The Newly Uptight
By RUTH LA FERLA NY TIMES
STEPHANIE LaCAVA has glimpsed fashion’s future, and she likes what she sees. “I’ve really been into this kind of sculptured feminine silhouette,” said Ms. LaCava, 24, a features associate at Vogue. To judge by the outfit she wore at the Winter Antiques Show in Manhattan last week — a sedate cream-colored sheath that Letitia Baldrige would have admired — Ms. LaCava has embraced the fashions of the Kennedy years without irony.
“I like the idea of good tailoring and clothes that are not so demonstrative,” she said. “We’re getting beyond the idea of ‘look at me, look at me.’ Fashion today is more about calmness than flash.”
That assertion puts her in fine company. Some of Seventh Avenue’s most influential tastemakers are invoking in their latest collections the proprieties, the seamless appearances and the tony aspirations of midcentury Middle America. They are, in short, going bourgeois to the core.
In collections for fall that American designers plan to present starting on Friday, when another Fashion Week begins in New York, many will jettison the baby-doll dresses, the thigh-high skirts and the disco boots of the spirited Warhol years — touchstones of recent seasons — in favor of a meticulously tailored look that evokes the White House years of Jacqueline Kennedy.
“That moment resonates with a lot of people and how they want to live,” said Michael Kors, whose runway show on Wednesday will cater to the fantasy. “There is not a minidress to be found, not a platform shoe in sight. And ‘suit’ is not going to be a dirty word.”
His show and others’ are expected to pay homage to a period, the late ’50s and early ’60s, that was, in retrospect, an interlude of prosperity and stability, one enriched by material comforts as substantial as a Steuben crystal cocktail shaker.
The past — in fashion and elsewhere — seems to call strongly to the present, as the country grows nervous about a possible recession and a diminished role on the world stage, even as Americans seek optimism through their presidential candidates.
“We have certainly reached the time where people want to feel good again, to go back to Camelot and pre-Camelot days,” said Marshal Cohen, chief retail analyst with the NPD Group, a market research firm. “Boomers especially are harkening back to a day before there were issues,” among them global warming and teenagers overdosing on prescription drugs.
A harbinger of the current romance with midcentury America surfaced on television late last summer with the debut of “Mad Men,” the hit drama on AMC set in the streamlined steel and glass landscape of Madison Avenue in 1960.
Around the same time, hints of an infatuation with the era emerged on the runways. In a collection Miuccia Prada offered for “pre-spring,” which arrived in stores late last year, she trotted out bouffant skirts that cinched the waist and grazed the calves. Frida Giannini of Gucci has reissued the bandeau brassiere, that late-’50s staple, and Dolce & Gabbana is offering poppy-patterned circle skirts.
Marc Jacobs incorporated vintage-style bras and corsets into the designs he paraded in his New York show for spring. Last month Barneys New York displayed highly structured, satin-panel girdles and bras by Fifi Chachnil in its lingerie department.
Some find the moment bracing. “I’m thrilled that Grace Kelly is being talked about in fashion circles,” said David Wolfe, the creative director of the Doneger Group, which forecasts fashion and retail trends. Mr. Wolfe noted that repeated references to Kelly and her fastidious contemporaries were “absolutely without irony.”
“That’s what makes them so exciting,” he said. In reviving fashion archetypes like the little beige dress, the circle skirt and the princess-seamed coat, “we’re enabling people to recognize quality, and maybe to develop personal taste instead of hiring a stylist.”
Recent photo shoots in fashion magazines have alternately tweaked and reinforced the corseted sensibility of the early ’60s. The current Vogue highlights a pair of sheath dresses Slim Keith might have worn to lunch at La Caravelle. One, a brush-stroke floral print by Mr. Kors, is accessorized with black-and-white polka dot opera gloves. No less recherché is the accompanying copy, which extols the chic of a sheath and the “smart suit.”
The January British Vogue similarly featured circle skirts, peep-toe sandals, gingham bandeau tops and a shrug — the term itself a throwback to the days of kitten-heel pumps and fin-tail sedans.
Just days ago, in a pre-fall collection for Louis Vuitton shown in Paris, Mr. Jacobs endorsed the type of matched wool skirt suit that used to be favored by young matrons in Darien, Conn., a look Babe Paley would have loved. Its immaculate tailoring and restraint may well be echoed in Mr. Jacobs’s New York show on Feb. 8.
Unlike previous portrayals of the late ’50s and early ’60s as a time of unalloyed optimism, fashion’s latest embrace of the past appears to reflect the nation’s darkening mood.
“It is the fashion equivalent of comfort food — I think we need it,” said Sam Shahid, an art director whose clients include Abercrombie & Fitch. “Even in photography, everything we’re seeing has a classicism about it,” he added. “Things are timeless right now, or you want them to be.”
But some style watchers bemoan such conservative attitudes, arguing that they represent a creative retreat. “Fashion is supposed to be about change,” Mr. Cohen said. “Fashion is risk. But as profits increasingly rule the roost, that risk has disappeared.”
The paradox is not lost on him. Once a standard-bearer of the vanguard, “fashion has become the most conservative of all industries,” he said.
Others predicted that designer runways teeming with period references and understated coats and suits for fall will fail to reverse sagging apparel sales.
“Any time the economy becomes tough and we see the stock market bounce around, the natural tendency is to pull back,” said Robert Burke, a New York retail consultant. But for the fashion industry, such a strategy is counterproductive, he said. “Too conservative an attitude is not the best approach,” he said. “People are not going to be interested in paying luxury prices for basics.”
Designers seem intent on returning to old-fashioned civilities just the same. Some view the resurrection of a more formally controlled aesthetic as a rebuke to young Hollywood’s disheveled style. Thakoon Panichgul, who will show a collection of body-skimming dresses with subtle ’60s details, maintains that such looks are timely. “There is an energy about being proper,” he said. “It’s not about wholesomeness, it’s about respectability, about having manners again.”
That concept has an unexpected appeal to the young. “So many young women relish the idea of looking turned out,” Mr. Kors said. “It is the opposite of trying so hard to look undone” — an attitude that, as he argued, women in their 20s are beginning to find stale.
Revisiting the classics is also a way of dispelling the notion that fashion is disposable. Times are changing, Mr. Kors said. “These days it is a badge of honor to wear an outfit more than once.”
By RUTH LA FERLA NY TIMES
STEPHANIE LaCAVA has glimpsed fashion’s future, and she likes what she sees. “I’ve really been into this kind of sculptured feminine silhouette,” said Ms. LaCava, 24, a features associate at Vogue. To judge by the outfit she wore at the Winter Antiques Show in Manhattan last week — a sedate cream-colored sheath that Letitia Baldrige would have admired — Ms. LaCava has embraced the fashions of the Kennedy years without irony.
“I like the idea of good tailoring and clothes that are not so demonstrative,” she said. “We’re getting beyond the idea of ‘look at me, look at me.’ Fashion today is more about calmness than flash.”
That assertion puts her in fine company. Some of Seventh Avenue’s most influential tastemakers are invoking in their latest collections the proprieties, the seamless appearances and the tony aspirations of midcentury Middle America. They are, in short, going bourgeois to the core.
In collections for fall that American designers plan to present starting on Friday, when another Fashion Week begins in New York, many will jettison the baby-doll dresses, the thigh-high skirts and the disco boots of the spirited Warhol years — touchstones of recent seasons — in favor of a meticulously tailored look that evokes the White House years of Jacqueline Kennedy.
“That moment resonates with a lot of people and how they want to live,” said Michael Kors, whose runway show on Wednesday will cater to the fantasy. “There is not a minidress to be found, not a platform shoe in sight. And ‘suit’ is not going to be a dirty word.”
His show and others’ are expected to pay homage to a period, the late ’50s and early ’60s, that was, in retrospect, an interlude of prosperity and stability, one enriched by material comforts as substantial as a Steuben crystal cocktail shaker.
The past — in fashion and elsewhere — seems to call strongly to the present, as the country grows nervous about a possible recession and a diminished role on the world stage, even as Americans seek optimism through their presidential candidates.
“We have certainly reached the time where people want to feel good again, to go back to Camelot and pre-Camelot days,” said Marshal Cohen, chief retail analyst with the NPD Group, a market research firm. “Boomers especially are harkening back to a day before there were issues,” among them global warming and teenagers overdosing on prescription drugs.
A harbinger of the current romance with midcentury America surfaced on television late last summer with the debut of “Mad Men,” the hit drama on AMC set in the streamlined steel and glass landscape of Madison Avenue in 1960.
Around the same time, hints of an infatuation with the era emerged on the runways. In a collection Miuccia Prada offered for “pre-spring,” which arrived in stores late last year, she trotted out bouffant skirts that cinched the waist and grazed the calves. Frida Giannini of Gucci has reissued the bandeau brassiere, that late-’50s staple, and Dolce & Gabbana is offering poppy-patterned circle skirts.
Marc Jacobs incorporated vintage-style bras and corsets into the designs he paraded in his New York show for spring. Last month Barneys New York displayed highly structured, satin-panel girdles and bras by Fifi Chachnil in its lingerie department.
Some find the moment bracing. “I’m thrilled that Grace Kelly is being talked about in fashion circles,” said David Wolfe, the creative director of the Doneger Group, which forecasts fashion and retail trends. Mr. Wolfe noted that repeated references to Kelly and her fastidious contemporaries were “absolutely without irony.”
“That’s what makes them so exciting,” he said. In reviving fashion archetypes like the little beige dress, the circle skirt and the princess-seamed coat, “we’re enabling people to recognize quality, and maybe to develop personal taste instead of hiring a stylist.”
Recent photo shoots in fashion magazines have alternately tweaked and reinforced the corseted sensibility of the early ’60s. The current Vogue highlights a pair of sheath dresses Slim Keith might have worn to lunch at La Caravelle. One, a brush-stroke floral print by Mr. Kors, is accessorized with black-and-white polka dot opera gloves. No less recherché is the accompanying copy, which extols the chic of a sheath and the “smart suit.”
The January British Vogue similarly featured circle skirts, peep-toe sandals, gingham bandeau tops and a shrug — the term itself a throwback to the days of kitten-heel pumps and fin-tail sedans.
Just days ago, in a pre-fall collection for Louis Vuitton shown in Paris, Mr. Jacobs endorsed the type of matched wool skirt suit that used to be favored by young matrons in Darien, Conn., a look Babe Paley would have loved. Its immaculate tailoring and restraint may well be echoed in Mr. Jacobs’s New York show on Feb. 8.
Unlike previous portrayals of the late ’50s and early ’60s as a time of unalloyed optimism, fashion’s latest embrace of the past appears to reflect the nation’s darkening mood.
“It is the fashion equivalent of comfort food — I think we need it,” said Sam Shahid, an art director whose clients include Abercrombie & Fitch. “Even in photography, everything we’re seeing has a classicism about it,” he added. “Things are timeless right now, or you want them to be.”
But some style watchers bemoan such conservative attitudes, arguing that they represent a creative retreat. “Fashion is supposed to be about change,” Mr. Cohen said. “Fashion is risk. But as profits increasingly rule the roost, that risk has disappeared.”
The paradox is not lost on him. Once a standard-bearer of the vanguard, “fashion has become the most conservative of all industries,” he said.
Others predicted that designer runways teeming with period references and understated coats and suits for fall will fail to reverse sagging apparel sales.
“Any time the economy becomes tough and we see the stock market bounce around, the natural tendency is to pull back,” said Robert Burke, a New York retail consultant. But for the fashion industry, such a strategy is counterproductive, he said. “Too conservative an attitude is not the best approach,” he said. “People are not going to be interested in paying luxury prices for basics.”
Designers seem intent on returning to old-fashioned civilities just the same. Some view the resurrection of a more formally controlled aesthetic as a rebuke to young Hollywood’s disheveled style. Thakoon Panichgul, who will show a collection of body-skimming dresses with subtle ’60s details, maintains that such looks are timely. “There is an energy about being proper,” he said. “It’s not about wholesomeness, it’s about respectability, about having manners again.”
That concept has an unexpected appeal to the young. “So many young women relish the idea of looking turned out,” Mr. Kors said. “It is the opposite of trying so hard to look undone” — an attitude that, as he argued, women in their 20s are beginning to find stale.
Revisiting the classics is also a way of dispelling the notion that fashion is disposable. Times are changing, Mr. Kors said. “These days it is a badge of honor to wear an outfit more than once.”