NEW YORK WOMEN COLLECTIONS A/W 2019.20

ho knows why we are accustomed to associating winter with dark and neutral tones, as though low temperatures and poor light had an influence over our colour choices, when the opposite should be true – surely wearing bright, bold tints would counter the gloominess of winter. The designers must have thought the same in New York, where the latest, real vibrant colour, the one that illuminates the face and warms up even the chilliest New York day, where snowstorms and sub-zero temperatures are the norm in winter. As well as bright colours, designers also explored a , also more often associated with summer, when blossoming nature tends to spread onto the clothes, in addition to hints of Oriental culture. Wes Gordon for Carolina Herrera stamped the colour and decoration themes clearly from the very first look, with a bright yellow and azure on a , also introducing another hot theme in these shows and those across the ocean: . Marc Jacobs on and dresses, further enlarged by crinolines with added , cascades of , and frills. There were lots of and vibrant tints in Cynthia Rowley’s show, which offered a series of cocktail and evening dresses with a feel. The decade’s continuing influence on the runways was also felt by Kate Spade New York, which offered bright nuances ranging from yellow to emerald green to on animal patterns and . Michael Kors was also charmed by the ’70s, especially that glam side represented by his nights at Studio 54, as seen in looks topped with voluminous , , and sequins and . There was more bold colour and decoration at Coach 1941 in its collection inspired by the and knitted work of American artist Frank Havrah “Kaffe” Fassett. Psychedelic patterns featured on chiffon mini-dresses worn with or faux fur jackets and with in a play of that created a bright, look. references were paired with colours and patterns in the Tory Burch show, which was dedicated to the sheer creativity of the Black Mountain College, an innovative school founded in North Carolina in 1933 and attended by many artists of the time. Fluid skirts and dresses with -style prints were worn with shearling and . The duo at Proenza Schouler kept to a more toned-down palette, albeit with a few splashes of gold and mustard, but the collection’s oversize tailoring recalled how , and are still a big part of the women’s wardrobe, as is , which came in the brand’s signature deconstructed style here, but was mainly chunky and , because in winter you can change colours all you like but you still need to wrap up in a nice cosy .