This was going to be exciting. The invitation read ‘The Whitney Museum’s Marcel Breuer building’ and there we were, in an eerily empty Whitney museum, its walls striped bare thanks to the move downtown that’s under way. Lazaro Hernandez and Jack McCollough have always looked to the art world for inspiration and last night they cited the painter Helen Frankenthaler and the sculptor Robert Morris as such. It seemed rather fitting then that this was one of their most innovative and experimental collections yet. And just like the crowds checking out the New York School artists in the Fifties and Sixties, you were left feeling a little startled, very excited and rather lost for words.
Never to take things easy, every fabric on offer had been especially developed for this collection. Tweeds were layered chiffon, prints were actually embroidery. Felted wool coats and jackets were wrapped and folded, often featuring a big knot at the back. Skirts were snipped at the hem for added movement and the shoulders were, when not bare, restricted as if strapped tight. Even the hair was held back by black ribbons. In a season dominated by fur, the white and brown spotted calf dress and coat they showed was pretty unique. But things got really interesting when knit dresses were slashed and cut all over Edward Scissorhands-style, criss-crossing along the body and revealing black large fishnet tights underneath. A crimson and red off-the-shoulder scribble print dress looked particularly strong and dyed feathers accentuated some otherwise simple dresses. There was something tribal and feverish about the way eyelets of varying sizes and sequins and feathers gathered on red and white chiffon dresses. It was a sight to behold. And just like that the Whitney was quiet again.