Batsheva Hay is a self-proclaimed fan of mashing up influences from different eras. Her fall collection took cues from ‘50s, ‘60s and ‘80s silhouettes, blending sailor, Twiggy, Victorian and prairie vibes with her signature mix of party and house fashions, accessorized with cheeky headwear. The ideas weren’t convoluted though — Batsheva has a knack for layering intriguing fabrications, “grandma’s curtain” prints and sweet yet quirky silhouettes in a way that feels both nostalgic and new.
Speaking of newness: The collection had plenty in fabrication — denim, sweatshirt fabrics, corduroy, crushed velvet and baby alpaca knits with hand crochet accents (alongside signature locked Swiss dot and printed cotton layers). Ditto to silhouette, prevalent through jacket dressing, or Hay’s favorite fall frock, based off of Sharon Tate’s iconic white puff-shoulder babydoll wedding dress. Batsheva’s playful renditions came in green moire with blue velvet trim, in black PVC, and even denim.
The look: A mix of era-influenced ideas, blended into Batsheva’s signature Victorian and prairie sensibility.
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Quote of note: “I tend to hugely stick to repeating silhouettes in new fabrics, but I tried to play a lot more, it’s a broad collection for me. It’s been a fun time for me to explore, but also as I’ve broadened my customer base and have more retailers, they want more variety. It’s become this family of shapes going on.”
Key pieces: New outerwear and jacket dresses (a roomy navy corduroy coat dress or green moire trench); a quilted silver leather cropped jacket and matching A-line skirt; new house dresses (both cinched and roomy); blouses with varying frilled hems, balloon sleeve treatments, and collar details; party dresses with ballgown skirts; the “Tate” dress.
The takeaway: Giving basic fabrications the “Batsheva spin” worked well for fall.