First in Paris, now in New York, L¿Wren Scott has settled on a striking mode of presentation for her small but powerful collections. The gallery she opted for this time was Marianne Boesky in Chelsea, and the all-white space provided a pristine backdrop for clothes that had something of the night about them. Look at Scott¿s palette: black accented by a rich burgundy she said was named "Too Much Blood." The attenuated silhouettes matched. Each dress was tailored to within an inch of the model's life, the single overt detaila buttoning kick pleat, a fishtail of tulle at the hemslyly suggestive, perhaps, of a kink in the wearer¿s personality.
The tailcoats elongated the body still further, spectacularly so in the case of one in leather that demanded candlelight and a country estate. A capelet gathered at the back and a coat with lace tails trailing away over a jet mermaid dress similarly set one¿s head spinning with visions of dark romance.
Scott¿s experience as a stylist means she is used to cramming a single outfit with as much import as she can muster. It showed in the precise luxury of each of her looks. ¿This is the way everyone should dress on the red carpet,¿ enthused Ellen Barkin.