Still on a high from their 20th anniversary show in February, which opened with Chloë Sevigny stepping out onto the runway in one of the New York season’s strongest tailored looks, Proenza Schouler designers Jack McCollough and Lazaro Hernandez weren’t ready to let go of that feeling just yet.
“Last season was a really successful collection for us on an editorial press and review level, and also a commercial level. It seemed to hit some sort of note the audience responded to,” said Hernandez.
So for resort, they continued to focus on and tweak the versatile wardrobe pieces that have been bringing consistency to the brand. The result was a collection that hit all the high notes with workwear-influenced suiting, closet workhorses with a twist, and effortless party looks, proving the designers are still at the top of their game in upholding the tradition of New York sportswear polish and ease.
They built on their strong tailoring category, injecting more of a tough, workwear vibe into the mix that made suiting even more approachable. For example, a button-front shirt in the same mélange wool twill as a slash-back blazer and high-waist trousers created a new kind of three-piece suit, or the pieces could be pulled apart and worn on their own.
A longer-length blazer over a six-panel carwash pleat skirt was another cool look. “It’s an awkward proportion, an interplay of masculine and feminine.…It’s a bit off, that’s sort of what we’re always after,” Lazaro said.
Crisp white button-front shirts and sheer turtlenecks were key transitional underpinnings throughout, while cowboy boots and mules added edge.
Continuing down the utilitarian path, a black deep-V viscose crepe dress with a frayed hem was casual but chic over a white T-shirt and kitten-heel flip-flops. “It gives it more asymmetry with one sleeve longer and one shorter,” McCollough said of the T-shirt, a bit off in a good way once again.
An oversize black nylon bomber with shearling collar was a versatile piece, worn over a longer tailored jacket with the tails sticking out, creating a skirt-like silhouette, a trick the designers adapted from their own winter wardrobes.
“It’s a styling thing, but it’s also interesting for us to have this jacket that is under $2,000. It’s us starting to experiment with more casual, sportier garments that mix in with tailoring and other things we love,” said Hernandez. “There’s a need for more utilitarian, entry price points that have the same luxury feel but more casual end use.”
Superfine jersey skirts with wide foldable knit waistbands, eco-cashmere polos, leather baby-doll tops and cargo pants, twisted alpaca sweaters, and overcoats with detachable lapels also looked like closet workhorses.
A new take on a little black dress came in viscose crepe with a big stretchy boatneck that could be shifted to one side or the other. Cut with center, back and side slashes for ease of movement, it was paired with a sheer white knit underpinning.
Also with holiday parties in mind, a red matte jersey gown came with waist ties to knot in front or wrap around to cinch the bodice. The designers paired it with matching red cowboy boots. How glam. On the more romantic side, delicate paneled dresses came in weightless hammered sequin-embroidered crepe and fluttery organza.
“It’s that play of opacity and transparency, layers you can break down or wear together,” said Hernandez. “It’s such a confusing season pre-spring, it’s nice to have clothes that can go from warm to cold. Some people do pre-spring as resort with flower prints and color, some do true winter collections; we try to do a bit of both.”
