Fall is a restructuring season for Delpozo, coming after the appointment of Lutz Huelle as its new creative director, but before he was able to fully draft his new vision for the brand. The 33 looks that Huelle consulted on are not the sea change from the label’s former iteration by Josep Font—ladylike, playful, grounded by a structural froth—to Huelle’s presumably more deconstructionist and experimental tendencies. Instead, Delpozo has done a minor pivot, swapping out its eveningwear for a renewed focus on day. There were just two dresses that could qualify as gowns here, and both were startlingly simple compared to the gumdrops and sugarplum fairies of Delpozo’s past: one, a strapless pink tent number made in the airiest silk; the other, a sequined column with clusters of 3-D beads in midnight blue and tangerine.
The rest of the collection was a smart mix of playfulness and polish. The hero piece was a midi skirt with a structured ruffle across the knees, made in several different fabrications, including a workwear-inspired caramel cotton and a blush pink moiré silk. Fancy little things, like a brocade bustier with curvilinear seams, were dressed down with mannish pleated trousers or layered underneath knits flecked with tiny Swarovski crystal beads. It’s a balance: For every dramatic cocoon jacket, there was a car coat in tweed; for every pale blue groovy suit, there was a sharp one in shocking pink. It was modeled by Luz Sanchez Godin, whose mother, Violeta Sanchez, was muse to the house’s founder, Jesús del Pozo, in the ’70s. Godin carried the clothes well, signaling a future for Delpozo that’s rooted in the past but ready for its next adventure.
