Paul Helbers’ spring proposition was built around a particular color, called “Payne’s gray” after an 18th-century watercolorist, which refracts the light into multiple shades depending on perspective.
As such, he rendered a dark, moody ambience dominated by smoky shades but with grayish hues of blue and khaki, and contrasts of chalk.
The Dutch designer said he had been inspired by the work of contemporary British artist Christopher Gee’s nighttime paintings, transposing that atmosphere via new interpretation of familiar wardrobe staples.
Subtly mixing formal, casual and sportswear references to give an overall effect he described as “worn-in luxury,” Helbers’ premise was framed by comfortable forms and high-end details.
A linen jacket was coated to look like leather, while a patent lambskin jacket with a drawstring back was light as a feather. Pants were tailored but given elastic waistlines and pockets that hinted ever so slightly toward a more casual register. A quilted sleeveless flight jacket was made collarless and shaped like a cape, familiar yet alien, and an Oxford shirt was over-dyed to give it a more casual look.