Staying in Their Column
NYFW SS27
Columns. They’ve always fascinated me. Ever since I had to distinguish Doric, Ionic, and Corinthian columns in art history, I’ve been intrigued by them. And classifying columns? One of my favorite pastimes. Cut me some slack—I went to school in Champaign-Urbana. Being surrounded by nothing but cornfields and cows makes columns look really interesting in comparison.
This year though? Houses are staying in their columns.
Ralph is, well… Ralph. And Tory? Spring 2027 looks very Tory. Kallmeyer? Every inch Kallmeyer.
What was revolutionary about the New York spring runway? You could almost hear the exhale. Designers seemed to relax into their codes. They unlaced their stays and exhaled into their iconic silhouettes and forms.
They were so confident in their clothes.
And it showed. The real revolution was that there was no revolution. Instead, there was just a beautiful parade of clothing—real, relatable fashion that didn’t require that we reinvent ourselves to wear it. It was, quite simply, wearable.
Ralph Lauren featured crisp white poplin, nautical blues, and sun-washed khakis—all very Ralph. Models sauntered down the runway in shrugs and boleros—feathers optional, but recommended. Feathers paired against American basics were unexpected and fresh. Lauren also mixed feathers and fur with dirty, distressed denim—one of my favorites. I have an old pair of rag & bone jeans that have just been waiting in the closet to make their reappearance.
Lauren created tension. Crisp Americana mixed with over-the-top trims and denim with edge. The runway crackled with contrast. And it worked, while staying entirely true to the brand.
The Kors runway? It was snap, crackle, pop—in the freshest of ways. Michael Kors’ show felt like a crisp, clean breeze. Skirts trailed softly—bright flag-like festoons in shades of yellow, green, and red flapping behind the models. Primary pops of color flashed against a palette of black and white, punctuated by emerald green, red, yellow, and the occasional blue.
Tailoring was sharp. Silhouettes were clean. Kors featured a mix of columnar shapes and cropped jackets and tops cut to flatter the body. A tapering, bubble-shaped skirt brought Dior couture to mind—chef’s kiss. Texture was on full display—large sequins, or paillettes, embellished many pieces. I’ve yet to meet the sequin I didn’t love…
There also seemed to be a touch of Chanel. Kors felt resorty in a very American way. Whereas Blazy’s resort show featured fitted swim caps, Kors, instead, went for a brimmed boaty/swim combination hat that floated down the runway several times. Kors served glamour without heaviness.
The overall feeling? Joy.
Joy was evident on the Tory Burch runway, as well. Color was saturated and bright. Embellishment, texture, and embroidery were the codes of the house. Even the shoes got in on the act.
My favorite? A woven-leather slingback kitten heel featuring a small panel of embellished suede that folded back almost like a collared lapel—insane. I’m calling it the next It Shoe. You heard it here first.
Burch detailed her looks with scarves, feather-like textures, silk tasseling, bright contrasting buttons, and seed pearls. Low-slung pants were paired with fitted cardigans and jackets, many detailed with embroidery and beadwork.
Burch played in an arena she knows well. Feminine, polished, and richly detailed, the collection was very much Tory Burch. And for the woman who retook the helm of her fashion empire? Perhaps that was precisely the point.
Khaite stayed firmly in its column—perhaps a little too firmly at times. Catherine Holstein played with voyeurism, sending out a collection that felt fresh from the boudoir: sheer layers, exposed skin, deconstructed draping, and mussed hair that made the models look as though we had interrupted them halfway through getting dressed or redressed… The only thing missing? Smeared lipstick and day-old eyeliner.
The strongest pieces were exquisite—in a way that only Khaite is. Beautifully detailed stacked double ruffles. Floral appliqué. Silk peplums. Trailing satin ribbons. But the same riffs returned again and again, and at moments the repetition began to soften their impact. Still, the collection was unmistakably Khaite: sensual, undone, and beautifully unresolved.
Daniella Kallmeyer’s runway? Absolutely fn divine—jaw-dropping piece after jaw-dropping piece. Not to fangirl (well, maybe just a little), but it was an exquisite line, and Kallmeyer truly defined and refined spring. Set against a restrained neutral palette of warmed sand, washed rose, and terracotta, Kallmeyer served up Lady with Edge. She featured an extraordinarily wearable collection of low-slung waists, balloon pants, fringe, and columnar silhouettes.
Texture and tailoring—two Kallmeyer favorites—took center stage. Beading, fringing, jacquard, and plaid created from raised beadwork all took to the runway. The handwork was exquisite—reading almost couture. A delicate beaded ivory jacket paired effortlessly with wide-leg denim. The contrast? Impeccable. And very wearable. My favorite? Look 5. A froth of layered ivory and rose-colored organza molded into a tank and a matching A-line skirt, the layers of ivory and rose melting together. The pale blush point-toed kitten heels were the perfect finishing touch.
For me, the overall feeling evoked a modern-day take on Seurat’s A Sunday on La Grande Jatte—a beautiful, relaxed expanse of resort, pale, washed color, and strong, linear architectural shapes. Kallmeyer said that she wanted the same knit set to work for the theater or picking up your kids. I’d say mission accomplished. She aced it.
This spring, New York’s strongest designers didn’t rebuild the house. Instead, they erected something new on existing foundations. And in doing so? They found solid footing, their columns intact.
And spring? She may be six months away, who’s counting? But patience has never been my strongest virtue. I’m stealing ideas from these runways to wear right now for fall. More on that next Friday on CBC.
