For Spring 2023, the label explores tactile and experimental texture.
For Spring 2023, the label explores tactile and experimental texture.
In the concrete jungle of New York, Eckaus Latta’s The fashion show in the garden is a bright, organic oasis.
For Spring 2023, Mike Eckhaus and Zoe Latta did what they do best: freshness, innovation and deep-rooted experimentalism infused the collection, presented in a meandering, sun-soaked garden with models walking a path of earthen clothed with a harpist’s seat. Mary Lattimore’s whimsical harp playing struck a light note of joy in the spectators.
Eckhaus Latta’s vocabulary does not know how to be depressing; their clothes, time and time again, are defined by the vibrancy they evoke, the wonder and playfulness seen in exaggerated silhouettes, frayed lips, excess baggage and tiny super-crops. This collection adds to Eckhaus Latta’s unbridled sense of magnetism, dipping into a certain bohemia with flared pants and slip dresses, sheer fabrics and an abundance of texture.
The garden proved to be the perfect backdrop to debut the collection; a palette of earthy, organic tones, brightened by metallic details and tactile fabrics, wrapped each of the 30 genderless looks into a cohesive little package, tied together in a tinsel bow of Eckhaus Latta’s optimism. The models reflected (literally) the glow of the collection, with exfoliating face masks that gave their skin a glowing, radiant look and left their hair loose and flowing.
In a collection where every look was one of a kind, detail and tactility proved to be the design’s greatest feats. Rough cream-colored pants with slight frills and feathers flowing down the legs paired with an asymmetrical blouse, all shiny, mixing softness and toughness in one look; in the other, a tiny t-shirt that ends just below the collarbone along with neutral brown jeans, wearing a dressy look.
Everywhere in the collection, touch and feel. Skirts so sheer, you’ll be able to feel the flesh of your fingers through the fabric if you pick at the deliberately placed pleats; red polka-dot tassels on the cream fabric of a mini slip dress; each end of a loosely fitted jacket and skirt set, ragged and sharply cut, with raw fabric hanging from the sleeves and jackets.
The highlights of the collection were those that captivated the senses, if not with abstract designs, then with monochrome touches and textures. Look 11, a bulbous cropped tank made from individually twisted pieces of fabric, looked almost like a hydrangea, with a pale green mini skirt adding square dimension to the rounded look.
Knitwear was largely the focus of the collection, with the final look – a knit top and miniskirt with a graphic shell-basket print, designed by Matthew Underwood, a friend of Latta’s who died recently – brings the previous 29 views into a cohesive resting place: a place where Eckhaus Latta’s unbridled optimism and joy is unbridled and flowing freely, somewhere in a Manhattan garden.
