New York Fashion Week’s circus is getting ready to move to London, in the meantime a little bit of optimism has appeared on the runways.
Models were spotted smiling at Anna Sui, but their mood was probably influenced by the joyously clashing flowery, starry and paisley prints and by gladiator sandals shaped like butterflies.
Yet the Oscar for optimism went to Alexandre Herchcovitch.
Like Alexander Wang (though Herchcovitch already presented this collection a few months ago in Brazil, so no copycat in action here) – Herchcovitch’s moved from rugby while working on his latest designs.
While this inspiration wasn’t too clear in the first nude/grey numbers, such as mini-dresses and tops with matching trousers that vaguely recalled the shape of rugby trousers, Herchcovitch's main idea became more evident in the rest of the catwalk.
Dresses and tops were characterised by bold colours and geometric prints in shades that called to mind the bright uniforms of rugby players; shoulders were emphasised and there were also a couple of showpieces such as a cage-like top and a skirt that was a hybrid between a rugby helmet and a crinoline dress.
Also the Proenza Schouler duo claimed there were sporty influences in their collections and you could clearly see them in the dresses that reproduced the effect of a tracksuit jacket tied around the waist, casually matched with perforated leather jackets.
The collection mainly included a series of tie-dyed bright blue and acid yellow and green dresses and baby dolls characterised by animal prints that often looked like Rorschach test-like stains in techno fabrics and bright and bold colours, embellished with trims, feathers, gems, fringe-like sequins, tiny ruches and lively patterns. 
Lazaro Hernandez and Jack McCollough’s designs continue to be perfect for their cool party crowd, yet you do get the impression that quite a few young designers easily committed one main fault in their recent collections, getting stuck in one of their successful shapes and falling into the repetition trap.
I wouldn't mind seeing a bigger effort from Proenza Schouler's side in the tailoring department that, I think, needs to improve quite a bit.
Oscar de la Renta’s collection was, understandably, a less young and breezy affair, though it obviously displayed a greater research in fabrics and textiles than many other collections.
Though the day looks such as safari suits with kimono-like sleeves, white broderie anglaise jackets and tops or teal crocheted dresses displayed a controlled luxury, opulence came back in the evening wear with explosions of tulle, lace, organza scales and lavish embroideries as displayed in a long evening dress that, matched with a Cleopatra-like make up, was fit for a queen.
Not everything was perfect, though: there was indeed an out of place mass of fabric shaped like a sort of 3D Schiaparelli lobster that, stuck on the hem of a dress, looked rather bizarre and lace veils wrapped around the models’ heads that, in some cases, could have been avoided.
As a whole, this demi-couture collection was beautifully executed, though it looked excessively long and it would have benefited with a little bit of editing and a touch of cohesiveness.
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