After a production snafu rendered parts of his fall collection unusable, Bach Mai was forced to churn out new work in a mere 48 hours. Admittedly it was a bit hodgepodge, but what’s a lone couturier to do without a conglomerate backing him? The show must go on.
Flash forward to spring, and Mai returned with something to prove. “Last year was one of the toughest years of my life. My dad died and on top of that the industry has only been getting tougher,” he divulged backstage, adding, “We’re trying to do the best we can, me and my ragtag band of kids.”
An Albert Camus quote about emerging from the darkness of winter to discover the “invincible summer” within not only shaped his newfound optimism, but also his palette. “I told myself I was not allowed to use an inch of black,” Mai joked.
Instead, the show got off to a strong start with buoyant gazaar shapes in radiant sunset hues, giving way to softer confectionary pastels.
While sturdy gowns with sculptural tufts of satin gathered at the back, waist and knee had much of the sophistication, which initially made Mai a bright spot on New York’s evening scene, his finesse with fit could still be improved.
Where this show really had an edge over his last efforts was the less fussed-over ready-to-wear options. Mai pushed a new trapeze line, dubbed “nouvelle empire,” enthusing that he’s “been in kind of a Regency moment.” It was used mostly for simpler cocktails that, while commercial, lacked the zip of, say, an accordion pleated teal trench worn over moiré lavender HotPants or a bubble-gum pink peplum bustier and cherry-red sheer trousers, a breakout trend this NYFW.
Mai is a recipient of this year’s CFDA Genesis House AAPI Design + Innovation Grant, and nods to his Eastern heritage included geisha updos, obi belts and origami folds throughout. The hybrid kimono-aviator jacket, somewhat of a brand signature, also made its runway debut, adding a nice contrast to the old-school European extravagance he loves.
Still, Mai has been pondering what it means to build a maison Stateside and for that he turned to one of the best examples: Charles James. The closing vignette had models pose languidly in dialogue with one another, an homage to James’ iconic ballgowns image by Cecil Beaton. “It’s so representative of what American glamour is, what American couture is,” Mai said.
While he hasn’t yet reached that level, this collection showed Mai is headed on the right path.
