Eckhaus Latta Fall/Winter 2017

February 15, 2017

The Eckhaus Latta show space screamed… well, Eckhaus Latta. The designers showed in an empty women’s discount clothing store in Midtown, and the inherent ‘80s-ness of it all—burnt orange, chrome accents, creepy smiling stock photos on the wall—was the perfect accompaniment to the collection. It was like ASMR in the form of colory theory, which certainly makes sense considering Mike Eckhaus and Zoe Latta’s RISD education.

In case you forgot that the designers went to art school, you could literally see it on the models’ faces, which were covered in flecks of paint; a model told us that makeup artist Kanako Takase painted her hands first and then smudged with her fingers. And as always, both the crowd (Nate Lowman, Bjarne Melgaard, Chloe Wise) and the models (Eckhaus Latta regulars Alexandra Marzella, India Menuez, Michael Bailey Gates, and Susan Cianciolo, as well as first timer Collier Schorr) were representative of the art world.

Text by Jocelyn Silver
Photos by Mitchell Connell

But all that aside, Eckhaus and Latta presented yet another carefully considered, innovative collection that featured soft, sculptural beauty. And it came at a challenging moment for the designers, who were devastated by the election results. Eckhaus told W’s Stephanie Eckhardt that, “We were thinking about the push and pull of one’s personal space. How you get away from being melancholic to more joyful and self-empowered.” And a number of the looks did feel joyful, a far cry from Eckhaus and Latta’s depressed post-Trump mood. They used more pattern than ever before—one of the highlights was an outfit featuring pink trousers and layered tops that were straight out of Square Pegs. And the outerwear offerings, a first for the brand, were also playful; the white brocade parka wouldn’t look out of place in a teen movie.

The concept of “the push and pull of one’s personal space” was evident throughout the entire collection. Knitwear, an Eckhaus Latta standby, looked at once cozy and protective, like a comforting shield against the impending apocalypse. Yet there were also light, overtly feminine clothes, included a structured corset, that felt pointedly springy. Eckhaus Latta’s shows often feel emotional—to me, this one was hopeful.

But I could definitely be wrong. Menuez closed the show in a tight knit dress (can you use the term “body-con” in reference to Eckhaus Latta?) covered in lyrics to the Leonard Cohen song “Is This What You Wanted.” Were they talking about their own show? The political climate? Or both? Because those questions have very different answers.

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