Carnations and Espadrilles at Oscar de la Renta

Guests entering the Oscar de la Renta show were pleasantly surprised to find a single red carnation on their seats. For designer Peter Copping, who was presenting only his second collection as the company’s artistic director, it was a Parisian tradition that was worth bringing to New York.

Also, the flower fit in with the show’s Hispanic theme. “This is the flower that gets thrown to the bullfighters in the bullring,” Copping noted.

The designer said he drew inspiration for his show at the Hispanic Society of America in Harlem, where he viewed paintings and textiles that he knew de la Renta, who died in October 2014, would have loved.

There was a carnation print in the collection and the colors of ruby and black were prominent, along with bottle green, saffron and seafoam, among others. Copping did not stint on the intricate embroidery and fabric work that his predecessor was famous for.

The designer did introduce one thing, though, that was totally new for the house: the Spanish espadrille, a casual shoe that Copping paired with some quite elaborate dresses.

Sexy is the new black at Vera Wang

That’s the word from Vera Wang, who made her point in tiny black bandeaus and bra tops, short shorts, sky high heels and plenty of sexy shoulders, if shoulders are your thing.

She included a pop of red, mesh and sheer elements, and a dose of gold sequins, with just a touch of mink in a mini-vest and spiky ostrich plumes on shorts, boy shirts and a halter-neck dress serving up those shoulders as cutouts did elsewhere.

Wang said backstage after the show that she drew inspiration from the duality of life, the pleasures of the imagination a bit of mystery.

“There is that side that’s very, um, not prim but controlled, and then there’s a side where you let go, you allow yourself to have a bit of fantasy in your life.”

Pop-art explosion at Jeremy Scott

Vera Wang Spring 2016picture: unique formal dressesJeremy Scott’s fertile pop-art imagination and affection for the outrageous in fashion were on full display at a high-octane, high volume show that melded elements as diverse as “Star Trek,” John Waters movies and Jackson Pollock.

The colors popped off the runway as models sauntered along in exaggerated bouffant wigs and bright plastic shoes.

There were futuristic bikinis topped with bangled dresses, silkscreen dresses with images of vampy women, and knit miniskirts with big cartoon faces on them.

Scott’s explanation of the unifying theme was endearingly all-over-the-map.

“It’s my imagination of what the cool kids in the ’80s on the Lower East Side in New York were doing,” he said in a backstage interview. “They were watching those early John Waters films and those Russ Meyer films that inspired them.” He continued: “It’s cross-generational, ’80s looking at ’60s, ’50s. I wanted to play with all these nuances, like the vamp and that bad girl who was like, bouffant a little too high, belt a little too tight.”

Meditations on a school uniform, at Thom Browne

When most people look at a school uniform, they see something, well, uniform.

As in, boring. Isn’t that the point?

Not in Thom Browne’s hands it isn’t. At his runway show, the designer took the simple image of a Japanese schoolgirl’s uniform and transformed it into a strange but enticing world.

Browne is known for both his craftsmanship and his showmanship, and thus no one was surprised when they entered a Chelsea gallery to see that the designer had constructed a one-room schoolhouse. There were rows of chairs, and a black composition notebook neatly placed at each one.

Then came the “students.” Each model wore a pleated skirt and blazer. But the workmanship on those “uniforms” was intricate, with different patterns embroidered on both skirt and jacket, and each outfit was wholly unique. There were pinstripes, floral patterns, gingham, seersucker. Color schemes started with shades of gray but moved on to black-and-white, and pastels like mint green and lavender.

Backstage, Browne explained that the whole show was based on one thing: that generic school uniform. “But also, I almost wanted to play with people not knowing what was right side up and what was upside down.”

Wet and wild at Tommy Hilfiger

Models splashed in a lagoon surrounded by a sandy boardwalk to end Tommy Hilfiger’s ode to easy island life.

Looking to add some youthful oomph to the heritage brand, Hilfiger built a wooden boardwalk ringed by sand, hung a hammock and constructed a tiki bar in front of a faux sunset. He sent his models out in multicolored hats and billowy dresses adorned with flora and fauna inspired by textile artist Josef Frank.

The idea was to vibe off the Caribbean’s Mustique, a playground for rock stars and royalty. And to pay attention to young customers.

A limited-edition silk bomber jacket embroidered with a lion on the back was made available for purchase instantaneously.

“We basically went back to our roots and made that relevant for today. We decided to really look at our DNA and celebrate who we are as a brand,” Hilfiger said in a backstage interview before the show.

A storied venue for Carolina Herrera

For a designer known for her refined elegance, there could hardly have been a better venue for Caroline Herrera to show her wares: The storied Frick Collection on Manhattan’s Fifth Avenue.

Dressed in filmy dresses and gowns in ever-deepening shades of pink and rose, her models snaked around the museum’s garden court.

Herrera, 76, introduced a modern flair, while still portraying the air of fantasy that she says is essential to fashion.

“I am in my rose period,” she said in a backstage interview. “I started with very light shades of pink and then it went a little bit more intense.”

Those pinks ranged from a pastel, filmy pink shirt dress — very short — to suits with floral accents, to longer slip dresses. She also worked with “techno fabric” to achieve, in some garments, a pleated effect. “It gives the idea that it’s pleated and at the same time it is very seductive, sensual, transparent, (but) not vulgar.”

Slip dresses, coats and florals at Calfin Klein

A woman wakes up and goes out to buy a pint of milk. Still in her slip, she throws on her boyfriend’s coat to run out the door.

That domestic scene, says Calvin Klein designer Francisco Costa, was an inspiration for the new collection he showed on Thursday: an ode to the slip dress and the coat. “His and hers,” Costa said. “His coats, her dresses.”

The dresses were silky and satiny and smooth, in neutral colors like eggshell, ivory and gold taupe. And they were different: Many bore double straps — a pair on the shoulders, and a pair off the shoulders. There were also leather apron dresses — deconstructed aprons — also adorned with extra straps.

The coats were roomy; a highlight was one in a bouquet print, covering a print slip dress and paired with platform sneakers.

Some of the nicest items in the collection, indeed, were these floral prints, meant to add a strong dose of femininity.

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