Defining Fashion's New Look

When a shift happens in fashion, it can be swift—one major collection that sets the tone. Arguably, Phoebe Philo accomplished this when she brought her particular brand of insouciant minimalism to the main stage upon taking the reins at Celine. Other times, that shift is less perceptible—like in the way drama has found its way into the current fashion conversation. It's less the costume-like playfulness of Galliano for Dior, all peplums and lace and embellishment, and more what we'll call the "new drama." Found in voluminous silhouettes, interesting pleats and offbeat proportions, the "new drama" may borrow from the sort found in Lauren Santo Domingo's Oscar de la Renta gowns, but it's not directly referential and it comes complete with a certain degree of casualness.

"Drama is in the unexpected; It does not necessarily need to be loud and definitely not garish," Kym Ellery of Australian brand and recent standout Ellery explains, "I think drama in fashion occurs when designers and stylists take risks and define new paths." With her poplin tops with bell sleeves and extreme flares, but overall streamlined aesthetic, Ellery embodies the bolder look in fashion right now.

A name we return to over and over again when attempting to define this new mood is Rosie Assoulin. The New York designer who spent time in de la Renta's atelier is favored by fashion-forward models like Lily Aldridge, Leandra Medine of the Man Repeller and Claire Distenfeld of FiveStory—whom both wears and buys Assoulin for her Upper East Side boutique. Assoulin's ultra wide-leg trousers, off-the-shoulder tops and balloon sleeves have found a fast following of women who prefer to skip the wallflower bit. "Customers need to get used to the extra fabric, extra volume and overall extra attention," Distenfeld explains. "For the first few moments when you walk into a room wearing a Rosie garment, you are the only one there. But with that comes confidence and strength—I think her balloon top epitomized it all."

Medine has been photographed in that balloon top outside of fashion shows, paired with denim cut-offs. It's this offbeat mix that makes the new drama appear so modern. Ellery aptly puts the the girl who wears these statement pieces into words,"she is experimental with clothing and enjoys combining the unexpected; dresses over trousers, brocade flares with a sweater or flat brogues with an evening dress."

Mary-Kate and Ashley Olsen of The Row explored these ideas with their Spring 2015 kimono-like wrap tops and dresses; Raf Simons deftly mixes old school Couture shapes with slim counterparts to achieve a similar mood and Russian designer Vika Gazinskaya has perfected the architectural ruffle top. The idea has made its way into approachable-priced contemporary lines like Jonny Johansson's Acne Studios, newcomer Viva Aviva and swimwear designer Lisa Marie Fernandez's forward-thinking pool-ready looks. Distenfeld points to still more, including Aussie brand Tome and LA native Rosetta Getty.

Getty's first collection garnered raves from go—the trick with this new drama is that it's beautiful in the way one desires clothing to be beautiful when they're investing in it. Getty points to "the unexpected proportions in [my] garments," and "long, layered pieces," to help define where her work fits into this dramatic conversation. Think: Flowing silk shirt dresses layered over trousers, blouses with neck-ties so long they serve as almost-trains, asymmetrical jackets, a backless, sleeveless turtleneck that falls nearly to the ankle in front.

These are the sort of pieces that feel like the future of fashion, not overwrought fabrics or dresses worked into nondescript, unflattering shapes. It's not about playing make believe on what futurism means, but instead cementing a next level—and part of that is its intrinsic ease. So what's the thing to buy now? "Pieces that flow easily from dramatic daywear to sophisticated evening wear," Getty explains. You can bet your The Row wrap top on it.

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