The Best Looks From New York Fashion Week Spring 2016

In case you've never had one of these nights, this is what you look like the morning after. Well, in Marc Jacobs world, at least. To end New York Fashion Week, Jacobs took over the Ziegfeld Theater—sidewalk included—and put on a show-stopping spectacle worthy of the days when the Ziegfeld was the hot ticket in town in the 1930s and '40s. If the red carpet and lineup of real-life fans and step-and-repeat, by which the models had to walk before entering the theater and stage/runway, were any hint, this was going to be big.

The clothes were signature Jacobs. Messy, beautiful, punk, ladylike, shiny, grungy, grandpa and glamorous all in one. A veritable soupçon of ideas that he deftly pulled together.

There was a ton of red-white-and-blue done in jazzy sequined dresses cut with the seam peaked-shoulder, nipped-waist silhouette from Hollywood's golden age, or a sweet tomboy sailor pant worn with lace-up boots from the turn of the last century. But then he spun his time machine to the glamrock '70s, with platform boots holding up a hungover-looking girl in red hot shiny leather pants a bow blouse and a varsity jacket with patches (including the Playboy bunny). Elsewhere, Old Glory herself was redone as a shiny leather jacket over a perforated leather skirt and red cowboy boots. Hello, Texas!

Each look was a visual treat, like unwrapping a gift and finding a surprise. Crochet lace dresses with outrageous feather details and debutante-pretty gauze gowns covered in flowers looked beautifully oddball. But more fun was the face of a model blown up and screaming—in fear? Delight? Let's say both—that he printed over an opera cape (worn over a denim dress printed with tickets), a trim day suit and the skirt of a Bette Davis-worthy look.

Jacobs is a student of history and fashion. Like the ringleaders he referenced in the shiny embroidered jackets he showed on the runway, he knows how to entertain— while still delivery some solid clothing. He loves humor and irreverence, and is really good at poking fun at fashion and celebrity...perhaps because he knows a thing or two about both. So yes, the night is pretty awesome—especially when the models' were broadcast on the giant screen on stage behind a live big band. But by the looks of this, one suspects the morning after is where the real party is.

Calvin Klein's Francisco Costa brought Hollywood glamour back via the '90s, and threw in some romance, deconstruction and some cool sneakers along the way. The show came out in stages, first the silk dresses—the kind an actress in the Golden Age might have worn in a boudoir scene. But for the modern girl, paired with frayed satin sneakers. This idea was carried through on long tailored vests worn over chemises and trousers.

The inner wear as ready-to-wear was further explored as he turned chemises into dresses done in neutrals and cut in architectural shapes. Note the way the anklet chains catch the tiny chain at the shoulder and bodice.

Costa brought up a floral idea with pretty prints covering a range of dresses that he trimmed in tiny chains at the arm, waist and along seams and slits. And again, he carried the motif over into his sneakers.

He purposefully started to let things come apart at the seams. Bandage dresses were thrown over t-shirts and artfully unwrapped and unbanded, while loosely knit sweaters were tugged and snagged and held together with chains.

Evening brought the runway full circle, revisiting the glamorous gowns but done with chain details or as sheer sequined versions with satin bras sewn in.

Anchors aweigh! Ralph Lauren set sail for the high seas on the last day of NYFW with a collection that referenced every nautical trick in the book, from crisp, classic navy-and-white pairings, sailor stripes and caps and cork wedges and pirate-sized wide belts.

He thought about all kinds of boats—from the luxury yachts (see the girls in their maillots tucked and long swingy skirts) to the racing boats. Regatta colors and patterns showed up along the legs of great trousers, cropped sporty tops and brightly patterned bags.

Lauren showed his sports authority in the lace-up high tops, gym bags and pullovers—all rendered in caramel leather. This fit in with his notion of preppy luxe, especially when paired with white or navy and other vaguely '70s sportswear silhouettes, like culottes or easy tunic dresses.

There was something of a sail-like quality to the way white pant-skirts were wrapped around the body, exposing a swathe of leg or worked into tunic dresses over pants, strapless dresses and so on. Imagine if the wind caught these...

For evening, nautical stripes turned into halters, strapless gowns and all manner of summery fare. Perfect for a cocktail aboard a yacht headed for a Cap Ferrat sunset.

Jack McCollough and Lazaro Hernandez swept their guests to Spain for Proenza Schouler's spring collection. But never ones to beat a literal drum, the ruffles, boleros and laces were strictly PS. References came through in the crisp white laces and eyelets done up in shirts buttoned all the way up or dresses peeled down around the shoulders.

Flamenco dresses were translated into modern shapes—in both white edged in black and black with red—with cleaner, spare silhouettes and looser ruffled tiers. Tiers that were echoed in the black bows gathering and cinching down the front of other raw-edged lace looks.

Frills and polka dots also made the parade, as the duo bared shoulders and midriffs with cropped tops and high-waisted pants.

A group of net tunics and pants, some feathered, came out offering plenty of peeks at skin but covering just enough. While other fan-printed dresses with placement frills offered a tantalizing glimpse of shoulder and opposing hip. You had to be at the right angle to see the hip, which when you realized it, made it all the more seductive an idea.

It was also about optical plays — the way pom poms and loose netting devolved into fringe under a wrapped blouse and flounced peplum. And layers of blanket wrapped and peeled away to show more light layers below.