Congratulations are in order for designer Wes Gordon on the arrival of his second child, Georgia Rose Arnhold-Gordon, just over a week before the fall Carolina Herrera runway show.
“We have a wonderful baby and a toddler and we’re moving,” he said during a preview.
If he was under pressure, it didn’t show Monday morning at the Plaza Hotel, where he presented a confident collection that was Herrera pretty.
And present he did, with models entering from the stage like debutantes before descending stairs into the show space. Ta-da!
“Spring was a lot of print…But for fall, I wanted something sumptuous and opulent, with rich fabrics and layers of tulle that show the craftsmanship,” he said.
There were layers all right, on a pair of topiary tulle gowns sure to light up social media — one in black-and-white stripe, the other in canary yellow. They were spectacular.
Like the rest of us, Gordon likes himself some Netflix, specifically the historical drama “The Empress,” which inspired the collection’s mix of romance and rigor. “The costumes were so beautiful and with the Hapsburgs you had that mix of military discipline with opulence,” he said of the show’s look, which was designed by Gabriela Reumer. “That kind of discipline with drama is really the recipe for elegance.” (It certainly is more Mrs. Herrera herself.)
All-black looks have been in the spotlight at this week’s runway shows, and the designer had lots to choose from, including a stretch crepe jumpsuit with three sculpted roses down the front, and a cinched-waist satin organza overskirt delivering drama.
Gordon also executed a series of exacting looks in black-and-white, including a strapless gown with a beautifully draped tulip skirt and train, and played up clean monochromatic silhouettes and some with blocks of color, such as a simply chic sleeveless shell, straight skirt and sash in citrine, pink and red, for example.
On the more opulent side were a black cropped jacket and pants with gold bullion trim, and a regal-looking long-sleeved black gown with the same. A winter white jacket and short skirt suit with jeweled embroidery was more on the pop side of opulence.
A woven chine fabric of lilac and evergreen damask was a beautiful textile used on several gowns, from a traditional draped column dress with shoulder sash worn by a curvier model (bravo), to a sportier, hooded anorak gown with billowy skirt.
Delayed paternity leave aside, it was worth it, Gordon said: “I think this is our most elevated, luxury collection yet.”
