Proenza's Flat Cadenza

Proenza Schouler’s Spring 2015 collection is a remix of classic American sportswear constructed, in the brand’s usual manner, with unexpected materials. The collection is replete with trench coats in colorblocked leather and python and shirts in classic silhouettes juxtaposed with open-knit skirts and leather fringe. The collared dresses are reminiscent of schoolgirl days, with longer, ladylike hemlines that lend to the collection an air of classic sophistication, while the unusual materials give the collection a modern feel. But with the starching down of collars comes the stiffness of age and the death rattle of Proenza’s wild adolescence. With their attempt to transition into a major fashion label, creative directors Lazaro Hernandez and Jack McCollough  seem to have lost their vision and the distinctiveness of their style.

While Proenza Schouler has been gaining recognition since its inception in 2002, the first five years of this decade have brought about major changes in its aesthetic vision. The Spring 2015 adaptations of American sportswear particularly reflect the designer’s desire to create a modern American luxury brand to rival the traditional fashion powerhouses. This approach seems to be working financially, with speculation that luxury goods conglomerate LVMH will buy a stake in the brand. Sometimes, however, it is easy to forget that Proenza Schouler, in all its sophistication and ambition, was just five years ago an emblem of unapologetic and youthful style.

Far from being an instant change, Proenza Schouler’s evolution towards less daring and unique designs has been a gradual process. Half a decade ago, Proenza was the epitome of a cool, urban girl, pastel-haired and sporting a deconstructed tie-dye dress. At the start of the decade, the brand’s output was provocative; the Spring 2010 collection featured slouchy, frayed minidresses and leather. Abrasive blues, greens, and yellows were ubiquitous, as well as prints reminiscent of tropical fish. McCollough and Hernandez’s masterful use of color resulted in a collection that was defiant, effortlessly cool, and instantly recognizable.

By the time the Spring 2012 collection rolled around, the silhouettes of their pieces had begun to change; the collection was vintage-inspired, so tailored jackets, longer hemlines. and graphic floral prints were abundant, though the color combinations of brown and yellow were reminiscent of old hotel carpets. There were still remnants of the cool girl showing through with tiger-print crop tops and slick black plastic details, but they were poorly incorporated into the vision of the collection as a whole.

Shortly thereafter, Proenza Schouler put forth a collection inspired by Tumblr andthe young users of the Internet. However, unlike previous years, this time the youthful vibe seemed contrived. The collection was certainly bold, showcasing bright colors, patchworks of mixed leathers, and photo prints. This time, though, the exuberant colors did not give Proenza the same cohesive effect as in her 2010 incarnation. The collection came off garish and artificial, seeming to be the brand’s last attempt to play up its reputation for youthfulness

Hernandez and McCollough’s later collections are more polished. They have delved into grown-up and modern aesthetics, creating impeccably made pieces but forfeiting the power of color. Fall 2013 saw boxy, clean silhouettes, beautifully tailored in crisp black and white. The collection was elegant, although lifeless in comparison to Proenza Schouler’s aesthetic of 2010. The first half of the decade has been transformative for Proenza Schouler in its transition from a visionary brand exuding youth and undeniable cool to a modern, refined, and maturing one. But in refinement and contemporary, decidedly American luxury, Proenza has decayed and has lost the appeal of its unique aesthetic vision.