Is the era of “naked dressing”—that intensely flesh-baring trend which soared in popularity post-pandemic, even leading to an official ban at the Cannes Film Festival—finally drawing to a close? While red carpet events still feature stars like Margot Robbie in barely-there Armani or Dakota Johnson in sheer Gucci lace, a noticeable shift is underway in everyday fashion.
The recent New York collections, often a reliable indicator of upcoming trends, certainly hint at this change. It was the most significant observation from a week that largely played it safe with sportswear, where the typical spring lightness seemed to disappear into voluminous balloon pants.
“I call it sneaky sexy,” remarked Michael Kors backstage, describing his new collection. He highlighted his hybrid suiting, where even sequined evening pants were subtly veiled with a layer of dark chiffon. Kors elaborated, pointing to an effortlessly chic gray flannel scarf dress—a blend of caftan comfort and executive polish—and a white tuxedo shirt reimagined with a graceful cowl neck instead of buttons. The concept, he explained, allows for a hint of skin as a leg emerges while walking, or movement in the cowl neck, subtly suggesting what lies beneath rather than overtly revealing it.
This trend towards modesty might stem from a broader societal lean into conservatism or simply a natural recoil from the recent urge to bare all—both physically and emotionally. Whatever the cause, hemlines are undeniably lengthening, and fabrics are becoming more opaque. It’s no coincidence that Hillary Taymour’s Collina Strada show featured lacy, floral designs alongside their “shadow” versions, reminiscent of film negatives or looming clouds, adding a layer of subtle mystery. Joseph Altuzarra described this covered-up aesthetic as “interesting because it feels very antithetical to the moment we live in. It’s very analog.” It’s a style that thrives on leaving much to the imagination. Altuzarra demonstrated this beautifully with full pleated pants, neatly cinched at the ankle, perfectly paired with charming pie-crust collar shirts. His collection also showcased jackets and dresses adorned with intricate, three-dimensional blooms that appeared to organically sprout from the fabric.
As Stuart Vevers of Coach put it before his standout show—featuring ankle-length T-shirt dresses silk-screened with black and white images of iconic American cities like New York and Seattle, alongside dramatically upcycled trousers that pooled elegantly on the floor—“it’s definitely not the morning after.” Instead, it’s the “morning after the morning after”—a period rich with subtle complexities woven into the very fabric of the designs. Tory Burch extended proportions gracefully, with skirt waists sitting low on the hip and hemlines falling below the knee. Her evening wear evoked a distinct 1920s and ’30s vintage charm, featuring exquisite embroidery layered over delicate chiffon and luxurious silk.
Raul Lopez of Luar moved away from his characteristic peekaboo designs—where a fleeting glimpse revealed a thigh or rib cage—towards a more refined interpretation of Caribbean Carnival’s rebellious spirit. This was evident in graffiti-painted suiting replacing body paint (a definite progression in sophistication), and vibrant, cha-cha frills crafted from upcycled plastic bags, serving as a sustainable meta-commentary on themes of income inequality and discovering beauty in unconventional materials.
However, this conservative lean wasn’t always a success. At Khaite, Catherine Holstein’s collection felt overwhelmed by high-concept styling and atmospheric smoke machines. Her dresses and skirts, bunched and bubbled into complex forms, aimed for experimental flair but often resulted in unflattering silhouettes. (Given her talent for cutting superb leather coats, sometimes simplicity is key.)
Yet, for other designers, like Eckhaus Latta, this shift paved the way for a genuine breakthrough. Mike Eckhaus and Zoe Latta, the long-reigning queens of downtown New York’s DIY chic, infused their distinctive “weird-sister” separates with new rigor, trading haphazard deconstruction for the elegance of unexpected details. Their collection, an undisputed highlight of the week, ranged from an opening series of sophisticated “little black everythings”—think layered tank tops, slouchy trousers, and a sinuous cap-sleeve column with a daring cutaway back—to zipped-up jackets and skirts that playfully deconstructed traditional suiting. Ultimately, their presentation offered a poignant reminder: true impact often lies in what remains unseen.