Carolyn Bessette Kennedy’s timeless style has unmistakably influenced New York fashion for years, echoing the minimalist aesthetic of the 1990s with its signature pencil skirts, square-toe loafers, and even opera gloves.
This influence is set to become even more pervasive with the release of Ryan Murphy’s new series, ‘Love Story,’ which chronicles Ms. Bessette’s marriage to John F. Kennedy Jr. Their relationship, a true pop culture legend, tragically concluded with a plane crash when they were both in their thirties.
While opinions on the series’ dramatic merit may vary, the costume design is undeniably accurate. This is particularly notable after initial teaser photos from the set sparked widespread criticism on social media regarding some questionable footwear choices.
Crucially, ‘Love Story’ brilliantly showcases the enduring appeal of 1990s Calvin Klein. Ms. Bessette Kennedy not only worked for the brand but also wore its creations with unparalleled grace. The understated sophistication and no-frills charm of those garments perfectly mirrored her own persona, making her the ultimate embodiment of the Calvin Klein aesthetic.
The timing felt serendipitous: the premiere of ‘Love Story’ coincided perfectly with the Calvin Klein fashion show, almost as if destiny had planned it.
One couldn’t help but wonder: would Veronica Leoni, Calvin Klein’s creative director, draw inspiration from that pivotal era, reimagining iconic staples like the slip dress, boot cut trousers, and the quintessential white shirt for a new generation? And would the stars of ‘Love Story,’ Sarah Pidgeon and Paul Anthony Kelly, grace the front row?
Surprisingly, no. Despite the show attracting New York Fashion Week’s largest array of celebrities, including Dakota Johnson, Jennie, Jodie Turner-Smith, and François Arnaud, the only cast member from ‘Love Story’ in attendance was Grace Gummer, who portrays Caroline Kennedy.
“We began the season by contemplating the quintessential Calvin Klein image everyone recognizes,” Ms. Leoni explained post-show, following the customary air-kisses and photo ops. “Then we deliberately looked further back, to the late ‘70s and early ‘80s.” This period, she noted, predated the brand’s more casual and minimalist reputation.
This proved to be a misstep.
Firstly, by abandoning the stylistic territory Calvin Klein once dominated, the brand risks allowing other labels to capitalize on the renewed interest sparked by Mr. Murphy’s series. For instance, Lunya, in collaboration with FX, has already launched a ‘silk icons capsule’ that pays homage to ’90s New York romance.
Secondly, revisiting Calvin Klein’s earlier history essentially means returning to a period before the brand truly defined itself. It was a time when Calvin Klein, the designer, was still shaping his brand’s identity—a period that was not just less minimalist, but also less distinct and somewhat muddled in its direction.
Consequently, Ms. Leoni’s collection, perhaps inevitably, reflected this lack of clear vision.
While a series of sleeveless suits for both men and women, emphasizing the biceps, initially showed promise, the collection then veered into experiments with backless suits and dresses. These pieces, appearing demure from the front, unexpectedly exposed slips from behind. A striking white racer-back tank dress, adorned with delicate beaded threads along the neck and straps, and a backless sheath that subtly revealed a bra-clad breast, felt authentically Calvin Klein. However, a grand finale gown of voluminous white and metallic orange silk seemed utterly out of place, more suited for a Las Vegas spectacle.
The collection also featured long underwear paired beneath a stylish double-layer trench coat, perhaps a nod to Calvin Klein’s iconic presence in intimate apparel. A lone pair of jeans, designed to evoke the brand’s original 1970s denim, and even some four-button jackets were presented. Overall, the collection felt disparate and lacked cohesion, with many elements failing to complement one another.
While Ms. Leoni’s ambition to move beyond Calvin Klein’s obvious tropes and forge her own vision is admirable, this particular approach proved ineffective. Not every phase of a brand’s history merits a revival.
A defining characteristic of Mr. Klein’s mature style was his rigorous design process and his ability to distill each look and collection to its absolute essence. This very quality is, ironically, celebrated in Ryan Murphy’s ‘Love Story.’ In a world brimming with chaos, such clarity possesses a unique power and enduring relevance. It’s a lesson Ms. Leoni would do well to embrace.