There was a lot hanging on this show for Alexander Wang. His heavy-handed Gothic take on a wear-to-work wardrobe wasn't exactly well-received last season.
So when I entered the warehouse space which has been Wang's venue of choice for the past few seasons and saw a huge, transparent, airship-like installation suspended from the ceiling like an ethereal, inverted swimming pool airbed, I had the feeling we were going to be treated to something light, airy and completely antithetical to last Autumn's burnt offering, but also a collection that would still bear the subversive signature of New York's 'enfant terrible'.
What followed was truly a masterclass in uber-modern, monochromatic dressing, where Wang gave us innovative updates of classic pieces and cascades of tone-on-tone layering which never once felt heavy or labored due to his predominent use of a fresh chalky palette.
There were retailored takes on trenches and all-in-ones, cropped reinventions of denim jackets, and a plethora of trouser silhouettes in a modern mash-up of super-relaxed workwear. But where Wang had taken inspiration last season from the executive workplace, it was clear that for Spring Summer, he was much more inspired by the uniform of another genre of worker altogether - the painter and decorator.
Even the occasional silk dress and canvas coat were whimsically paint-splattered, Jackson Pollock-style, as if fashioned out of a discarded drop cloth resulting in a pretty and poetic allusion to the painters craft.
The audience left content in the knowledge that the young and precociously talented Mr. Wang is back on form.
- Andrew Holden in New York