne alum Jackson Wiederhoeft designs very cool bridal dresses that are most often built around the corset, which has become the designer’s signature. It’s been such a successful venture for the designer; it helped inspire and presumably finance his ready-to-wear brand, which also bears the name Wiederhoeft.
With a company philosophy of ABC, aka “Always be corseting,” the designer brings the corset out of the bedroom and bride, demonstrating the sexy foundational garment is ripe for almost any look.
Speaking to FashionNetwork.com post-show, Wiederhoeft explained that his blushing beauties are never out of mind. “I work with 8-10 private bridal appointments weekly in the showroom in our “secret room’ where we removed the mirror. When they try on a corset and step out to see themselves, it’s like opening the door to another version of themselves,” he said, adding that the process helps him understand if pieces are working.
“It’s an intimate experience being with clients in the changing rooms where the client is vulnerable, but you get to the bottom of their clothing desires,” said Wiederhoeft.
The show recreated this salon mood, not by obvious setting, but by working with the movement director Austin Goodwin, who gave personality by working with each model, many of whom have been modeling for the brand for five years, and their outfit.
Off of the aisle, Wiederhoeft assembled a crew of characters (which harkens to John Galliano’s show sensibility) that proved the corset works in an array of ways—think new zipper details and necklines, a fitted jacket style or a Victorian-style topcoat—but also that the brand can also stand for sequin hoodies and trapeze style gowns, bow-festooned overcoats, classic tailoring with a twist, and funky boxing shorts with cheeky expression alluding to the bridal experience. A sequin T-shirt and lacey skirt were based on a look Wiederhoeft wore a few years ago.
A crowd-pleaser was a crocheted bolero and fitted skirt inspired by the first collection and reworked with silk ribbon and tinsel with couture-level craftsmanship.
“I don’t think anything is a totally new idea, but I wanted to evolve some ideas until I perfected them,” Wiederhoeft reflected, adding, “Clothes are a tool to discover and find new places in yourself you didn’t know about.” And Wiederhoeft clothes are definitely to be discovered for those who don’t know them yet.
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