After Fall's Russian-themed collection, de la Renta stayed closer to home, thinking about another climate, especially the artistic milieu of Paris of roughly a century ago, to the controversial movement of Cubism, looking to Picasso, Georges Braque and Juan Gris for his signature spirit.
As the music hummed, the models emerged on the runway in Cubist-inspired creations, complete with paper-constructed chapeaux.
Think souped-up shifts cut from abstract - cubist scribble prints; boucle tweed boleros and oil painted knits outfitted with matadorian cigarette pants; a trompe l'oeil mash-up of graphically placed pailletes, patchword - decoupage appliqués day dresses featuring angular shapes and pompom booties, guitars or newspapers.
Although Black & White separates made an impressive showing, color reigned supreme in the 1961-look collection peppered with hyper-saturated gowns in aqua, cherry, pink, and a touch of green.
There was no shortage for his classics, like the slim cardigan skirt suit, the sleeveless sheath, the volume-pumped cocktail dress, the soft-yet-dramatic blouse, many of them worn, incidentally, with a rather fabulous bootie that was part sandal, part hiking kit.
Post show, the king of luxe emerged victorious as approving editrixes offered their congratulations on a job well done.
