The concept of spring renewal takes on a different meaning after months of indoor living and restricted travel. That new definition was on the minds of Mark Badgley and James Mischka as they began work on their spring collection. Returning to a favorite reference—the Orry-Kelly crafted wardrobe of Bette Davis in the 1942 drama Now, Voyager—the duo set out to create clothes for women ready to re-enter the world as their best selves. Butterflies, a recurring motif in the film, made their way onto multiple pieces, representing the theme of transformation. “Now, Voyager has an entire scene about butterflies, and then there are the spangled butterflies that adorn Bette Davis’s cape,” said Mischka. “We felt our customer is a bit like a butterfly; she’s been cooped up for so long, but now she’s ready to emerge from her chrysalis.”
Undertaking such change requires an optimistic outlook or clothes that can evoke that mood. Badgley and Mischka doubled down on playful details like pastel fringe, sequin paillettes, and a series of prints filled with illustrated flora and fauna. These elements were used with intent; a flock of toucans might fly across a maxi dress, while pearl beads added whimsy to a workwear blazer. As Davis’s heroine Charlotte Vale came into her own onscreen she wore portrait collars and ruffles to illustrate her evolution, and the collection took that idea and ran with it. Necklines—curved and face-framing or plunging deep Vs—stole the show. While the focus may have been on ornamentation up top, the duo wasn’t thinking about Zoom. “When all of the detail is on the lower half, it can go to waste [once you sit],” said Badgley. “We do a lot of podium dressing with newscasters or for the red carpet. Keeping the embellishments above the waist illuminates the face—on television and even when you’re simply hosting a lovely dinner at home.”
Amongst their very social clientele, Badgley and Mischka have noticed a shift in how they want to dress for such occasions. Not quite ready to relinquish ease, they’re craving voluminous silhouettes and clothes that move with the body. The desire to make an entrance is still there, but it’s accompanied by the urge to remain comfy 24-7. Spring’s standouts appeared to address both needs; the “look at me” appeal of a lemony pleated gown with a ruffled train was obvious, but so was its relaxed vibe. The same goes for Badgley and Mischka’s crimson take on the cotton eyelet dress and those reflective two-piece suits. Fittingly, the pieces splashed out in the season’s butterfly emblem were designed to float as the wearer walks into the room and spreads their wings.
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