That fashion is entering its hedonistic phase seems certain, what with midriff-baring blazers, short shorts, and bodysuits on the runways—the men’s runways, that is. But Ashley and Mary-Kate Olsen are holding their course. Skimp is not in The Row’s current vocabulary, and it isn’t likely to be in the future. None of us have been untouched by the pandemic, though, so how has the experience of lockdown changed the Olsens’ design POV and what does The Row’s take on re-emergence style look like?
For starters, this is a much bigger offering than the one they presented a year ago at this time; three times as big, so there was room for experimentation. It emerged most vividly midway through the lineup in the form of separates for women and men in shades of red and blue, the brightest colors ever to find their way into a collection from the Olsens, who prefer to work with neutrals and classic black and white. A subtler change were the earthy details here and there, like the delicate thread belt that accented the drawstring waist of a pair of casual pants or the fringed raw-edges of a fully knit skirt made with three different yarns. A few pieces were hand-painted, a nod, maybe, to the artists and art collectors that number among their clients.
The accessories offering has grown, too, and there was a notable element of fun, as seen in the tiny card cases and coin purses suspended from belts and in the stretchy ankle boots that looked like a cross between scuba socks and wrestler shoes.
Overall, the proportions are roomy and the silhouettes are layered. They liked the look of a wrapped waist this season and they did a fair bit of work with pleats. Given all that, a couple of outliers made an impact. They included a pair of pressed khakis whose low-slung, flared profile recalled the ’90s, and a jumpsuit with a tank top upper half that was the barest of all the looks assembled here. In all likelihood, they weren’t nods to fashion’s new interest in body-con—the Olsens, as mentioned above, are trend agnostic—but they looked fresh.
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