L'Wren Scott

NEW YORK, September 17, 2009
By Meenal Mistry
Via reality shows—not to mention the constant tweeting of a growing mass of publicists, designers, and editors (OK, guilty as charged)—there's a new transparency in fashion. It's as if Isaac Mizrahi's Unzipped scrim were placed over the entire industry. Today at the Gagosian Gallery, L'Wren Scott did full exposure in her own exacting way. At the show's start, a pair of black-and-white-clad identical twins walked out to pull back long curtains and reveal the backstage area. (Gasp!) Of course, this being Scott, it was clinically organized with already-dressed models neatly lined up behind labeled racks. "I'm not a good chaos person," the designer acknowledged postshow.

It's a good thing the Internet didn't exist in the decadent era from which Scott sourced the seed of her idea. She called the collection Madame du Barry after the famed mistress of Louis XV, who, Scott explained, was an early adopter of pink. It made for the stylist-cum-designer's most colorful and light-spirited collection ever. As she evolved that rosy palette, the frivolity and frou of Versailles merged with her precise line. Scott's signature is a strict sheath dress, of which there was a chocolate-box assortment of beauties here. Still, it was refreshing to see the lightness of a chiffon polka-dot blouse spilling from a nipped fuchsia jacket, or the swing of a tea dress. Tilted, wide-brimmed hats immediately gave you Bianca Getting Married (an irony probably not lost on Scott's beau, Mick Jagger, sitting front and center), and the coolly androgynous glam-rock suit silhouettes set the early-seventies thought in place. And what would those Ziggy Stardust years have been without feathers? Though they were never seen like this: exquisitely crafted into Victorian ruffles or a blanket of articulated flowers inside the breathtaking long waistcoat that closed the show. Bravo to Scott for a beautiful evolution.

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