NEW YORK, United States — Somewhere, somehow, Marcus Wainwright and David Neville were tipped off that a portion of Jennifer Rush’s 1984 music video for “Power of Love” was filmed in the freight elevator of the Meatpacking District building where Rag & Bone now occupies several floors. Inspired by the scene, the designers shot their Pre-Fall lookbook in and around the office, the models casually posing in hallways and against mirrors. Occasionally, an employee pops up in the background, a reminder of a workday that doesn’t involve standing in front of a camera.
If the idea was to frame the collection with a sense of realness, it worked. At a preview, Wainwright alluded to the fact that, in the past, pre-collections were primarily meant to serve a commercial purpose. Now, given all the press interest around the season, they must make headlines, too.
Wainwright and Neville did tell some new stories. The baseball-inspired silhouettes — particularly the long shirtdress with contrast piping and the oxford cloth tunic — were a fresh proposition. But this collection was more about offering the season’s biggest trends through a Rag & Bone lens. For instance, an off-the-shoulder peasant top was cut less like a blouse and more like a straight banker shirt. The cropped, wide leg jeans were tailored like trousers. The ever-popular slip dress was layered over a polo sweater.
The subtlety carried over to the chunky-heeled sandals and unfussy handbags. Wainwright said that the label’s practical “Flight” duffle — available in a weekend travel size and also in a shrunken everyday version — is performing well at retail.
At times, one hoped for more pizazz. In general, though, the easy tomboy styles offered the right feel and proportion.