"You know those tweeds? They were actually all leather, woven into panels," McCollough said. "Nothing is really what it seems. You have to touch it."
And that lacy thing that looked just like leather with tiny cutouts? It wasn't. The two men described long processes of fabric building that made it sound like they were working on a doctoral thesis in engineering.
The goal was simply to create a pleasing sense of softness. "It's a mood," said Hernandez. "I'd describe it as serene, light, soft. Isn't that what we all want more of?"
Sui's dresses matched the tights, which matched the shoes, which matched the jewelry.
The concept blossomed after Sui caught a French New Wave film — and then many more French New Wave films — from the early '60s, an era the designer enjoys.
Sui noted that time coincided with the revival of Chanel, and that a sort of chic ladylike dress — albeit a very young lady — was a prevailing theme.
She liked it even more that director Jean-Luc Godard used the same key players in many of his movies. "That's sort of how I work. I like to be surrounded by the people who I like and admire," Sui said.
Top models always turn out for Sui: Karlie Kloss, Jessica Stam and Hilary Rhoda among them for this show.
There were a few black pieces, such as a fuzzy Mongolian faux fur and black suede pants with grommets, but this was a celebration of color — in hot pink, aqua blue, red and sapphire green.
Sexy Siberia — why not?
The newest Tahari women's collection zooms in on body-conscious shapes with strategic use of cozy outerwear, including an all-enveloping cocoon coat.