Bohemianism and fashion make natural bedfellows, the former a worldview perceived by the latter as manifested in concrete sartorial codes, those of breaking rules and embracing what Westerners perceive as exotica. Throw in the inherent Seventies crossover, and why wouldn’t fashion love it?
But putting into play in the design studio inspirations — especially those of the much-trolled variety — can fall prey to excessive embrace. Tory Burch is a designer-pragmatist. She’ll run with a concept, but reasonably so. For fall, that approach resulted in a strong, smart collection.
Burch fused a pair of aspirational catchwords, “Marrakech meets Chelsea,” the two representative of states of minds as much as physical locations. Guests arrived to a set covered completely in pale, aged Moroccan rugs, both floors and seating. The mood thus set, models took to those carpets in clothes patterned in intricate Eastern motifs that played off of calmer pieces. There were regional Eastern motifs; scarf, marble and confetti prints and embroidered sparkle, sometimes worn in combinations. Often, these were anchored by a coat or long vest. At a time of elaborately wrought, notice-me outerwear, Burch is doing her part, daring her customer to chase the chill with a little flamboyance. An intensely scrolled coat in pale neutrals over a marble-print blouse and skirt looked great; so did a rich red jacquard over matching-print pants.
When her coat comes off, a woman has choices. Burch favored lean, trim pants with, yes, that Seventies dash, and skirts and dresses with languid movement. Therein was the collection’s subtle news, as she worked with cut, specifically bias constructions and gentle draping, as well as engineered patterns on sweaters.
It made for a cohesive collection that telegraphed Burch’s distinctive place in fashion. She’s eager to push her customer, but gently. The two have established an essential rapport, and Burch isn’t about to alienate her with flights of excessive runway fancy.