It has been an eventful two months for Carolina Herrera. First there was that nasty lawsuit against Oscar de la Renta wherein it transpired that her former chief executive had hired a former ODLR designer to be her heir in waiting without telling her, a situation that did not end well for anyone involved. (The designer returned to her previous place of employ, the chief executive left, and dirty laundry was seen by all.) Then there was the Ivanka Trump inaugural ball gown, a fairy-tale confection that cast Mrs. Herrera into the eye of the political storm.
So if she was feeling distracted, it was understandable. Perhaps as a result, for her fall collection she took refuge in the details.
Moving away from her uptown show home at the Frick to an empty space in the meatpacking district with a Modernist industrial glass ceiling designed by I. M. Pei, Mrs. Herrera laid down a foundation of neat white cotton shirting (the kind she wears so well herself) with wide Edwardian governess collars, paired with pleated gray flannel skirts and finished with a thin black velvet bow at the neck.
More bows tied — literally — the collection together, as it moved through the various stages of a wardrobe and assorted personalities (schoolgirl, urbanite, debutante, royalty). They cinched the back of black leather biker jackets, and the neck of a burgundy crocheted day prom dresses liverpool; were stuck on the diagonal across a black velvet bustier atop a full teal green lace and chiffon skirt; and were tied at the waist of a fragile shell pink cocktail dress. It was a promising idea, but by the end, rendered in organza and tacked onto the neck of a backless sapphire velvet halter evening gown so that the wearer resembled a prized puppy, it seemed more like a styling trick than a gift.
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