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It was Francisco Costa in full form and full throttle. The template of Calvin Klein’s classical heritage was rigorously borne-out by the precocious Brazilian-bred designer, who is blessed with the technical mastery to propel the brand to a whole new relevance. Costa’s woman, in her stunning wardrobe of billowing heavy-wool coats, gorgeous silk-wool evening dresses bedecked with veneered leathers and blazing metallic-finishes, manifested an intense, all empowering modernity.
The models, who were elevated to towering heights with their vertiginous chunky-heeled pumps/boots cut from calf-skin and crocodile wore their hair in asymmetric bobs and swept-back ponies and resembled a sexy cadre of neo-goth nuns. Perched on the front-row were Emma Stone, Rooney Mara and Lara Stone, the perfect CK clan. Costa’s vision subsumed long lengths and vast volumes using divine fabrics that seemed more couture than ready-to-wear. His inspiration this time was derived from an exhibit he saw at the V&A called ‘Post Modernism: Style and Subversion 1970–1990.’ There were dark and demure dresses in dense wool that were exaggerated and rounded-out in the shoulders and arms; texturised, darted and pleated lambskins featured prominently and were coupled with waist-cinching metallic belts, and the palettes came in invincible black, charcoal, sublime cream and pops of dove gray. The silhouettes embodied swooping drapes and sculptural techniques that conformed beautifully to the body’s contours and injected a welcome dose of sexual oomph. The result: a sleek, austere feminine independence with a dark, decadent sensibility. Somber, yes, but severely seductive!
Text: Cody Ross
Photography: Mitchell Sams
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