The flowers were still there, technically, but after painting them on a canvas, Taylor transferred them to a computer and removed all the details. The results were mere suggestions of flowers and read more like graphic color-blocking or even camouflage. A Schiaparelli-pink and navy printed dress made a stronger, more direct impression than the soft, delicate florals of seasons past, which felt right at a time when women don’t really want to look soft or delicate at all.
The simplified prints also put a greater emphasis on Taylor’s silhouettes, like the curvy drape on that pink dress or the asymmetrical slouch of a black, yellow, and cobalt tunic. (Taylor paired it with wide polka-dot pants, her version of a “neutral.”) More surprising were the pieces that nixed print altogether, like the zeitgeist-y turtleneck dress with rows of hand-stitched chrome sequins. The paillettes got bigger and flashier on a completely backless high-low tank styled over houndstooth trousers. Fans of ’90s and early-aughts style will say it’s evident of the “going out top” revival, but the pants (brown houndstooth with hints of neon pink) were worth a second look too. Pants are an unlikely hit for Taylor; another pair came in Fall’s popular Glen plaid, but a ruched jogger in cherry tartan might be a harder sell.
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