The preppy maximalism of Tommy Hilfiger's SS27 collection The American designer returns to the Plaza Hotel with a show that revisits his most iconic decades

Tommy Hilfiger is one of the most quintessentially New York New Yorkers there is. Even what was his home for years — a penthouse atop the Plaza Hotel, right in the heart of the city — has over time become a celebrated address, one that has woven the designer's story together with that of New York itself. Hilfiger and his family no longer live in the mega-penthouse, but that doesn't mean the designer's bond with the legendary hotel has faded. In fact, it was there that Hilfiger once again brought together his personal family and the broader family of the brand — whose members include Kate Moss, JISOO, Patrick Schwarzenegger, Arón Piper, and Carmelo Anthony — to present the Tommy Hilfiger SS27 collection, a lineup built entirely around color-blocking combinations and clashes of stripes and checks, in a clear homage to the more vibrant side of preppy style.

The show, opened by Gigi Hadid and closed by Romeo Beckham, was set to the live music of Matt Jones & the Matt Jones Orchestra, but ended with a surprise: Slayyyter performing her hit Dance. Music that could easily have served as a symbol for the collection itself — steeped in an unmistakably '80s sensibility, yet completely modern when examined up close. The collection took the codes of American prep as they might have appeared in a John Hughes film and reworked them with new proportions, finer fabrics, and a palette of intensely bright colors: alongside the brand's classic red-white-and-blue trio, there were vivid yellows and deep greens, and everything feels lighter, more of the moment.

A great Tommy Hilfiger staple — the rugby shirt — was reimagined through color-blocking, contrasting layered collars were everywhere, and in fact the majority of the looks on the runway were driven by the energy of contrast. These were clashes of pattern and color, of lengths and proportions. Classic polos ranged from cropped to oversized; the Tommy Hilfiger heraldic crest was reinterpreted as a micro-embroidery; and popped collars on polos and shirts were abundant throughout, often layered in a clear nod to the collegiate aesthetic of the late twentieth century. Another reference to that era came in the form of red and green trousers, reinterpreted in generous modern proportions, while among the most interesting pieces was a line of designs crafted from a patchwork of different patterns.

There were decidedly more modern elements as well. First, a series of shirts worn diagonally across the torso, with the button placket becoming an asymmetric neckline and the contrasting collar left open at the chest or back. Elsewhere, a semi-transparent windbreaker caused the colors of the top beneath to appear softened through its translucent fabric. Among the womenswear looks, a pair of tartan dresses — zipped up the front almost like dusters, yet fitted at the waist and equipped with pockets — were truly among the standout pieces of the show. A more playful styling touch came in the form of fabric and bead necklaces, which lent a breezy, summery note to combinations of polos, knits, and collars. Some were even worn over macramé ties.

The classic chinos, too, were shortened into high-waisted micro-shorts in bold colors, or kept longer with seaming that echoed denim. The Tommy flag appeared as a faded, washed-out macro-print on oversized satin-effect tops and large tote bags, on the silk-cashmere fabrics lining the show space, and on voluminous maxi totes with a patchwork effect. On the feet: two-tone skate sneakers, boat shoes, loafers, and leather pool slides. There was also a more refined archival piece: a long white tank dress bearing a reprint of a Times Square billboard from the '80s — the one in which Hilfiger placed himself alongside Ralph Lauren, Perry Ellis, and Calvin Klein as one of the «great American menswear designers». A gesture as self-assured and wry as Tommy Hilfiger has always been.