Ulla Johnson has a new logo. The letters are hand-drawn, and the serifs are almost gone. It’s less a reimagining than a subtle shift, but there’s a surprise. The collection’s teddy fleece parkas are finished with a patch in which her four-letter first name has been transformed into a tight, graphic hieroglyph. It’s the Ulla Johnson version of the monograms that have become ubiquitous across fashion, and a signal about her ambition. Here’s another: By the time this collection ships, Johnson’s new Los Angeles boutique should be open for business.
Pre-fall was shot in New Mexico at Georgia O’Keeffe’s Ghost Ranch. Johnson put a lot of emphasis on utility. The aforementioned parkas and washed engine-striped denim were used for wide-leg trousers and skirts featuring handkerchief-style ends. She didn’t give short shrift to her signatures: Victorian-ish puffed sleeves; hand-knit sweaters; and ruffles, lace, and pattern mixing were all well represented in this large collection.
Romance is usually the main focus, but this time she was talking up the possibility of romance. “muscularity”Some pieces. An oversized herringbone coat was more masculine; a cropped jacket paired with full-length pants and an exaggerated collar struck a gaminian note. Vests that fit snugly over feminine, familiar shapes had a boyish appeal. The look book’s black and white bandana embroidery was also new. It was bolder and more graphic than the other patterns. Also, the intricate craftsmanship is beautiful.