The Wes Gordon customer is historically chameleonic with her sartorial appropriations, in terms of both silhouette (shapely dresses, leggy pants) and aesthetic (his Fall ’13 hellfire print was spotted on many a trouser in the front row, likewise with his Spring ’13 in-your-face swan motif). That’s great for her, what with so many options, but at times Gordon’s output has felt frenetically wide-cast and under-edited. Spring ’14 changed all that.
Here he proposed a continuation of his first Resort 2014 collection, shown a few months ago, but softened and beautified. That focus reflected a distinct maturation, which translated into perhaps the most cohesive Gordon collection to date – fitting, as this was also his first fully produced runway show. “The look emerged [from Resort], which was very kind of nineties and Carolyn Bissette. For spring we took it to a more textural place, we lengthened the skirts, we pushed these themes and ideas further and developed some incredible textiles in the process,” he said.
Incredible could almost be an understatement for the collection’s chain-mailed metallic lattice pieces, employed on pencil skirts and cropped blousons alike. Glittering with pinkish Swarovski crystals, more then a few editors' eyes caught the material’s dancing disco-ball reflections. Also worth noting: a pale-as-dawn mint green cropped jacket (the color of the season so far), jarringly mod PVC booties developed in partnership with Manolo Blahnik, and leopard-spotted enamel clutches--another first, re: handbags--made with Fiona Kotur. The only real misses here, ironically, were upheld by a Gordon trademark: lace. Triangular insets on below-the-knee skirts detracted from the elegance elsewhere. And while this wasn’t high-octane fashion by any means, it was certainly encouraging to see how much Gordon has grown in such a short time.