Perhaps her story begins in a cold, seaside town, with a wardrobe that includes a cashmere cable-knit turtleneck with a flared leather miniskirt or balloon-leg pants tucked into her boots. She also has a nautical-striped sweater and sailor-style pants in black double-face wool.
And she has heavy black wool coats with strong shoulders and fitted waists. Did the officer's coat with the gold hardware, crest and embroidered stripes belong to her or her lover?
Costa said the collection was loosely based on the 1960s Russian film "Ivan's Childhood," set during World War II. It was about the coming together of masculine military looks and feminine softness.
It's a "modern uniform," Costa said in his notes.
Geometric shapes are familiar ground for Costa, but the more refined tailoring and menswear-driven fabrics are a shift for the designer who recently has experimented more with raw edges and looser shapes. These clothes couldn't have been sharper.
First out was a plaid coat with a trench-style collar, oversized pockets and small rectangular cutouts. Other chic outerwear options included coats with knife-pleat backs, and a plaid belted overcoat with patches of shiny black vinyl.
A black tuxedo coatdress with sharp shoulders, pleated details and a double buckle was nothing you'd want to cover up.
Once again Lazaro Hernandez and Jack McCollough came up with something new and fascinating.
In a long shuttered, 19th-century building said to have been the first high-rise in New York City, the designers displayed a restrained color palette of white, black and subtle pastels that included mint and peach.
That enabled them to place the focus squarely on the beautiful fabrics, not only rich and soft but also mind-bendingly complex in their construction, to hear the designers describe it.