The BOSS show venue was blindingly white, a triumph of design over the realities of New York in the rain. The show itself was another triumph of imagination, taking inspiration from coastal California. Think Big Little Lies, but even more perilously chic, and if it was set in Los Angeles — the metropolis meeting the beach.
The collection itself, however, was less about wishful thinking and more grounded in the realities of what we’d like to wear. The opening look, a ribbed, ankle length dress with a light coat and sandals, worn by Selena Forrest, was a believable way to bring Pacific cool to the city. The color palette, of white and rose, seemed like a fresh way to wear very pale colors (so often designers seem to think we can get away with wearing all white — when was the last time that didn’t end in disaster?) Actually, it was the men who looked most modern in the light pink tone, in their shorts, a vision of how sportswear might look for grown ups. The collection cycled through mauve, grey, and deep navy, most brilliantly when used for patent overcoats or fisherman’s hats (hats this season are everywhere, and it’s not just because of the weather). After a few years of oversized tailoring, BOSS’s suits were slim and sharp edged, which was a balm after seeing seasons of linebacker shoulders. These were things one wanted to wear, which sounds obvious, but having wandered the stores to see the fall offerings, is decidedly not to many brands.
The civilized, crisply cut looks that closed the show matched the brilliant white of the show venue. As designer Ingo Wilts emerged to take his bow, the consensus seemed to be that this is the start of a new era at BOSS, that’s based in the real, the desirable, and the extraordinary.
