Newness at New York label Deveaux isn’t about a wholesale discarding of pieces from season’s past, rather it’s about offering new ideas with garments people can slot into their existing wardrobe for an update on their personal style. For creative director Tommy Ton, spring was a way to build on the ideas he put forth in his fall offering. It’s the way most people shop, looking to update their look rather than doing a complete stylistic about-face. “I like to think of clothes as investment dressing,” Ton said backstage pre-show, adding that “the freedom summer brings” was a jumping-off point for spring. His silhouettes were still languid and tonal, in shades of camel, olive and creams. Standouts were a monochromatic sandy-colored ribbed tunic over a flared pant, easy jumpsuits and a mannishly proportioned suit in olive with a waist belt that produced a structured hourglass effect. A black satin shirtdress felt seasonless and good for day or night, much like many of the looks in his collection. The freedom of summer inspired him to add a print based on summer images of Ipanema, as on an oversize pajama-style short-and-top combo and a carefree shirtdress with handkerchief hem. Last season he chose to show in
“Nothingness is just as important as things that are there,” Andrea Tsao, one-third of Deveaux’s design team, posited ahead of the brand’s fourth outing. That philosophical outlook was taken from Japanese architect Tadao Ando’s design M.O. — whose use of muted palettes, clean lines and leanings toward raw materials parallel design elements in the Deveaux world.
The tether to Ando was light, bearing conceptual details that made minimal silhouettes feel special. An “architect” car coat that opened the show, for example, played with the idea of spacing and exposure, featuring pockets that wove in and out. “What you see and what you can’t see is a large part of his architecture,” Tsao continued. Other details like pockets-within-pockets and belts weaving through cutouts teetered on modern and luxurious design.
The overall tone was more relaxed than previous efforts, featuring an experimentation with oversize fits and vintage sensibilities. Roomy, A-line coats in black washed nylon and glen plaid erred on the side of sophistication, while color-blocked knitwear, khaki-and-white top combos, and chunky sneakers were retro and retail-friendly propositions.
The team also showed a few women’s looks, which showcased architectural references with more freedom. Standouts included a sharp tailored blazer and offbeat olive cotton shirt. It