For pre-fall, Batsheva Hay is keeping her eyes on the prize. “I’ve changed my approach to just be about what my person is going to buy right when the clothes are delivered in the summer,” she said at her husband’s photo studio, fresh off of shooting the season’s lookbook. “I’m not making one piece that I’m not going to produce. Strangely, what that ended up meaning was no prints—except for the one funny 4th of July situation.”
The “4th of July situation” is a new version of her “Apollo” blouse, which features slightly voluminous shoulders and an exaggerated ruffled collar, in a red cotton twill fabric printed with white stars, and a pair of bloomer shorts pieced together with blue gingham. The blue gingham (“because, again, high summer”), was also used to nice effect on a ’50s-inspired strapless dress with an overskirt, and an easy a-line skirt with an asymmetrical drape.
From a sheer fabric with flocked irregular polka dots, leftover from previous seasons, she made a sleeveless dress with a high ruffled neck and the triangular ruffled motif she’s been leaning into lately; as well as a new version of her popular “Grace” blouse, paired with a maxi skirt trimmed in the blue and white gingham. The juxtaposition between these two fabrics made for an interesting visual element, especially on the gingham waistband, which gave the illusion that the skirt was worn over a pair of men’s cotton boxers—very in right now.
Elsewhere, there were new versions of the dresses that have become her bread and butter, some with laser cut flowers, others with pink lamé, and a few more pieced together from blue and black cotton to create geometric patterns and shapes. Most intriguing this season was a short black dress made from layers of tulle featuring an iridescent bodice. “I’m making dresses for bat mitzvahs, or like quinceañeras or a sweet 16, like coming of age dresses,” Hay said, showing it off. “That’s kind of the next thing I’m exploring—the girl to woman moment.”
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