Carolina Herrera was back at the Frick today. The jewel-box museum, once the home of gilded-age industrialist Henry Clay Frick, was much in the news last year when preservationists worked to scuttle expansion plans that would have destroyed its oasis of a garden. As historic a setting as the Frick is, Herrera herself is determinedly forward-looking. She said as much backstage. “I want to see women looking beautiful, but in an actual way, not in the past. I’m very pro new technology. We should go to the future.”
True to her word, Herrera experimented with 3-D embroideries like leather florets and smaller paillettes that floated a few centimeters off the surface of dresses thanks to long bugle beads that connected embellishment to cloth. Herrera hoped they would enhance the sense of fluidity she was going for, and that they mostly did. They’ll be a talking point on dance floors at next season’s galas, though how you sit in them at dinner hour is something she and her team will have to consider before they go into production. In keeping with that feeling of experimentation, Herrera took a modern view of event dressing, pairing a black sweater that sparkled like the night sky with an ethereal mint green tiered gazar midi skirt.
The highlights among her gowns—a body-skimming column with a keyhole neckline and, in back, a beaded racerback strap, and Karlie Kloss’s plunge-front goddess dress—were streamlined and stripped down. Best in show was Maria Borges’s halter-neck number in the most sensational shade of iris with blossoming floral embroidery.
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