A review of Veronica Leoni's first collection for Calvin Klein, highlighting its lack of distinctiveness and failure to capture the brand's essence of sexy minimalism.
did his “Jaws” collection for Calvin Klein — remember the shark tank top? — I found myself getting restless to see his take on minimalism, and I told him so after the show. After all, Simons is a master of minimalism. He knows his way around the form as well as any of its practitioners, and he knows their work, too, whether it’s Helmut Lang or Jil Sander. But it was not to be. Simons got the boot from Calvin Klein and its parent company, PVH, later that year.
Actually, I doubt that any sophisticated fashion consumer thinks that. We’ve seen so many great iterations of minimalism in the last decade — in most seasons from the Olsen sisters; from Co, a label that originated in Los Angeles; from Fforme and Maria McManus, both in New York City, and Phoebe Philo since she launched her label. We also have the legacy of a designer like Lang. It was so powerful and original that no successor, certainly not Peter Do, has been able to capture it adequately.
As we looked at a long black coat in a viscose twill, Howie said, “I’m thinking we might do a matching two-piece look under it.” That thought, I said, is very Zoranian — meaning Zoran, who left his imprint on minimalism with clothes in four or five colors and fabrics that used no buttons or zippers, and whose work has been copied and copied.
CALVIN KLEIN MINIMALISM FASHION VERONICA LEONI DESIGN REVIEW
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