Oscars 2008: 'The Last Word'
Who were the big winners and sinners at the fashion Olympics otherwise known as the Academy Awards? How did Jon Stewart do? What the hell was Ryan Seacrest thinking?
Read the definitive 'Last Word' on the subject by our entertainment editor Diane Clehane. Her entertaining and at times irreverent look at the awards is a highly personal take on what is going on through the eyes of this verteran insider.
Click here to read reportLabels: Oscars 2008, red carpet
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Thursday, February 21, 2008
More Magazine 40+ Model Search
Grand Prize Winner Chung Winstanley (photo: Thomas Kletecka)
On Wednesday, February 20th at Cipriani on 42nd Street, 10 finalists,
representing seven states across the country and chosen from over
14,000 entries, participated in the eighth-annual, nationwide
More/ Wilhelmina 40+ Model Search final countdown and selection.
After being so very nicely treated to hors d'oeuvres and drinks, all
served by an impeccably styled staff, courtesy of the ever-great
Cipriani, guests and press sat down to watch the final runway show.
This event was important in the sense that it graced and embraced all
women over 40 years of age, an age group all too often ignored by the
industry, yet a very powerful force in what helps the fashion industry
thrive altogether.
The ten contenders represented all that makes America's ethnic and
geographic diversity: from Shanah Luhmann to Joyce Larkin, they
radiated confidence, poise and a true and liberating sense of knowing
who they are. In a world where changes are ever so fast paced, and
where youth is privileged over anything else, these ten women
represent intelligence, elegance, refinement and accomplishment, along
with many other traits only acquired through years and a fulfilling
life.
The equally beautiful women who walked down the runway twice sported
a day dress at first and then an evening gown. All were designed by
talented fashion designer Heidi Weisel. The dresses were very pretty
and a great fit for each and every women on the catwalk tonight. I
especially liked the gown worn by Lani Ridenhour, the woman who, in my
opinion, should have been the winner: everything about her is a
statement about how beautiful a woman over 40 can be.
The winners were selected by a panel of judges including Editor-in-Chief of More, Lesley Jane Seymour; More Beauty and Fashion Director Lois Joy Johnson; designer Heidi Weisel; Wilhelmina chairman Dieter Esch; Wilhelmina agents Gina Barone and Ginni Conquest; celebrity make-up artist Sandy Linter and hair stylist Mitch Barry.
The lady who won the prize is Chung Winstanley from Short Hills, N.J.
A bravo to her and the 9 other ladies who gave us such a nice glance
at how age can make a woman even more beautiful then when in her
youth. Or as Shanah Luhmann's mother repeatedly told her : "Inner
beauty must be polished before outer beauty can shine."
-Muriel TriffautLabels: model search, More Magazine
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Wednesday, February 20, 2008
FIT Annual Symposium
GREAT DESIGNERS
Friday, March 14 and Saturday, March 15, 2008, 9am-5pm
Fashion Institute of Technology
Haft Auditorium, Seventh Avenue at 27 Street
Marvin Feldman Center (C Building), 2nd floor
In conjunction with a major exhibition on Madame Grès, The FIT annual fashion symposium will focus on the theme of great designers. Pre-registration deadline is March 1, 2008
Download: Registration Form (pdf)
For more information or to RSVP, call 212 217 4585 or email museuminfo@fitnyc.edu.
List of Speakers:
Andrew Bolton is curator at The Costume Institute of The Metropolitan Museum of Art. His recent exhibitions include Poiret: King of Fashion and AngloMania: Tradition and Transgression in British Fashion.
Boudicca is the London-based design duo of Zowie Broach and Brian Kirkby. Named after the English warrior queen, Boudicca designs both couture and ready-to-wear.
Hamish Bowles is European editor-at-large for Vogue and editor-in-chief of Vogue Living. His latest publications include contributions to Carolina Herrera: Portrait of a Fashion Icon and Vogue Living: Houses, Gardens, People.
Maria Cornejo was the recipient of the 2006 Smithsonian Cooper-Hewitt National Design Award. The Zero + Maria Cornejo collection is presented biannually during New York Fashion Week, and in Milan and Paris.
Kaat Debo is artistic director of the Mode Museum in Antwerp, where she has conceived numerous exhibitions and publications. She recently became editor-inchief of A Magazine.
Caroline Evans is professor of fashion history and theory at Central Saint Martins College of Art and Design. Her recent books are Fashion at the Edge: Spectacle, Modernity and Deathliness and the co-authored The London Look: Fashion from Street to Catwalk.
Linda Fargo is senior vice president and women’s fashion director at Bergdorf Goodman. She is also a member of the Couture Council Advisory Committee.
Michael Fink is vice president and women’s fashion director of Saks Fifth Avenue. He is a member of the Couture Council Advisory Committee, Fashion Group International, and the Council of Fashion Designers of America.
Jessica Glasscock is a writer, college instructor, and independent curator. She is currently curating a retrospective on Stephen Sprouse at Deitch Projects. She is the author of Striptease: From Gaslight to Spotlight.
Pamela Golbin is curator-in-chief at the Musée de la Mode et du Textile of the Palais du Louvre. Her most recent exhibition, a Balenciaga retrospective, opened July 2006. She is author of Twentieth Century Fashion Since World War II and Balenciaga Paris.
Timothy Long is curator of costume at the Chicago History Museum. His most recent exhibition, Chic Chicago: Couture Treasures from the Chicago History Museum, was co-curated with Dr. Valerie Steele.
Patricia Mears is deputy director of The Museum at FIT and author of Madame Grès: Sphinx of Fashion.
Clare Sauro is assistant curator of accessories at The Museum at FIT, where she co-curated Dutch at the Edge of Design: Fashion and Textiles from The Netherlands.
Valerie Steele is director and chief curator of The Museum at FIT. She is also editor-in-chief of Fashion Theory: The Journal of Dress, Body & Culture.
Anna Sui designs exuberantly original clothes, which are sold in 30 countries around the world. Often inspired by rock and roll, her runway shows have been a highlight of New York Fashion Week since 1991.
Isabel Toledo is one of fashion’s true innovators. She received the Cooper-Hewitt National Design Award in 2005, among other honors. She will be the subject of a major retrospective at The Museum at FIT in 2009.
GENERAL PUBLIC:
2 days $75
1 day $50
FREE to ALL students and FIT faculty and staff.
The symposium is free to all students, and FIT faculty and staff. A copy of your school ID must be submitted with the registration form. “Great Designers” is free to all students thanks to a Coby Foundation grant.
Payment Methods
Check or money order: Please make check or money order payable to The Museum at FIT. Register by mail or in person at the address below.
Walk-in hours are Monday-Friday, 10 am-5 pm.
The Museum at FIT
Seventh Avenue at 27 Street, Room E301
New York City 10001-5992
Credit Card: American Express, MasterCard, and Visa are accepted.
Mail the registration form to the address above or fax to 212 217.4531.
Scholarship Opportunities
A limited number of scholarships are available for those who cannot attend “Great Designers” without financial support. Those interested in applying should submit their requests by March 1, 2008, to the Museum at FIT.Labels: Museum at FIT, symposium
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Thursday, February 14, 2008
Fashion Week Spotlight: Lycra
A model at the Lycra event in a look by Natori. Photo by Alexander Erb.
Every season at Bryant Park there is one place in the tents where fashionistas can go between shows to get away from the hectic pace of fashion week, even if only for a few minutes. This February, during ‘Mercedes Benz Fashion Week’ in New York, the Lycra Brand Bra-sserie served as that little oasis where the fashion flock could get away from it all and grab a cappuccino and croissant. The French themed Cafè derived its name from that mainstay of the intimate apparel industry, the bra, which celebrated its hundredth anniversary in 2007. The Lycra fiber brand showcased its integral role in the development of intimate apparel in this, its fifth season as a sponsor at fashion week.
Since intimate apparel is literally the foundation of fashion, it seems like a natural subject for a Bryant Park showcase, but in reality this was actually the first time that it has been featured under the tents. In addition to the Bra-sserie Cafè, which featured displays of contemporary lingerie by companies such as La Perla and Victoria’s Secet, there was also a “Foundation of Fashion” exhibit, located in the lobby area, which highlighted important trends in the intimate apparel industry.
During Fashion Week, Invista, the parent company of the Lycra brand, launched a new global marketing campaign for the Lycra fiber entitled “Some Cothes Love You Back.” The campaign seeks to emphasize the ways in which Lyrca makes clothing fit better and feel more comfortable. According to Invista’s Linda Kearns, the focus of the new campaign is not just about the ways in which Lycra makes clothes hug the body, but also the ways that Lycra garments move with the body. We take Lycra for granted in lingerie and hosiery, and more recently in jeans and sweaters, but in fact, the fiber only dates back to 1959.
On Wednesday night during Fashion Week, the Lycra brand hosted a press event, which took place in the Bra-sserie and the lobby area of the tent. The evening began with a book signing by Cheree Berry, author of Hurrah for the Bra, a pop-up book highlighting the history of the bra. The guests enjoyed champagne, hors-oeuvres, and informal modeling of intimate apparel by brands such as Natori and La Perla. As the models strolled through the lobby in their designer lingerie, it seemed that almost every man in attendance had a camera at the ready to snap souvenir photos.
Bruce Rowley flanked by two models. Photo by Alexander Erb
The event concluded with remarks by Bruce Rowley, Invista Global Brand Communications Director. Guests received a deluxe gift bag emblazoned with the “Some Clothes Love You Back” slogan. Inside were products by Spanx, Flexees, Boots, Le Mystere, Wacoal, Natori, Chantelle, and others.
- Rhonda ErbLabels: Lycra
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Saturday, February 09, 2008
Day 8: Reviews & Notes
Ralph’s Reality ‘Check’
(Photos: Fernanda Calfat)
And I mean that literally. One ongoing theme at Ralph Lauren’s fall collection, shown downtown yesterday morning at two back to back presentations (9 a.m was for the retailers and 10 a.m was for members of the press), was the use of bold, graphic buffalo checks and oversized hunting plaids (red/black, green/black, ivory/black) which were sometimes mixed together in different sizes and scales. Other signature and familiar Ralph- isms include handsome border stripe blanket coats; sculpted day dresses, molded jackets, skirts, and pants in very dark charcoal cashmere herringbone; leopard prints (used for clothing, accessories, or as small accents); black velvet tuxedos; graphic patterned fair isle sweaters; the use of bold color; and the idea of day for night and night for day (a constant theme touched upon by RL that was exemplified by his offhanded combination of a red and black cashmere plaid shirt and black tulle embroidered and feathered knee length skirt or the red and black wool blanket coat paired with metallic beaded dress).
Although, there was positively no mistaking the all out evening glamour of Ralph’s body hugging languid velvet gowns (some in high intensity colors); and a finale of requisite entrance making red carpet worthy heavily embroidered dresses and gowns (the most beautiful of all was the purple velvet gown leg o mutton sleeves, high bateau neckline, cut out back, which was embroidered all over the front with bronze beads, a smattering of iridescent purple beads and black feathers).
Almost nobody does ‘commercial’ quite like Ralph, and his daywear and sportswear, is always beautifully fabricated and impeccably cut (whether lean suiting jackets with peplums or more architectural outerwear versions), but somehow, the collection just seemed a bit too obvious and predictable, and lacked the surprise of experimentation or risk taking. And while the lean pants and sculptural jackets looked great, as did the dramatic coats, a number of suits, which featured longer length circle skirts, seemed strangely old fashioned and not especially modern, made all the more so since they were accessorized with the overly stylized hats decorated with elongated pheasant feathers (similar to those shown on the runway of Carolina Herrera just 5 days before). I guess one could consider feathers (which can double as a weapon and could easily poke an innocent bystander’s eyes out) as one of the season’s big trends.
Zang Toi
(Photo: Nicholas Roberts)
Coincidentally, an All American country lodge theme (as exemplified by graphic plaids, checks, patterned knits) was touched upon by Zang Toi later in the day. But of course, Zang’s Adirondack Mountain romp (for both men and women) was a bit more…shall I say, over the top, glamorous, and not exactly for shrinking violets. These are clothes for women who demand to be noticed. Let’s face it, there is nothing too subtle about a floor length quilted snow white a line toggle coat featuring an oversized white Mongolian lamb hood, a floor length black cashmere peak lapel a-line coat graphically outlined in natural mink, a forest green wool tweed plaid trench with a forest mink collar and lapel worn with matching pants, a black, red, and white beaded American Indian turtleneck blouse worn with a red silk satin organza ball skirt, or a white empire waist full skirted evening gown with a turtleneck bib entirely encrusted with silver beads (the Portrait of an Adirondack Star finale). Oh, and by the way, the word must have been out that Zang’s collection was lavished with real fur, since PETA protesters were camped outside the Bryant Park Tents making their disapproval known.
-Marilyn Kirschner
Calvin Klein
(Photos: Scott Gries)
Francisco Costa is the man to watch. He is succeeding in bringing back the glamour, charm and widespread appeal that made Calvin Klein a household name in the fashion business for over three decades. After Mr. Klein's retirement Mr. Costa, his chosen successor, offered several respectable collections. But none seem as pertinent as his most recent. Following an established designer can be a tricky thing, but Mr. Costa seems ready for the challenge. Karl Lagerfeld did it with Chanel, but other successes have been difficult. Halston and Bill Blass are two collections geared for revival this season. Both have received mixed reviews, but Mr. Costa received almost unequivical praise.
He did it by emphasizing fine tailoring, once a forte of Mr. Klein, who frequently had the most most popular style of the season in his collection. And before he went on to specialize in sportswear, Klein was known for his coats and suits. That is Mr. Costa's specialty. Even his dresses are neatly tailored.
It is rarity this seson when most designers feel that splashy prints, often florals, large doses of glitter and complicated drapery are what women want. Mr. Costa has favored simplicity. It may be the answer.
The one exception is his evening dresses, which do not stray too far from his norm. They are were pleated from bodice to long hem. The pleats are narrow at the top, wider through the skirt. They move easily and gracefully and are a change from snug wrapped dresses. which are seen everywhere.
-Bernadine Morris
Donna Karan
(Photos: Fernanda Calfat)
Donna Karan has produced two collections, both different. DKNY is young and bouncy. The one called 'Collection' is more sophisticated. Both have a fresh look. Her sophisticated collection focuses on what she calls the "bathrobe" dress. It is not made for going to the shower. The skirt is elaborately gathered and draped. The fabrics are luxurious. It is more appropriate for cocktail pazrties where everyone dresses up or even red carpet events. There are many bare backs, strong colors and feathered details. It is not a bashful collection.
Even the short dresses have an elaborate festive feeling; many are accompanied by related jackets or coats. High waisted effects and tiered coats are part of the intricate dressmaking techniques.
Chiffon and jersey are some of the sexy fabrics that reveal the body. The designer speaks of "the moody seduction of urban opulence" in cities like Venice, Paris, Budapest and New York. She clearly has a world view.
- Bernadine Morris
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Friday, February 08, 2008
Day 7: Reviews & Notes
Zac Posen
(Photo: Isabelle Erb)
It was Thursday evening at the Bryant Park tents and that means the night belonged to the spectacle that is the Zac Posen fashion show. Guests began lining up more than an hour before the eight o’clock event , (each one clutching a black cardboard invitation) ,eagerly awaiting the presentation of Posen’s Fall/Winter 2008 collection. The show attracts a wide ranging crowd, from teenagers all the way to more venerable fashion aficionados.
As the throngs made their way into the Tent, in a mini stampede of sorts, the scene became fraught with activity. Photographers, some more agitated than others, jockeyed for positions and the runway was filled with VIP’s, paparazzi, and the glare of cameras flashing. More than a few arguments could be heard over seating assignments.
(Photos: Scott Wintrow)
Some of fashion’s heaviest hitters (Anna Wintour, Andre Leon Talley, Suzy Menkes, and Carine Roitfeld) lined the runway, as the show got under way. The first pieces were tuxedo inspired dresses and separates in black and white, some with red accents or sequins. There were several French inspired looks; the aptly named French lace tops and a suit worn with several strands of beads that appeared to be a nod to Chanel. The knee length ruffle dresses, in soft feminine colors, with their full skirts were reminiscent of French can can skirts. Posen drew inspiration from British menswear as well, in the form of his Prince of Wales schoolboy suit and schoolgirl jacket and skirt.
The highlight of a Zac Posen show is always his gowns, and this one was no exception. These gowns were the stuff of fairytales, most with voluminous full skirts, that would have made Scarlett O’Hara jealous. The colors ranged from framboise and dove grey to deepest navy and black.
The models walked gingerly throughout the show on high platform shoes by Nicholas Kirkwood. This posed a problem as the last model, Karen Elson, came down the runway in the pale grey “dove gown”. She tripped and fell and had to be helped to her feet by another model heading in the opposite direction. Ms. Elson handled the situation with considerable aplomb, posing at the end of the runway for photographers and returning arm in arm with Mr. Posen for the finale.
- Rhonda Erb
Rebecca Taylor
Rebecca Taylor's runway show at the Promenade on Thursday February 7th
was a fine exercise of rigor and expressive creativity subtly
combined, resulting in a collection full of colors and very well
defined lines.
The show started with an alluring ensemble of a grey melton jacket
paired with a black dress full of blossoming flowers: the tone was
set. The 28 designs shown were predominantly in a grey and black color
palette, with flowers almost everywhere.
Miss Taylor has been perfecting her craft and expanded her talent
since she showed her first runway collection in 1999. Today's show was
evidence of her flair for giving women with the appropriate body type
a truly feminine side while sharpening the overall design with
rigorously designed and tailored jackets and coats.
The affluence of the floral motif was proof that Rebecca Taylor is
going nowhere without creating designs that speak of the feminine
essence and its delicate side. As seen in her collections of the past,
the clothes indicated the creator's predilection for a flowing , lofty
style. The designer likes to pair the delicate dresses, blouses and
skirts with very structured pieces that are sharp, yet an
easy-to-the-eye contrast with the flowing designs of her tiered and
layered dresses.
The whole collection had a decidedly victorian flavor opposed with
very modern pieces such as a leopard cardigan. It made for an odd
combination that may be what Miss Taylor's followers enjoy wearing.
One thing was obvious after having seen the whole runway collection:
despite her innate ability to channel all that is feminine throughout
her designs, Miss Taylor's creative expression is limited to the women
who can wear her clothes, and only a certain type can, without looking
too frilly and ornate to an excess.
-Muriel Triffaut
Custo Barcelona
How to describe an extraordinary and unique exercise of fashion design?
No numbered listing of the clothes at Custo Barcelona's Fall 2008
Runway show on Thursday February 7th. Simply a piece of paper
explaining that Custo Barcelona's vision for Fall 2008 is one that is
" a mix of the past, present and future".
The show was unlike any other....vibrant and lush colors abounded,
unusual and incomparably textured fabrics as well, perfectly done
tailoring, unique et intricate details.... Custo Barcelona's runway
collection was a fascinating and prodigious procession of clothes that
had too many qualities to be listed. With 67 designs for women and 16
for men, brothers Custo and David Dalmau made this Thursday evening
one of enchantment that left many in the audience amazed by the
presentation. The brothers always prove an exceptional talent for
creating clothes that give out an undeniable sense of magic.
The men's clothes resonated with a gentrified and city oriented dandy
style. They were the result of many influences, past, present, and
future brought together at once.
With the women's clothes, Custo Barcelona created - or is it
recreated?- the past with pieces such as a long velvet coat printed
with large scale leaves and a fur collar, a nostalgic ode to the
colorful seventies. An other design showed a very deliberate and
structured 80s style with a one button jacket paired with a
close-to-the-body leather skirt. The present was purposefully
expressed with all the hues and types of fabrics seen all over during
Fashion Week: metallic fabrics, velvet, appliques, plum, silver....
Everything was brilliantly displayed with uncommon designs and styles
that only this creative team could have imagined. As for the future,
it resonated strongly with breathtaking clothes made of very unusually
textured fabrics.
All the clothes were a precise exercise of highly refined and
detailed tailoring as is always the case with Custo Barcelona.
Of course, not everyone can wear Custo Barcelona. It is a most daring
and risk taking option to wear the creations. It clearly targets a
worldly and up-to-date modern environment and state of mind with a
streak for strong and numerous cultural echoes. But for those who can
and will, reward comes in the way of how unique and beautiful they can
make one feel and look.
-Muriel Triffaut
Reem Acra
(Photo: Isabelle Erb)
Reem Acra, the designer who is probably best known for her sumptuous bridal collections and evening wear, is a favorite with brides and celebrities. Ms. Acra believes in using luxurious fabrics, in rich colors, and she pays meticulous attention to detail. This was apparent in her Fall 2008 collection which was filled with romantic clothes that epitomized her philosophy.
(Photo: Frazer Harrison)
My favorite pieces were the jewel-toned dresses, both long and short, that were elegantly draped on the bodice, and skirts, giving them a Grecian feel. Also notable were the metallic seperates and bright gold prints, as well as the peep toe shoes worn by the models. Fabrics included silk charmeuse, taffeta, and chiffon in colors of blue, aubergine, mustard, and forest green. Ms. Acra’s gowns were particularly beautiful, especially the tulle embroidered strapless in deep red and the silk sequin gown in antique gold.
Reem Acra invited her guests to be carried away to her mysterious and indefinable world. I, for one, enjoyed the trip.
Rhonda Erb
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Wednesday, February 06, 2008
Day 6: Reviews & Notes
Michael Kors
(Photos by Mark Mainz)
Michael Kors first made a name for himself as a sportswear designer, not only in the United States where sportswear was dominant, but also in Europe, where it had no special cachet. But for a while sportswear or the casual look had a run in Paris too.
Kors didn't stop developing, however, and the news this season is that he has gone far beyond the sweaters, jackets, blouses, pants and vests that once were his signature. There are now soft and lively flower prints, many arresting (but not flashy) colors and, best of all sequin, dresses. It is a well rounded collection.
The dresses are a high note. Though there is no lack of spangles in many collections today. The Kors styles are simple, mainly shifts, with cape-back collars and other unobtrusive details for interest. The hand that made his sportswear wearable but not fussy continues its work with dressy clothes. So there are no big, swathing skirts or elaborate draped effects. It is possible to dress, for evening without resorting to complex designs that are difficult to wear and often look unruly.
One of the prettiest is a lemon-colored shift that glows like sunshine. But there are more familiar all black styles as well. The beige styles from his sportswear days have not vanished, but they are paired with purple flower prints, for instance. And jackets are embellihed with fur accents, such as stoles or collars. Muted shades like olive and smoke also appear along with the lilac and purple tones.
What is especially impressive is that a sportswear designer has been able to transfer his technique to dressy clothes without losing his skill for making designs that do not envelope the wearer in elaborate dressmaking details. His sequin sheaths are as calm and satisfying looking as his cashmere cardigans.
-Bernadine Morris
Anna Sui
(Photos by Frazer Harrison)
Anna Sui is to the fashion world what tropical fruits are for the
Northern hemisphere: unusual for many, full of colors and flavor for
all, "something different". Not everyone likes tropical fruits. But
they give out a sense of warmth and needed energy, no matter how
dreary the day might be.
With no less than 54 designs, Anna Sui showed once again her amazing
gift for creating clothes that are a jolt of intensity and vibrancy in
an otherwise subdued palette of colors and textures as seen throughout
the course of Fashion Week Fall 2008 . No other designer matched the
refined and exquisite explosion of colors she gave the audience
viewing her Fall collection: it was all an amazing display of
creativity. Miss Sui's constant quest for deep cultural knowledge has
led her to give us today a presentation of a folk inspired collection
that works perfectly with her love for vintage clothing and a keen
sense for trendsetting that makes her always ahead of times, one that
many in the fashion world look at for direction.
Precise and intricate accents were found in each of the 54 designs:
flowers, velvet feathers, beaded work on dresses, iridescent fabrics,
multi metallic lame fabrics, refined embroideries, patchwork details,
jacquard, it was all there, a shower of refreshing and colorful
energy.The use of true pigments in the fabrics used made for a display
of colors like never before, even in Anna Sui's previous collections.
"Angelika" showed the beautiful combination of bold teal and
in-your-face-orange, something seldom seen in fashion. The purses
seen were as colorful as the clothes, with long fringes reinforcing
this bohemian-gone-to-town look.
Ultramarine was at its purest expression as were teal, purple, violet
and plum. The richness was to be found in the use of either plain or
burnout velvet (I counted 31 different pieces of clothing made of this
fabric) of the darkest black that helped ground almost every design in
giving out the desired effect that Miss Sui likes the most: a chic
bohemian look with just the right touch of elegance and good taste.
There was no distinct difference to be found between day and evening
wear. The designer leaves it to the wearer to take the bold step to go
out there and blend borders that, after all, have become dated and not
really needed nowadays.
Miss Sui is gifted in the sense that only she seems capable of
creating clothes that, despite their intensity and their richness, are
alluring and make the women who wear them seem uplifted and be an
uplifting sight to others. This time again, the clothes hung perfectly
on each of the models sporting them, a true testament to the fact that
Anna Sui is also a great technician that knows exactly how a design
should be tailored to fit. As a result, the clothes and their lush,
rich mix become living and pulsating frames that surround perfectly
the women wearing them. This was a constant fact through the whole
collection.
Today's runway show was like an epiphany, the result of a continuous
and successful growth, the growth of Miss Sui's own creative
expression as well as her success as a fashion designer. She has a
huge number of devoted and exclusive customers/fans, and has succeeded
in becoming a cult brand in a very few number of years. Each season,
her runway show is one of the most anticipated and draws crowds. Anna
Sui's collections are sold in over 30 countries, the proof of an
extraordinary and well deserved success for the girl from Detroit who
launched her brand name in 1980 and who, for years, worked out of her
apartment.
Seen in the front row were Mr. Russell Simmons (co-founder of the
pioneering hip-hop label Def Jam, a founder of Russell Simmons Music
Group, and the creator of the clothing fashion line Phat Farm and the
fragrance label Atman) as well as Ms. Ally Hilfiger, daughter of Tommy
Hilfiger and who was once featured in the MTV reality show Rich Girls.
-Muriel Triffaut
Prada Party
Tuesday night was the screening of “Trembled Blossoms”, an original animated short, was unveiled Tuesday night in a private screening at the Prada Broadway Epicenter, the flagship store. This 4-minute film is an extension of an on going project of fashion designer, Miuccia Prada, in collaboration with architects, filmmakers, designers, and photographers.
In the Spring Summer 2008 Women’s collection that debuted in Milan last September, Miuccia integrated fabric design, a fashion show environment, site specific murals and photographic sets with the fashion show. What started as ink drawings that depict a lush landscape of flowers and nymphs evoking suggestions of Art Nouveau, Liberty, Audrey Beardsley and Heironymus Bosch have become fabric designs, wallpapers and now, an animated short. (A selection of wall papers is currently on display at the Architecture and Design gallery at the Museum of Modern Art in New York.)
This animated short is part of Prada’s commitment to experimental design. For the past 7 years, Miuccia Prada has commissioned temporary, architecture- specific wall papers, environments, short animations and interactive media for Prada Epicenters in New York, Beverly Hills and Tokyo. It is indeed admirable for a fashion designer to touch different forms of media, much like Paul Poiret during his time. Using cutting edge technology, the house of Prada is surely cementing its way into fashion and art history. That, or Prada is going Hollywood!
Great space. Great party. A good mix of people arrived around 10 p.m. to catch several screenings of the film. At 10:30 p.m., CocoRosie performed, while DJ Jeffrey Tonnesen spun music throughout the evening. Actors and actresses mingled with the cool fashion crowd - Angie Harmon, Dylan McDermot, Eric Murciano, Vincent Gallo, Amy Smart, Rose Mcgowan, Ginnifer Goodwin, Eliza Dushku, Paul Dano and Milla Jojovich
-Anna Bayle
R. Scott French
(Photos: Scott Gries)
Menswear designer, R. Scott French gives good fashion for guys. Maybe because French is the kind of man who only writes with a Sanford Uni-Ball Micro Pen (black, of course). The designer also believes that "the perfect color is one that, when looked at by 10 different people will be called 10 different names" and that "floral shirts and tartan plaids are two essentials in the modern man's wardrobe". Well, keeping these thoughts in mind, it is easy to see why French's perfectly stylized clothes, which were shown by a groovy group of "real" models and "model" hopefuls from the Bravo's, "Make Me A Supermodel" and FUSE TV's "The Sauce", made such a statement on Sunday's runway presentation.
Catering to a broad array of well-heeled, upwardly mobile, young (and older, we'd like to think), gentlemen (professional to rockstars), French served up something for everyone. Three separate collections - Richard Harris Felt, Ltd., R. Scott French - had their place and really did the trick,showing everything from well-crafted, classically tailored, haute luxe separates, shirts, suitings and outerwear, straight through to over-the-top groupings, which focused on clothing featuring surprises, such as lots of mismatched color, unque shape, silhouette, patterns and lots and lots of esoteric detailing. Here, eye-popping hues, short, cropped pants, trousers, a sarong or two, wild jackets and toppers and some really cool tuxedo renderings totally hit the mark.
Overall, these are super clothes for guys from a designer who believes that the "perfect orange is Pantone #021C". Oh and by the way, French's goody bags, which were neatly placed under each guest's seat. were nifty. Set within a perfectly fun khaki green tote bag (which this editor has been carrying around the shows ever since receiving it), the bag shows lots of catchy sewn-on "stickers". Inside, just the right amount of usable "gifts", such as a great music CD, some men's grooming products and coupons for grooming "freebies" from well-known salons around town, and an interesting, new men's magazine, added up to a very nice little "thank you for attending the show" from French to those buyers and editors that made it to the show.
- Adrienne Weinfeld-BergLabels: Fall 2008 Shows, New York fashion week
+ 2/06/2008;
Ernest
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Day 5: Reviews & Notes
(Diane Clehane, Lookonline.com Entertainment Editor, talks with IMG's Fern Mallis about life under the tents in a wide ranging interview for mediabistro.com Read it here: http://www.mediabistro.com/articles/cache/a10048.asp )
Rodarte
Photo: Fernanda Calfat
If there could possibly be any show venue worse than the far west 22nd street gallery that has been tapped by Rodarte as their venue of choice for the past few seasons, I’d like to know what it is. In addition to being rather inaccessible to public transportation, which makes getting to and from other shows challenging unless you have a town car or limo (or helicopter) at your disposal, there is only one exit via a precariously steep winding staircase (and a tiny elevator) to take the crowds up and down the second floor (where the presentation takes place). This is not only dangerous and scary (God forbid if there was a fire or some other disaster), but it makes the process of arriving and exiting all the more frustrating and time consuming, especially when you factor in the jam packed show schedule at all ends of town. In addition, I was not the only person who tripped and almost fell flat on my face, thanks to the protruding elongated floor lights which were installed in the floorboards (they were hard to see until it was too late).
Photo: Fernanda Calfat
And who could possible forget this past September, when this beloved space) inconveniently lost their air conditioning on what had to be the hottest day of fashion week (the Saturday when Rodarte presented their spring 2008 collection). By the time everyone left, their clothes were ringing wet with sweat (including all the poor women, bedecked in their exquisite Rodarte finery). I really can’t believe that the Rodarte team cannot find a more suitable space, which has the proper artistic vibe and a modicum of convene niece. And while I’m at it, if any collection could benefit from a descriptive run of show it is this one, especially because of the creative and highly technical aspect of the designs, fabrication, and construction. And because the models came out at such breakneck speed, it was almost impossible for me to take adequate notes. Okay, so I got that off my chest.
Photo: Fernanda Calfat
What I will say is that to their credit, Kate and Laura must have felt passionately about what they showed for spring because fall 2008 was not an about face but very much an evolution of the painterly, airborne, and artistic vision that was presented 5 months ago. While it was not as tough or edgy as spring, it was all about the highly textural artistic explosion of color and pattern, and the idea of deconstruction. There were only a few solid pieces and everything else appeared to be hand painted, airbrushed, tie dyed, dip dyed, ombred, or marbleized using combinations of barely there nudes, petal pinks, sky blues, fiery crimsons, black, white, and gray. The recurring theme was the use of chiffon, tulle, and particularly, a sheer, fragile spider web knitwear (which was sometimes slashed or fringed), which formed the basis for matched and unmatched deconstructed suits and dresses) and was even used for hosiery. There were only a few skinny pants and the emphasis was on a very feminine silhouette --defined waists, mainly short and full skirts, bias cut dresses and ethereal gowns, illusion backs.
Dennis Basso
It was obvious that Tuesday’s entire show schedule would be completely off track since after Rodarte, the fashion flock had to go all the way uptown to the Plaza to view J. Mendel and then back to the Bryant Park Tents for Dennis Basso. What nobody could anticipate was that there would be a medical emergency which would force another half hour wait. The good news is that the gentleman in question, was alright and the show began (though there were plenty of empty seats…perhaps people were still stuck uptown). The 36 piece collection, an homage to the craftsmanship, couture design, and attention to detail that originally put Dennis Basso on the map 25 years ago, began on such a high note wiht an almost impossibly yummy group of coats and jackets mixing cream alligator or broadtail with matching Russian sable in youthful silhouettes; several evening dresses including a cream hand embroidered ostrich feathered dress and a gold silk organza layered gown with embroidered flowers shown beneath a cropped golden alligator vest trimmed with golden Russian sable), it was impossible to expect it would last to the very end. While the show did seem repetitive after a point, one could forgive Dennis….how many times does one get to celebrate a silver anniversary?
Monique Lhuillier
Speaking of well edited….happily, it does seem as though the growing trend is towards shorter runway shows. Designers who can make their point succinctly are always at an advantage. Working in a rich palette of peacock blues, olive greens, blue velvets, and charcoal gray, Monique Lhuillier made her point about a collection of ‘special’ items (“over the top encrusted, jeweled pieces” which “celebrate the female form”, and have “a smoky and loungy flapper feeling with a modern approach” with just 39 outfits. Standouts, which are sure to please her ever growing customer and fan base (which includes celebrities and social fixtures), include the gold embroidered short sleeved blouse worn with a white chiffon knee length embroidered skirt (this was made to resemble fur), the high wasted olive green strapless dress with embroidered bodice and ostrich skirt; the saffron halter gown with ostrich paillete skirt; the gold caviar embroidered dress with leather detail, the gold embroidered v neck sleeveless blouse worn with a knee length black cap sleeved dress with exaggerated bow (a big trend on the runways this past week); a lavishly embroidered and fur trimmed black metallic boucle coat; a long sleeved, knee length, fitted multi colored cabochon embroidered dress which recalled Norman Norell.
Badgley Mischka
Short beaded, flapper like dresses (one in gold lace with fringe trim and another in silver sequins), an amethyst handpainted organza gown, and an amethyst ikat chiffon gown worn beneath an abbreviated black lamb vest, were some of the highlights at Badgley Mischka, the duo who originally put themselves on the map with their highly coveted evening wear, quickly becoming favorites of the red carpet set. There was a time their collections were entirely eveningwear, but that was then and this is now. Nowadays, their focus is on creating a commercial and well rounded collection with a broader appeal. In fact, out of the 49 pieces presented, just about half was daywear: classic and perfectly nice (if not necessarily out of the ordinary) matched and mismatched suits, fur pieces, leather and suedes, cashmere sweaters, houndstooth pencil skirts, mannish glen plaid trousers. Notable pieces include the abbreviated chocolate broadtail and fox vest shown over a glen plaid trouser and tangerine jersey turtleneck, a blush metallic tweed suit with an evergreen plaid chiffon blouse, an evergreen sueded jacket paired with a bronze lurex oversized houndstooth skirt, a gold washed fox vest and houndstooth pant.
-Marilyn Kirschner
Narciso Rodriquez
Photo: Style.com
Narciso Rodriguez presented a beautiful and very wearable tailored collection. It seems that everyone is inspired by knights’ armor and this collection is no different. However, Mr. Rodriguez’ take is more polished, young, and cut beautifully. This seasoned designer continues to give us clothes that women can walk out in confidently.
Photo: Style.com
Very striking are the dresses with wide shoulder straps crossed in the front and back. These dresses would surely turn some heads. Double faced coats in cashmere and wool are a consistent staple in the collection. For the coats, apart from the basic black and gray, there were novelty shades like citrine, aqua and a stringent ‘safety orange’. The coats are solid “must have’s” for the everyday woman. So is the sexy but understated black cashmere sweater, for the more adventurous. Narciso Rodriguez also showed refinement and mastery of craft when he sent a black silk metal-embroidered dress out on the runway.
“To sell or not to sell’ is always the challenge of every designer when they create a collection. Some of them get carried away with their ideas and are not able to strike the balance of creativity, wearability and sell-ability. Narciso Rodriguez is a mature designer. He has produced a solid collection …and it will, of course, sell.
-Anna Bayle
Elaine Turner
Photo: Alexander Erb
On Tuesday Texas-based handbag designer, Elaine Turner, held her Best little bags in Texas event at her new midtown showroom on Fifth Avenue. Attendees were invited to preview her Spring and Fall 08 collections while enjoying Tex-Mex food and margaritas. Turner is a former apparel designer and fashion merchandiser, who opened her leather goods business in 2000. Her bags are sold in boutiques throughout the country as well as department stores such as Bloomingdales and Nordstrom.
Turner is known for her use of exotic embossed leathers as well as pony hair and painted grass cloth. Each bag is finished with the Elaine Turner signature hardware. The handbags are priced in the moderately expensive range.
The clutch bags, which come in both large and small sizes, were particularly appealing, as were the leather satchels which come in a variety of colors. There is also an adorable line of diaper bags, so that new moms can be both chic and practical.
-Rhonda Erb
+ 2/06/2008;
Ernest
and
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Tuesday, February 05, 2008
Day Four: Reviews & Notes
Carolina Herrera
Carolina Herrera abandoned the artistic musings of spring 2008 for the idyllic life of the well bred countryside (traditionally ‘Ralph’ country although the highly theatrical effect could better be described as ‘Ralph on speed’ and seemed to have been inspired by one of Grace Goddington’s dramatic portfolios for Vogue). She cited “the ease and sophistication of the outdoors” as inspiration for fall 2008 collection but let’s fact it, there was nothing particularly ‘easy’ about the highly visual, stylized fictional costume party of Ms. Herrera’s dream. While it was a bit over the top, it was highly visual and was beautiful to watch, and there were certainly some notable items.
. Rendered in a rich and easy on the eye and ‘typically’ fall like color palette of oatmeal brown, china blue, lemon drop yellow, rust, and browns, the day and evening was purposely mixed up as if to prove the point that in this eccentric fantasy world, where you “grab a riding jacket from the mudroom and pair it over a crinkle chiffon gown for an elegant dinner on the farm”, day and night are all the same. One dresses according to whimsy, mood, and desire.
And so, perfectly cut tweed riding jackets, windowpane coats, capes, and vests (often lavishly fur trimmed or decorated with organza overlays), velvet and jersey riding pants, silk twill and chiffon bird print blouses and dresses, long sleeved jersey gowns trimmed with embroidered feathers, feather trimmed floral jacquard vests worn with gazaar corseted evening skirts, shared the stage in no particular order, and each was similarly accessorized with tall high heeled boots and elegant felt fedoras featuring the longest pheasant feathers I’ve ever seen (they indeed seemed capable of literally poking someone’s eyes out if one got too close). The fantastical hats by the way, were designed expressly for Carolina Herrera by Albertus Swanepoel.
Oscar de la Renta
Photo: Scott Wintrow
While Ms. Herrera played the “Seduced and Abandoned” fashion game (you know…doing an about face from one season to the next in terms of mood and inspiration), Oscar de la Renta stayed the course with the tried and true. His very familiar luxe- sportif fall collection, shown at his new favorite venue, 583 Park Avenue, (with live music this time courtesy the duo Michel Gaubert and Steven Brinke) was undeniably rich and sophisticated, but was imbued with a sporty, youthful and decidedly vintage feeling (colors and patterns were subdued and very fall like, and even the gold was muted and ‘aged’ rather than brash). Wide leather belts defined the waists on sweaters, jackets, and coats from day to evening and many of the day looks were accessorized with a below the knee boot on a shaped, low heel or a dark brown suede stretch boot. All of Oscar’s signatures were there: lavish fur trim, herringbone and vintage tweed jackets, coats, and dresses, unmatched suits, fabric and texture mixes, cashmere tweed hand knit sweaters, the use of his beloved broadtail and swakara, full skirted silk faille cocktail dresses, ikat prints, floral jacquards and leaf prints. But perhaps the most important of all was the almost ubiquitous use of embroidery (which added surface interest and drama) for both day and evening.
Photo: Scott Winstrow
In fact, it seemed that there were very few surfaces left unembroidered (even if it was just a subtle trim). Standouts in this category were the black French knot embroidered coat with mink whip stitch trim, the dark gold embroidered shearing coat; the herringbone tweed embroidered skirt shown with a tweed jacket; the tweed dress with embroidered trim; and several embroidered cocktail dresses that featured knee length, full skirts. And for pure drama, nothing could beat the green swakara embroidered jacket shown with an olive leaf print chiffon embroidered top and green silk faille ballroom skirt worn by Agnyess, and the finale…a bronze shearling embroidered vest shown over a pale champagne tulle embroidered gown.
-Marilyn Kirschner
Proenza Schouler
Photo: Scott Gries
How do you top a ‘winner’ collection? Even the great Yves St. Laurent found it challenging to come up with another sunflower collection. Jack McCollough and Lazaro Hernandez of Proenza Schouler successfully managed to present a sober and disciplined collection, after their much talked about 2007 Fall-Winter collection.
Proenza Schouler’s Fall 2008 collection was held at the Armory on 643 Park Avenue at 8:00 p.m. on February 4. It was a cavernous venue resembling an airplane hangar with a very long runway. Models had to glide and stride, as if to take off. Since the designers inspiration for this show were paper airplanes, the presentation concept was apropos.
Photo: Scott Gries
The collection was an exercise in constructive layering. The show started strongly with four precious cocktail silk twill dresses in rich, deep colors of marigold, aubergine, emerald and sapphire. They were matched with contrasting colored stockings and shoes. Although the woman’s body is covered, the fall of the folds when a woman is walking intimated or suggested a good figure. All through out the collection were very chic ‘slouch’ pants – below the waist, wide pants, cinched with thin jewel-buckled belts. The signature pant matched with deconstructed jackets made for a very chic silhoutte.
The designers of Proenza Schouler attempted to mix metallic paillette with wool, shearling with wool and silk, embroidered lace with latex. More importantly, the designers mixed romance with modernity with their take on their new shirts with Tudoresque ball sleeves under deconstructed wool coats. This puff ball detail would be in the elbows on some dresses. They also had this season’s trend – the oversized bows, flowing into the jacket folds. These touches of romance in this fashion forward collection showed restraint and an attention to a flattering silhouette.
Present in the front row were Amy Adams, best known for her Academy award nominated performance in the film Junebug and her Golden Globe Award nominated role as Giselle In Enchanted. Brook Shields, Kate Bosworth in a red Proenza Schouler and Dylan McDermot also graced the occasion.
-Anna Bayle
Max Azria
After seeing BCBGMax Azria's show last Friday, I was anticipating
feeling the same excitement tonight with the third collection shown by
the designer. But tonight there was room for disappointment. Not to
mention that once again, people who made it on time had to wait almost
45 minutes, thanks to some celebrities with no sense of time nor
respect for working people.
Most of the models sported clothes of the same color gray. Gray is a
neutral, yes, but used too often with too much luster coming from the
fabric, it can be overwhelming. And it was. As for the rest of the
designs they didn't seem practical enough to make it in the "
real world" nor did they have enough of a creative edge to make a
difference in Fashion Week World.
Details were everywhere and it felt overwhelming to try and
understand which direction the designer was taking when he created
these clothes. Leaves, transparent silk gauze, clenched waists in look
alike half corsets, fur, fur and more fur, oh, and did I write
leaves, leaves, leaves....? The people and media attending the show
had to try and remember all that was being shown. What a head spinner!
Many fur coats and jackets were shown... one can ask the question of
how PC that looked. Nowadays all the alternatives offered to today's
fashion designers should make it possible to avoid such display.
As for the dresses and tops that sported an odd looking leaf worn as
a brooch on the side by the models..... it served no purpose, nor did
it help make the design look any better. Sometimes, MUCH less is MUCH
better.
First model (named Olga) was certainly beautiful, but who can wear a
transparent coat? And there was nothing special to the tailoring to
make any one remember it. And it went on and on.... not many designs
seemed practical enough to really make it on the street. Too many
transparent fabrics used for day wear. I particularly disliked the
jumpsuit. It just didn't look good on the models, and it remains
doubtful it will on the street.
A special note for Georgina, a beautiful charcoal metallic wool skirt
and jacket that was simply beautiful, elegant and practical. It showed
what talent and cleverness can possess Max Azria.
-Muriel Triffaut
John Varvatos
Photo: Isabelle & Alexander Erb
The John Varvatos Autumn/Winter 2008 collection was shown high atop the 7 World Trade Center building in lower Manhattan Monday night. The high-rise location, with its breath-taking views, presented the perfect backdrop for the smartly constructed mix of classic styles with a modern twist.
The Varvatos gentleman is well tailored, with an elongated silhouette. The slim two button jackets "kick out" at the hip and the pants flair just below the knee. Shirts are tapered to fit the body with button down or stand up collars and skinny ties. The look is meant to be reminiscent of a modern Edwardian gentleman.
The colors of the collection are predominantly dark with the occasional pop of color in a red vest or scarf. Fabrics include soft cotton and cashmere, richly textured wool, and Varvatos’ signature supple leather.
-Rhonda Erb
The Blonds
(photo: Isabelle Erb)
Phillipe and David Blond’s Fall 2008 collection was set in the fairy tale versions of New York and Los Angles. Models were dressed as disco fairies, punk goblins, fashion harpies, and a Park Avenue princess. The characters were inspired by the films Wonderwall, starring Jane Birkin and Legend starring Tom Cruise.
There was plenty of sparkle to go around since almost every piece in the collection was encrusted with Swarovski crystals or adorned with sequins. A white silk chiffon evening gown with ostrich detailing was one of the most subdued and wearable pieces. Le Blond Angels were pure fun, dressed in pink, canary yellow, and turquoise sequin jumpers. The final piece, a Blond Diamonds Barbie corset dress with a blue fox Marlene coat ended the show with pure Hollywood glamour.
- Rhonda Erb
+ 2/05/2008;
Ernest
and
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Monday, February 04, 2008
Day 3: Reviews & Notes
To the ‘Max’
Is it at all questionable that retail powerhouse Max Azria ( who is riding mighty high and can’t seem to do anything wrong these days), could successfully carry the Herve Leger mantle and make good on his promise to “not deviate from the original concept but to translate it for the modern woman”? (as he told “The Daily Front Row”). After all, when BCBGMAXAZRIAGROUP acquired the Herve Leger label in 1998 (the house was founded in 1985), they made history by virtue of being the first time a French couturier was acquired by an American label. No small feat to be sure.
The exquisitely colored collection (accessorized with feather headpieces and beaded gloves) which was shown on Sunday morning was a testament to the 51 (or so) ways in which the iconic and signature bandage dress (the staple of the line and often little more than a ‘girdle’ which leaves little to the imagination) can be translated. “You’ve seen one bandage dress…you’ve seen them all”? Well, yes and no. While undoubtedly, there was a lot of repetition (sort of a fashion version of “Groundhog Day”), there was quite a bit of variety and some fresh new takes (via color blocks, dip-dyes, ombres, airbrushing, graphic beading, 3D appliqués). And in some cases, the bandage was almost obliterated as it was used as a top which morphed into an elegant floor length silk organza gown.
And while the story was undeniably all about that seamed, structured, body hugging mini (which is hardly an item that could or should be worn by too many women on the planet, and never fails to bring to mind Posh Spice), that was not the only item on the runway; there were actually sportswear pieces (highly designed and structured sportswear pieces, a la Leger). A charcoal wool band jacket with a beautifully curved sleeve, shown over a moss color blocked mini dress, was a study in seaming and construction; sturdy cashmere capelets had the designed effect of a sweater being nonchalantly thrown over one’s shoulder; a cropped mauve cashmere sweater with a curved hem, was surprisingly paired with menswear inspired charcoal wool full legged trouser (with bandage detail, natch!)
Diane von Furstenberg
Diane abandoned the colorful tropic islands of spring 2008 for the dark streets of Berlin, the Asian florals and vivid colors of Shanghai, and the sparkle and glitter of New York (specifically the Art Deco glamour of the Chrysler Building and Rainbow room). But of course, she did not abandon her iconic prints. Instead, for a collection dubbed, “Foreign Affair” (which was strong on tailoring and mismatched suiting) she re-colored (nothing too glaring or brash) and juxtaposed them (using them sparingly) against sturdy camel’s hair greatcoats, double face officer’s coats, tweed and mohair herringbone blazers, twill double knit peplum jackets, wool and merino sleeveless vests and long cardigans.
And while prints are a DVF trademark, so too are dresses. Some of the standouts (which were not printed), include a simple black wool jersey and plisse ‘dance’ dress with a full skirt and beautiful full sleeve, and several flapper inspired incarnations (metallic embroidered, silver Chrysler beaded, and a black feather number shown beneath a lurex gingham blazer). But since Diane is all about prints after all, it’s not surprising that she would choose to end the show with a beautiful gray, black, and brown hand painted organza gown with a jeweled one shoulder.
Tracy Reese
Diane von Furstenberg was not the only designer proposing mismatched suits…Tracy Reese’s fall collection (her crowd pleasing show is always filled to the rafters as evidence of her growing fan base) was based on the notion of mismatched pieces, mismatched suits, mismatched prints, mismatched textures. Accordion pleated, released pleated, and slim knee length skirts were paired with printed sequined shells, oversized rose print blouses and sweaters. Stripes and paisleys were mixed with florals.
The dress (specifically, the dress in an over scaled floral) was another ongoing theme, both closing and ending the show. In fact, the prettiest was the finale- a rhododendron rose print full skirted one shoulder frock. But that doesn’t mean that Tracy abandoned sportswear . There were sweaters (an oatmeal long cardigan coat and an oatmeal crewneck that was shown with a copper and wood sequined knee length slim skirt), raglan sleeved coats and reefers, and bomber jackets.
Twinkle by Wenlan
You had to wait until practically the end of the Twinkle 27 piece collection, in order to find the highlights, but they were there. After some rather lackluster suits and dresses, Wenlan Chia’s strong suit (actually, not suits but her signature chunky knitwear: sweater coats, tunics, and dresses) finally made their appearance. And as usual, it’s the designer’s offhanded and rather unexpected pairing of these heavy knits with something softer and more romantic (in this case, brushstroke or abstract printed- sometimes beaded-
georgette gowns) that catches my eye. The finales, a silk georgette frost brushstroke long dress worn with a mink colored sweater tunic with side pockets, and the silk georgette Snow Fox printed long dress shown beneath a fig colored chunky sweater, were something to clap about.
-Marilyn Kirschner
Tuleh
(photo: Isabelle & Alexander Erb)
I was of two minds with regard to the Tuleh collection shown yesterday at Bryant Park. I loved the wide swingy skirts shown as dresses and two-piece ensembles that created a waist-defining 50’s style silhouette. Of particular note was an elegant blue dress with a set-in waist and a surprisingly feminine pin-stripe suit, and a stunning strapless gown in tangerine orange. The brightly colored fedora hats that accessorized some of the outfits also added a touch of whimsical nostalgia.
I found myself somewhat puzzled with a succession of looks (the sleeveless fur coats and textured vests, for example) that just did not seem to work with the rest of the collection. The show still managed to end on a high note with an romantic ruffled blouse and figure flattering slim brown pants.
-Rhonda Erb
+ 2/04/2008;
Ernest
and
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Sunday, February 03, 2008
Fashion Week Day 2: Notes & Reviews
Showing for the fourth time at the Bryant Park Tents, the prestigious San Francisco institution, The School of Fashion at Academy of Art University, presented the fall 2008 collection of its recent graduates. On stage was the creative, inventive and highly technical work of seven womenswear collections and two menswear collections, from ten graduates of the Fashion Design, Textile Design, and Knitwear Design programs.
Highlights were the Swarovski Crystal sponsored team of Sherise Eways and jewelry designer Melissa Christensen, a Fine Arts Sculpture major, whose collaboration was defined by strictly tailored tuxedos and petal dresses in a strict palette of black and white, with the emphasis on an extreme shoulder line; Jee Hyoung Jang’s architectural designs which made inventive use of organza quilting; Soo Jung Sung and Ivanka Georgiev’s highly structured, coated, marbleized paper trenches which seemed to be crafted from remnants of ancient ruins; Marie Potesta’s whimsical knitwear (sweaters, skirts, draped knitted dresses, pleated shrugs, tights, pleated shrugs) which mixed graphic black and white patterns; BoKyung Cha’s architectural and structural conception with its emphasis on sculptural bows and arresting back interest (rendered solely in black with hits of shocking pink); Juhee Chung’s braided and metallic yarn knits which recalled medieval chain mail.
And speaking of the Middle Ages, medieval, and chain mail, this exact theme was touched upon just minutes later at the Abaete fall 2008 show. Designer Laura Poretzy admitted to having been inspired by “the Middle Ages, intricate Grecian draping, and the work of Madame Gres” for her well done collection of “perfect separates” for the modern customer. Elaborate metal work, pewter flower detailing, and knightly armor inspired construction were key elements of the former, while short, floaty dresses in braided crinkle chiffon defined the latter (I suppose one could arguably describe them as ‘Youthquake’ Mme. Gres). By the way, how timely, since the iconic and revered designer is currently being honored through an exhibit at the Museum at FIT, “Madame Gres, Sphinx of Fashion”, February 2 to April 19, 2008. And as if to remind the audience about Ms. Poretzy’s shoe ‘connection’ (she designs a very successful line of bags and shoes for Payless)…upon leaving the venue, every show attendee was handed a large natural canvas tote bag imprinted with the slogan, “I love (a large orange heart) Shoes”.
Showings by Araks and Mara Hoffman, were presented back to back at the same Tent venue, though the design philosophy and aesthetic of each label could not have been more different. The fall 2008 Araks collection speaks to an unfussy, unfrilly, somewhat intellectual woman (hence, the bespectacled ‘Lisa Loeb’ type models who strode down the runway) who wants subdued clothes that don’t scream or shout, “Look at me”. Shorts, Bermudas, knee length knife pleated skirts (worn with knee socks and oxfords, both flat and mid heeled) were paired with well tailored two button lapel jackets, elongated vests, and intarsia sweaters (several elongated pullovers with sweet trompe l’oeil peter pan collars were standouts). Several highly structured coats in black moleskin were notable. There was a decidedly boy meets girl attitude throughout, and the body was all but obliterated - until the final that is. Playing with the idea of sheer versus opaque, black cotton bras and hipsters were exposed beneath a black or charcoal silk organza elongated vest, t shirt dress, and feather trimmed coat. There was something refreshing about the anti fashion nature of the collection, though as one show attendee exclaimed (she happened to be a very young daughter of a publicist, who was sitting and watching the show on her father’s lap): “These clothes aren’t pretty at all”…and this said it all.
By rather sharp contrast, there was something rather sexy about the unabashedly 70’s ethnic inspired Mara Hoffman collection which quickly followed. Collaborating with Klee Van Schoonhoven, Ms. Hoffman scored with a group of outstanding graphic black and white serape-like blanket coats which looked warm and comforting. Prints and patterns (from abstract Rorschach scribbles, to colorful ethnic Moroccan arabesque incarnations) were another strong message and they showed up as leggings and tunics, or worn beneath belted elongated jackets, or mini dresses. Several fluid jersey floor length dresses which closed the show, in beautifully colored over scaled abstract prints (with attached hoods) were crowd pleasers indeed.
While I’m on the subject of abstract prints and patterns…some of the best and most inventive thus far were seen on the runway of print loving Alexandre Herchcovitch who always loves to surprise. The Brazilian designer’s ‘schizophrenic’ collection began with a somber group in all black (sculpted dresses, baggy jumpsuits, and separates) which mixed fabrics and textures and referenced the Japanese through their reliance on experimental shapes, plays on proportion, and volume. It ended with a joyful explosion of color via a group of floaty silk dresses both long and short, rendered in arresting colorful abstract prints (stripes, bull’s-eye patterns, geometrics) sometimes mixed together.
-Marilyn Kirschner
+ 2/03/2008;
Ernest
and
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Saturday, February 02, 2008
New York Fall 2008 Fashion Week
(photo by Isabelle Erb)
Douglas Hannant
I did a double take immediately upon spotting Polly Mellen in the front row at the Douglas Hannant noon time fashion show on Friday (held at the Millennium Hotel’s Hudson Theatre). What was particularly coincidental, was that I had just been thinking about the iconic and influential fashion icon just recently, noting that I had not seen her at the New York fashion shows for quite some time. The ageless and tireless Vogue legend/stylist, who later found her place at Allure, was an enduring front row fixture and living proof that age is truly a state of mind.
From the signature shock of silvery hair, to the chic, rigorous, and unapologetically severe turnout, Ms. Mellen looked trim, fit, and fabulous. Her form fitting silver and black jacket (which was molded to her body like a fencer’s jacket) not only offset her trademark hair color, but mimicked the color story of Douglas’s collection (which could be boiled down to various shades of gray from silver to charcoal, black, white, touches of chartreuse, teal, and burgundy). As it turns out, this was hardly a coincidence; since Ms. Mellen actually styled the collection and was credited as such in the show program (“A special thanks to Polly Mellen”).
While the simpler items (fared better than those that were a bit over designed, undoubtedly, Polly Mellen’s expertise was not wasted, since the 38 piece collection was one of Douglas’s best efforts to date. Worth noting is the lean ivory wool crepe chemise with banding, a tailored three piece Prince of Wales pantsuit, a duo of white silk organza blouses paired with skinny black silk/cotton pants, the chartreuse crepe back satin draped gown and knee length blouson dress, a black lattice embroidered coatdress, and the black silk tulle veiled over satin gown with silver embroidered neckline.
Yeohlee
Talk about life imitating art…or life imitating fashion. Not only was the Sky Room of The New Museum a perfect venue to present Yeohlee’s rigorously pared down, minimalist vision, (which was inspired by the “spiritual values of the Shakers” and completely devoid of any unnecessary embellishment), but the dreary, wet weather outside made the cozy, comfy pieces (many of which were quilted and had the feeling of wearable ‘tea cozies’) even more appealing. Like all of Yeohlee’s architectural collections, fall 2008 relies on the applied rules of geometry, the economical use of high performance materials, and the seemingly effortless ability to meld the functional, practical, and comfortable. In short, perfect clothes for the global “Urban Nomad” who is constantly on the move.
The models were a unified vision sporting neat straight pony tails, lean black jersey undercovers (leggings and long sleeved turtlenecks), and flat black ankle length boots with a modified pointy toe (which were made for Yeohlee by Manolo Blahnik). The dark color palette relied on black, navy, plum (the latter two were so dark they appeared to be black), brown, olive, and charcoal. The emphasis this time (an evolution of past seasons) was on hemline interest and the play of texture. As always, the outerwear was truly exceptional, and my personal favorites include the belted midcalf navy quilted bonnet capelet coat, the charcoal felt mantis coat, and the black mohair and alpaca coat with black oil arcs.
-Marilyn Kirschner
Red Dress Collection
Lisa Rinna (All photos Isabelle Erb)
The Heart Truth’s Red Dress Collection 2008 Fashion Show was held in the tent on Friday morning. The red dress is the symbol of the national campaign to make women aware of the dangers of heart disease and to encourage them to take action to protect their heart health.
Liza Minelli
The ever popular show was introduced by First Lady Laura Bush and as always featured celebrity models wearing fashions by some of America’s top designers. This year’s participants included:
Lisa Rinna for Michael Kors; Ashanti for Tracy Reese
Maria Menounos for Marchesa; Cheryl Hines for Catherine Malandrino
Molly Sims for Daniel Swarovski; Jenna Fischer for Carmen Marc Valvo
Sara Ramiraz for Angel Sanchez; Anna Ortiz for Badgley Mischka
Liza Minnelli for Halston; Original Hiedi Klum for Marc Jacobs
Mary Lynn Rajskub for Monique Lhuillier; Joss Stone for Max Azria Atelier
Rita Moreno for Lilly Samii; Allison Janney for Donna Karen
Camryn Manheim for Ali Rahimi
Rita Moreno
Highlights of the collection included Lisa Rinna shaking and shimmying her way down the runway in her Michael Kors flapper style dress, and Rita Moreno dancing and strutting to the song “America” from her classic film “West Side Story”. The show’s finale featured Liza Minelli performing a rousing rendition of “New York, New York” which brought the delighted audience to its feet.
Perry Ellis
(photo by Isabelle Erb)
Perry Ellis’ menswear looks for Fall 2008 included looks that were both traditional and somewhat out of the ordinary. There were classically tailored jackets, vests, and trench coats paired with bold graphic print shirts and sweaters, and basic topcoats were modernized with large windowpane checks.
The collection featured a hunting theme that was underscored by the richly textured woolens and heavy sweaters and even the occasional knee length hunting shirt. The effect was completed by designer John Crocco’s use of deep forest greens, burgundies, and chocolate browns.
-Rhonda Erb
BCBG Max Azria
Yesterday at Bryant Park, BCBG MaxAzria surprised many by showing a very elegant and restrained display for its 2008 Fall Collection. What a treat it was seating on front row and watching the models walk by!
I did look again at the program: yes, it was BCBG MAx Azria and it was beautiful. I happen to not only love fashion, I wear fashion, and do not hesitate to pay full price for what I like. These past seasons I had been turned off by what BCBG Max Azria had to offer: it looked trashy to me, no less. Too much of everything and too little class. I didn't even make it to the sales when I got that worthy little card in the mail. All my BCBG Max Azria clothes were under plastic... and not coming out.
One can guess I have changed my mind upon viewing the collection yesterday afternoon. No doubt it was Max Azria designing, yet, it was different in the sense that it finally honored women for who they really are, and that is women who live, work, raise kids etc.... Women like me. Not some bimbo who moves around only in limo and can afford looking like trash because no matter what, she is rich and famous or wants to pretend she is.
Mademoiselle Chanel was honored with two dresses sporting her name: I loved the detail of the off white dress... a rosace stitched with the hem made out of a zipper half. A great detail that also links so well with the urban attitude long sported by Max Azria in his designs throughout the years. The other dress was a dream of teal silk satin that I noticed many loved as well.
My vote goes for the two sleeveless coats sported on the runway. I want one! The hems are what makes them and the tailoring is so flattering, women should try them out. The same stitched hem was repeated in every coat and jacket, bringing a most desirable edge to something that is usually only practical. A big fan of bodysuits and leggings myself (during the winter) I can see myself wearing just one coat like that.
Although the gimmick of turning up hems to give the designs more edge for the runway shows is not my cup of tea and distracted me more than anything else, I must give praise and a lot of bravos to Max Azria for a very consistent and beautifully designed collection. The colors were all beautiful and practical to wear. Nothing cumbersome or impossible to "recreate" in real life. The blouses with the half pleated pieces in the front were absolutely gorgeous AND wearable.
It is not always easy to pull out that kind of beautiful-gone- practical "magicaltrick". Doing so is a way to show respect for the real women who breathe and live out there, outside of the fashion world. The woman on the street deserves that respect.
As for the rest of the collection, Siri displayed a beautiful pleated work, Bruna (a midnight and grey silk crepe and jersey dress) was a fairy tale come to reality. Suvi, the model dress closing the showsported a beautiful back decollete. I truly liked just about everything,
This article would be incomplete without the mention of how beautiful all the shoes were as well. I know I will get at least one pair. The height, the designs, the colors ... nothing was not an eye pleaser. I am "sold".
All in all, the collection was a pleasure to watch and once again, kudos are given to Max Azria to make it seem possible to wear most of its designs in real life and not some imaginary life. I applauded and said "Bravo!" many times to him at the end. He deserves it. Thank you again for bringing BCBG Max Azria back to where it once stood: beautiful and wearable Italian fashion.
- Muriel Geny Triffaut
+ 2/02/2008;
Ernest
and
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