Speak with Nicolas Andreas Taralis for long enough and you realize the darkness that has defined his aesthetic for the past decade comes from an enlightened place. By turns, he will mention his German-Greek heritage and Bauhaus, the monolithic beauty of totems, and the underrated appeal of latex. And all of this permeated his Fall collection in a manner that was both low-profile and dramatic. To establish the vaguely fifties tone, he began his lineup with three columnar looks that exposed the shoulders while cloaking everything else. Taralis said this was the first time he'd worked with boning, and the technique allowed him to test a new proportion via bustiers and loose trousers that simultaneously expressed tailleur and flou (the structure/flowy dichotomy that forms the foundation of couture). He further finessed the jacket propositions that went over well last season, subjecting a smoking and a redingote to his signature pick stitching and using the shape of a kimono for a capelet bolero—all the while working with Italian cashmere, Japanese wool, and British flannel.
The fabrications came into clearer focus when Taralis shifted to ivory, as did the elegance inherent to his era-referencing. It was chaste and chic, and this seemed to surprise the designer most of all, which might explain how he arrived at a skirt hemmed in latex and a mousseline gown that revealed latex thigh-highs. They sound more risqué than they appeared. But the opera gloves paneled in curly lamb with the index fingers and thumbs exposed—now those were fetishist. Finally, the "Mies" and "Wassily" shirts shown as part of his men's collection had crossover appeal. There are women who would be as excited to wear a fan tee as they would a wool and satin bustier.