The Carolina Herrera’s imprint This Monday she celebrated four and a half decades of existence on the catwalk at New York Fashion Week.
Far from succumbing to the stridency of contemporary design, Wes Gordon—creative director of the firm since the Venezuelan designer handed over the baton to him in 2018— opted for an exercise in memory and aesthetic fidelity for the spring-summer 2027 season.
The central axis of the parade was a direct tribute to the origins of the house and the relationship that united its founder with the iconic Andy Warhol. A portrait that the pop artist painted of Herrera in 1979 not only dominated the event’s promotional materials, but also materialized its presence by becoming the main print on a short dress and a bag.
The anniversary, as published in EFEcommemorates that legendary 1981 debut at the Metropolitan Club—promoted in its day by the legendary editor Diana Vreeland—, sealing 45 years of history since the socialite Caracas will jump into the global industry.
On the stage set at Lincoln Center, surrounded by a garden of yellow tulips that flanked celebrities of the stature of Pamela Anderson, Sebastián Yatra and Alexa Chungthe house codes were renewed with a firm hand.
Gordon reinterpreted pencil skirts, high waists and blouse-and-trouser sets, upping the ante with exaggerated evening volumes, subtle fine-line checks, lace and the brand’s signature parade of polka dots and flowers.
The closing was carried out by Karlie Klosswho wrapped the ten-year history of Good Girl perfume in a flowing black dress cinched with an indigo bow.
With this deployment, and a recent expansion that includes its new flagship store in Miami’s Design District, the brand demonstrates that its empire is not only sustained by nostalgia, but also by the persistence of an unmistakable style.
