The psychedelia drew them forward into a contemplation of the original psychedelic moment in the late ’60s—a time, they pointed out after today’s show, at least as tumultuous as our own. You could read all these ideas on the runway, but it was the starting point, the Dutch paintings, that gave the collection its restrained tone. This was a natty collection, and for the most part a quiet one—a couple of Tyvek pieces in a bold psychedelic print notwithstanding.
Really, though, the key reference for Gabier and Peters this season was the upcycled fur they produced for Fall. An editorial favorite, the pieces also did surprisingly well at retail, which inspired the duo to introduce more upcycled garments this time around. There were vintage tees and sweats with new graphics printed over the old; better yet, there were slick leather trenches that had been stripped, re-dyed, and painted on to winning effect. These ought to repeat the commercial success of last season’s furs.
There were nice touches throughout: The red jacquards that repeated, in texture, the paisley print of the silk dresses and separates; the painted-on florals, glimmering with crystal dust (a Swarovski byproduct, it turned out); the little leather belts with jewelry flowers by Sonia Boyajian. This wasn’t a wave-making collection, but it was one that sang in the details, in particular those that offered a sense of hand. Gabier and Peters said they’d been enjoying getting back in the studio to play around, to “get back to making,” as they put it. Their pleasure in that was evidenced in the clothes
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