Power-Siblings Mary Kate and Ashley Olsen have unveiled The Row’s latest spring offerings for 2018 in an intimate gathering in New York. Guests were treated to breakfast against the back-lit mural of the Carlyle Hotel for a morning of sumptuous style. With more fashion treats than sweets to sink your teeth into, this duo knows best when it comes to serving their signature brand of simple-luxe.
The Olsen twins came onto the public’s radar in the shared role as the too-cute, one-liner slinging Michelle Tanner in Full House, a family sitcom stretching back to the late eighties and early nineties. Their popularity with the preteen market ensured them the Midas touch against any project they endeavoured, which included an eponymous kid’s fashion line. Fast forward several years to when the girls traded in the commercial for the couture, and what you find are two very serious, and to that end award-winning, fashion designers.
The label smacks of luxury but in a way that is understated, namely through it’s use of high end materials, immaculate cuts and minimalist aesthetic. These signatures are a polished up version of Mary-Kate’s own penchant for over-sized comfort in her clothing, unabashedly combining the high-end with the marked-down. The New York times went so far as to dub this trailblazing style as a form of “homeless masquerading” that nonetheless was made cool by the young fashion icon. According to the Times this look came to be known as Bobo Style :
[“You know, bohemian bourgeois,” explained Kathryn Neal, 28, a freelance writer in New York.] [David Brooks, now an Op-Ed columnist for The New York Times] had used the term in his book ‘Bobos in Paradise’ [to describe a breed of well-heeled consumers who bashed materialism while embracing all manner of luxury.]
In this most recent show however, the over-sized portions are more about easy luxury, with little ties to street culture, bar the kicks (all Hi-Fi Keds) and the relaxed silhouettes.
What I did pick up on was some period references to the 1920’s, from the soft colour palette, in particular the lilac numbers that were popular in that period for celebratory or post-mourning ensembles, to the over-sized coats that shimmied off the shoulders. Shift dresses that lacked waists gave way to a longer hemline in 2018 with voluminous maxi dresses. Whilst the silk rompers – also the stand outs of the night – had marked similarities to the relaxed culottes of that era.
What jettisons the look into our times is the introduction of structure, through both paneling and ingenious detail. An example is this heavy-duty cord fastened like a noose and slung low to the floor with zen precision.
This asymmetric gathering on a lilac maxi is a winner among fashion editors. It has a sense of freshness that is very spring and ultra-feminine.
This celebration of the softer, feminine look is surprising, because The Row usually leans more into androgyny with its relaxed signature suiting, clean tailoring and shapeless man-coats.
If you had to narrow down the twin’s design style to a single look, this three piece perfectly channels the laid-back, timeless classicism of their collection, whilst still managing to highlight their youthful influence. These, as I see it, are the hallmarks of the Olsen force.
There is a sense of modernity in their 1920’s sports coats that translates easily into The Row’s own vision. It has little to do with climate and everything to do with luxury and comfort. The sheer volume of fabric has always been a symbol that ties strongly into social status, for those who could afford to buy more of it were obviously wealthy. This old adage is not lost on the Olsen’s brand, with The Row adding the staple coat over nearly every look, whether a silk spaghetti-strap slip-dress or full three-piece suit.
There were some heavy-handed moments during the show, where shapeless white sacks looked more like bed-sheets and crumpled pillow slips. There were even trappings of the avant-garde that added moments of surprise, but also misguided direction, to the overall clean look. None-the-less the odd notes are unlikely to damper the success that is the Olsen twin’s collection.
In an era, where body shape-shaming is fraught, do you think these over-sized garments offer some reprieve or even equality through their disguise of the female form? Post your thoughts below and start the debate!