FashionGPS sponsored report

Photo: Style.com

I’m happy to see a return to longer lengths on the runways this season. I love the change of proportion and skirts had gotten so short, they can’t go any shorter. It also signals a new sophistication and graceful elegance. Almost nowhere was this more apparent than on the runway of Narciso Rodriguez, shown last evening at The Theatre at Lincoln Center. The designer, working in a signature color palette of ash, blush, nude, black, white, platinum, (with touches of coral, pale green and pale pink), not only endorsed longer lengths (indeed, many of his skirts and dresses hit just a little above the ankle), but it was done within in a relatively ‘short’ show (30 well edited pieces).

The collection also made a case for dresses. The first look out was an ash bias linen canvas and blush silk dress with a beautiful back and many that followed were bias cut and made from divine fabrics like silk crepe and washed silk, washed silk cloque and chiffon jacquard, bias silk and linen canvas, etc.. In one instance, Narcisco showed a fluid dress in washed kimono silk and chiffon cloque beneath a black compact wool coat that was several inches shorter, allowing a peek of the hemline to show. The contrast of ‘hard’ vs. ‘soft’, structured vs. fluid, or masculine vs. feminine, was highly effective and was a recurring theme. A coal waxed linen jacket was shown over a pale green silk corset top and a black washed kimono silk skirt, a black bias chiffon cloque/rose gold embroidered tank was paired with black compact wool pants, and one dress, which looked like two pieces, mixed platinum bias cut silk and black linen canvas all in one.

Then there was that perfect white waxed linen pantsuit, which featured wide legged trousers and an elongated strong shouldered jacket, which was unabashedly ‘borrowed from the boys’. But there was nothing at all boyish or masculine about the group of languid lingerie inspired bias cut slip dresses that followed; especially the one in black bias silk fil coupe with lace insets. Everything was shown with a very feminine and elegant pale high heel, which in fact, was the only accessory on the runway (though I think you can say a perfect body, like those of the models, would be the ultimate accessory for these clothes). Simplicity can speak volumes.

To Die For (?)

Vera Wang collection – Photos Coutorture.com

Vera Wang’s program notes revealed that her source of inspiration for spring 2011 was Quentin Tarantino’s iconic movie, “Kill Bill” — more specifically, the idea of East meets West infused with a mixture of “boyish urban sophistication and romantic other wordly sensuality.” Which pretty much sums up the designer herself, who has a very specific and individual signature style that she really stays true to and does not veer from.

Vera is also a designer whose collections truly reflect her own aesthetic, so much so that one can generally picture her wearing most if not all the pieces on each collection (which you can’t say about many other women designers).

Ultra wide legged trouser pants are everywhere these days, and they have been interpreted on many runways, but I can’t really see Vera wearing them herself. They are not ‘edgy’ or uptown/downtown enough and besides, she favors legging like pants or opaque tights worn with skirts and dresses. So it was hardly surprising that there were none of the aforementioned full legged trousers on her line, though she did have a pair of black wool pinstriped wrapped ‘peasant’ trousers, several narrow legged jumpsuits, narrow boy shorts and draped shorts (the last two did not always work). While it was not necessarily one of Vera’s best collections to date, there were some beautiful dresses, jackets, coats, blouses, and high wasted skirts, all bearing the designer’s creative, artistic cuts.

Standouts include the grey cupro jersey dress with twisting pleats and sheer organza back drape; a poppy one shouldered knee length narrow dress thrown over an ivory organdy kimono blouse (giving it the informal look of a jumper); several dresses (one piece and two piece) in a Japanese floral print silk; a dazzling black and silver degrade sequin ‘blizzard’ top and black knit swirl skirt with horsehair inlay; and a recurring group of knee length silk tulle one shoulder hand rushed draped gowns with train, over stretch bustier underpinning, which were shown in a variety of colors throughout the 44 piece collection (one in pale blush ended the show).

“Cats”

An ‘Off Broadway’ production of Cats, (‘produced’ by PETA), was staged right across Lincoln Center two hours before furrier Dennis Basso’s spring 2011 collection was to be held. 5 women, each wearing next to nothing (only face make up and a body stocking painted to resemble the pelt of a leopard, a zebra, a tiger, etc.), held up placards with slogans such as “Your Fur had a Face” and “Animal Prints Not Animal Skins”, while a few police and several guys from Ty Yorio’s Citadel Security stood close by to made sure there were no incidences. There were none and it was very quiet. That said, it was fun watching the men walk by only to notice the women’s barely there ‘costumes’; at which point they would stop, stare, get closer for a better look, and in several cases, take out their cell phones to take photos.

Meanwhile, PETA would have had a ‘field day’ had they gotten into the show venue. Even though this was a spring show, that doesn’t mean there were no furs. Au contraire! There were even sightings of abbreviated fur shrugs and other little fur pieces on some of the guests who attended. Out of the 38 ensembles (short dresses, short skirts, and floor length gowns), quite a few if not most, had a touch, a trim, or an accessory made of fur or a skin of some kind (there was Russian sable, vanilla chinchilla, mink, snakeskin, python, and alligator). The problem was it looked forced and contrived and was too busy, and a bit too much, which looked out of place considering the mood elsewhere. Well dressed social figures like Cece Cord, Jamee Gregory, Somers Farkas, and Amy Fine Collins were all in the front row but it’s hard to imagine which pieces they themselves would wear, if any.

The short skirts and dresses were too short, there were too many cascading ruffles, and there was just too much going on all at the same time for my tastes (sheer inserts, fur trim, paillettes, and metallics, sometimes in one outfit). The best pieces were the relatively simple and graceful empire waist silk gazar hand printed gown, a short ruffled dress in the same print, and a strapless metallic hand embroidered net gown.

– Marilyn Kirschner

Betsey Johnson Takes Us For A Ride/Spring 2011

Photos: Isabelle Erb

It may have been raining on Monday night outside the Theater at Mercedes-Benz Fashion Week, but inside the sun was shining brightly on Betsey Johnson’s world. Celebrity guests Carmen Electra, Kelly Osbourne, Ciara, Denise Richards and Kristin Cavallari watched from the front row as Betsey shared her life long love affair with the two-wheeler by way of a film that was shown on the runway backdrop throughout her Spring 2011 show. The flick was one part home movie and one part madcap tour of New York, from a cyclist’s point of view.

Who knew that as a child Betsey Johnson aspired to be a female version of Lance Armstrong? Le Tour de Betsey took us to some of New York’s most popular locations, while models sashayed down the runway in the designer’s version of biker chic. In Brooklyn, brightly colored bodysuits and biker jackets ruled. Uptown Betsey’s girls were clad in some of her more subdued signature frou frou frocks, both long and short. Downtown at the Seaport, nautical bloomers and military jackets mixed with dresses and bustiers in red, white and blue. At the finish line in Times Square models were appropriately attired to look like prom queen tarts.

Betsey accessorized her looks with “Ride Me” chokers, petticoats, sailor hats, biker caps, studded belts, sunglasses and platform heels. Most, if not all accessories were no doubt courtesy of Betsey Johnson’s many licensees.

It wouldn’t be a Betsey Johnson show without the requisite amount of runway theatrics. At one point a model attempted to ride a skateboard in her open toed platform heels and striped thigh highs, only to find herself falling to the ground. Within seconds she was up on her feet and back in character. Betsey fared much better when she made her signature appearance for the show’s finale. She rode onto the runway on a bike, then hopped off to embrace her loved ones in the front row. Finally, Betsey executed her classic cartwheel while the delighted audience responded with cheers and applause.

– Rhonda Erb

I Want Candy: Douglas Hannant Spring/Summer 2011

It was all sweetness and light at the showing of Douglas Hannant’s Spring/Summer 2011 collection on Wednesday afternoon. Members of the press assembled with Hannant’s loyal followers in the Edwardian Room of New York’s Plaza Hotel. Clear plastic bags filled with candy sat perched on each and every chair and the musical soundtrack included classic songs with references to sugary treats.

Hannant’s show had a carefree theme (”Que Sera Sera”) but the designs in his new collection were still utterly sophisticated, using combinations of elegant fabrics in unexpected ways. A waffle weave multicolored microsequin shirtdress was trimmed with a dainty organza collar and cap sleeves. A lavender and gold dusted coat and dress ensemble featured a chiffon blouse. Almost all of the cocktail length looks were in confectionary pastel colors, like the rose print silk gauze strapless dress, but there was the occasional piece in basic black. For this reason, a black tweed jacket paired with a Chantilly lace skirt and a black lace cocktail dress were particularly eye catching. Equally notable was the rare pair of cigarette pants and a single pair of shorts, which stood out in this collection that was otherwise dominated by dresses and skirts.

As always, Hannant saved his best for last with a collection of evening wear that varied from a black gown with a fitted bodice and a full, diaphanous, tulle skirt to a mint silk cotton strapless with a frothy trumpet hem. At the finale, Hannant strolled the runway to the tune of “The Candy Man”. Considering his colorful creations for spring and summer, who could disagree?

– Rhonda Erb

Tik Tok

Photo: Isabelle Erb

Casio America, Inc. announced last month that RCA Records/Kemosabe Entertainment recording artist Ke$ha will be the new Brand Ambassador for the company’s enduringly popular Baby-G line of women’s watches. In addition to representing the brand, Ke$ha will personally design two unique watch styles for Baby-G. Look for the first of these watches to be in stores in Summer 2011.

www.babyg.com

The post It’s a ‘long’ story appeared first on lookonline.

Just like the recent weather, what has been shown on the runways during New York Fashion Week for fall 2010 thus far, could best be described as a ‘wintry mix’ (you can take that any way you want to but what I mean is there’s been a little of this, a little of that, and everything in between) — and that continued on Tuesday.

When the lights were dimmed at Badgley Mischka, (the first show in the morning), it was impossible to see the show program and everything else for that matter. The first outfit out, a rather subtle black matte jersey jumpsuit, followed a parade of 15 evening dresses and gowns, most of which glittered and shone in the dark, and given names normally associated with the sky and outer space. (a ‘cerulean’ matte jersey gown, a claret/cassis/Bordeaux galaxy gown, a gold tulle constellation gown, and a nude chiffon nebula dress). Apparently, Mark & James have been star gazing and are taken with the beauty in the galaxy; there in lies the inspiration for their line.

When the lights came on, I thought that was the end of the show, but I was wrong. Numbers 16 through 44 represented items from their new collection, Mark & James, and though I thought that’s where the daytime pieces would be, I was wrong again. Other than a few unembellished, fairly simplified pieces at the beginning (such as a black wool tunic sweater, a black suede dress and tissue jersey top, and several wool sweaters), almost everything else was geared towards evening.

Or perhaps a better way to put it, was that the line seemed perfectly geared for that young woman who is going straight from work to the clubs (or not going to work at all), because there was a distinctive club vibe, not only in the color palette (almost all black except for some gray and cream), but in the abbreviated lengths, the shiny second skin leggings (pewter glazed lace or lace jacquard), and the liberal use of tulle fringe, sequins, chain, mesh, glazed lace, faux leather and leather, and faux fur. It was also hard to ignore the thumping club music which served as the soundtrack for the show.

The Bride Wore Black

Vera Wang came back home for the last time, to the Bryant Park Tents, after showing in her Soho shop for a few seasons. But instead of using the large Tent venue (where she had traditionally shoed), she opted for the smaller Promenade. There were still plenty of empty seats. The run of show revealed that the title of the collection was ‘The Bride Wore Black’ (boy, it’s hard to remember that Ms. Wang began eons ago as a bridal wear designer), and Ms. Wang said that she used the Film Noir as a contemporary metaphor for youth, romance and sophistication tinged ever so slightly with a sense of mystery.

Let’s face it, black and (and gray) are known to be Vera’s favorite colors (I don’t think I’ve seen her wear anything else) so it’s not surprising that an entire collection would be similarly hued. The first look out, a sharply tailored black dry wool twill jacket with prominent organza ‘corsage’ at the shoulder, shown over a black dry wool paperbag pant and jersey tank, set the mood and was a harbinger of other changes to come (we don’t normally associate strict menswear tailoring with Vera). When one sees a Vera Wang Show, there are always the signature staples (Vera is very consistent and has a ‘look’), and there were plenty of those signature touches: the twisted jersey dresses, asymmetrically draped tops, faille boleros with organza rosette appliqués, tulle appliqués, illusion dresses with iridescent sequined panels, structured yet loose coats with short sleeves, asymmetry, the use of long leather gloves, and other such Vera-isms.

The pieces that surprised and stood out, included the coated black fringed coat (leather?), several heavy wool twill coats with Mongolian lamb trim (on the hem of one, on the short sleeves of another); the Charcoal Mongolian lamb fur pocket scarf; an architecturally draped white linen voile top that reminded me of something Gianfranco Ferre might have done decades ago; and those strictly tailored jackets and coats with roots in menswear.

Examples: the black felt Nehru cutaway jacket shown over a jersey harness dress; the black heather felt and heavy wool twill cutaway jacket with grey faille and sequined corsage at the shoulder; and my favorite: the charcoal felt boyfriend’s blazer with cutaway back shown over charcoal wool knit zip front jumpsuit with tuxedo stripes. Oh, I forgot to mention that Vera used not one chain anywhere on the line. Instead, she used massive ropes of teeny tiny seed pearls (not only around the neck, filling in bare necklines, but on both wrists, making it appear as an oversized pearl cuff from the distance.

Venus



Remember what I said about Carolina Herrera being PETA’s number one enemy this season? Scratch that. My vote goes to Dennis Basso, who freely combined the most luxurious of furs, leather, alligator, and fabric, and pulled no stops in his decidedly dressed to the nines fall 2010 fur collection which he says was inspired by the ‘great sculpture of Venus de Milo” and “represents the strong, statuesque, elegant woman”. Certainly, it would take one of those to pull off much of the Russian broadtail, natural Russian Barguzine sable, Arctic Finnish raccoon, natural cross fox, hand painted velvet chinchilla, etc. coats, jackets, vests, which were shown in oft times voluminous proportions with large face framing collars, and were paired with everything from charmeuse and liquid wool dresses, and wool knit skirts hitting just below the knee, to floor length embroidered lace gowns.

One interesting touch considering the popularity of anything military inspired, (not to mention the popularity of army green), was the grouping dyed in evergreen and paired with tonal ready to wear pieces. Examples: an evergreen chinchilla and fox coat shown with a khaki wool skirt and top; an evergreen chinchilla fox and leather jacket shown with a matching colored wool knit skirt and top; an evergreen ermine and sable elongated vest with outsized pockets, shown with an evergreen wool knit draped gown; a fitted evergreen alligator coat with massive fox cuffs, shown over an evergreen wool knit skirt and top. Once again, platform shoes accessorized and on this runway, some of those by Ruthie Davis (complete with diamante ‘spikes’) looked as though they could pass for a dangerous weapon.

Variations on a Theme



To say that the Max Azria show had one specific point of view (that played out over and over again), is an understatement. In fact, the entire collection was understated (and lean). The program notes said the show was a “minimalistic journey of clean lines and artful tailoring” And that aesthetic (an artistic personal approach to pared down minimalism), for a lack of a better description, could not have been more opposite from say, the over the top, in your face luxury quotient on view at Carolina Herrera on Monday. So, if your idea of fashion heaven and your definition of ‘modern’ is clean lines, organic elements, weightless volume, and individualistic style, Max Azria would be your label of choice for the next season.

There was not one print, one bright color (the dusty mineral toned palette was limited to black, nude, taupe, beige, various shades of gray, dark moss), and unlike other runways, surface ornamentation was kept to a bare minimum (and I mean that literally — subtle black beaded details appeared at the end on a group of black crepe dresses). Fabrics were mixed for day (leather, crepe, knit, wool felt, wool boucle, mesh), and evening (almost all black) was primarily done in silk georgette, ribbed knit, and crepe. Like elsewhere, a platform boot, was the footwear of choice.

– Marilyn Kirschner

The Daily Bet

The Nokia Twist

Here’s a unique cell phone that is sure to get you noticed. The Nokia 7705 Twist has a compact square shape that swivels open to reveal an easy to use Qwerty keyboard. The Contact Light Ring can be customized to identify the callers of your choice and the Twist phone has great features like a 3 mega pixel camera, HTML web browsing, e-mail, V cast music and video, and a built in mirror. It comes in black with Xpress-on Covers in black and purple and is exclusive to Verizon.

Nokia 7705 Twist, $99.99 after $50.00 rebate, with a new two-year customer agreement
www.verizonwireless.com/twist
Verizon Wireless Communication Stores

Casio Eco-Baby-G Watch

There is a new eco-friendly addition to Casio’s ever-popular Baby-G line of watches. The Eco-Baby-G has Casio’s Tough Solar Technology, which generates electrical power from sunlight, thereby increasing battery life. Since the watch is rechargeable, you won’t be adding to the more than three billion watch batteries thrown away in America each year. The Eco-Baby-G comes in an eye catching bright green color and is packaged in a recyclable box. It will be available in March, just in time for Spring.

Casio Eco-Baby-G, Model BGR300GR-3, $110.00
http://www.baby-g.com/
Select Macy’s stores

-Rhonda Erb

The post Starry Starry Night appeared first on lookonline.

The whole statement necklace trend (and I hate using that word because it’s far more than a trend at this point) has really taken off so much so that probably by this time next season, we will all have gotten bored of it and it will look entirely passé. Until then, (if show goers and spring 2010 runways are any indication) they are here to stay.

And they make good sense on so many levels. At a time when the economy is the way it is and shoppers are exercising more caution in terms of their purchases, these amazing necklaces, neck pieces, bibs, chains, etc., are a rather simple, quick, easy, and inexpensive (or at least, they can be) way to instantly change one’s look and really make an impact, without even buying anything new.

The transformative nature of accessories (and the statement necklace in particular) was very much on display at the Badgley Mischka show held yesterday morning. In addition to ready to wear, the dapper duo, who originally made their name designing Red Carpet entrance making gowns, have a successful jewelry licensee, in addition to shoes and handbags, and as it turns out, the decidedly simplified, rather classic shapes that comprised spring 2010, were a perfect foil for their eye catching bijoux — most notably their necklaces, which were presented in a variety of incarnations.

Among the standouts from the well edited 41 piece collection, (many of which benefitted from the use of these over the top neck pieces), include the chic salt and pepper silk and tweed skirt suit with belted and peplumed jacket worn over a narrow pencil skirt which opened the show; the simple white shantung jumpsuit; the white shantung tuxedo pantsuit; the white matte jersey gown with trompe l’oeil beaded belt; the ivory lace and taffeta clover (petal) dress; the black shantung jacket shown over an ivory taffeta clover floor length skirt; and the group of glamorous swimsuits in pimento, black and white (there was a maillot in white and a black bikini shown with a white blazer). FYI: the glamorous, dressed up swimsuit is shaping up to be a bonafide trend this season.

Strange Bedfellows

It looks as though it’s going to be a ‘brief’ season. Brian Reyes was yet another designer using almost ‘nothing’ but briefs (and mile high legs and higher heels), beneath his coats or jackets, on his runway. The designer always cuts a fabulously chic car coat and this season, in stone Japanese cotton, was no exception. Of course, it’s his prints and patterns that always stand out (this time, it was his group of ‘bleeding heart prints”). Also notable were the embroidered ‘skeletal’ print tank dress and top shown with black centipede skirt. A white Japanese cotton strapless harnass dress was simple, to the point, and elegant; and for pure color impact, the wasabi (bright chartreuse really) silk crepe tiered dress deserves a mention.

That said, one of the most curious aspects of the show, was the press release attached, announcing Brian’s collaboration with Proper Attire, www.properattirecondoms.com: “The company Proper Attire condoms transform the “Staple” everyone should carry to the signature item every woman should own”. The designer was selected because of his “ultra feminine designs that make every woman feel elegant and sexy”. Brian designed the packaging by incorporating a pattern used throughout his resort 2010 collection: a botanical motif with abstract poppies, blooming buds, and climbing roots, (I have a question: how exactly does one decide what print to put on a condom???)

At a time when so many designers are collaborating with different kinds of companies on a wide range of products…this one takes the cake!

‘After Five’

Dennis Basso cited “fluid movement with a nod to the ballerinas of the great Degas”, as inspiration for his ‘After 5’ collection that was dedicated mainly to “cocktail dressing”. I don’t know about you, but for me, the notion of a collection based on ‘cocktail’ hour, and for ‘after five’ seems rather old fashioned especially these days but I guess Dennis Basso knows what his gals want and furs continue to be used year round like any other fabric.

So it was hardly surprising that here were a smattering of pelts (horizontally worked pastel mink and organza cover-ups and abbreviated shrugs and boleros) on Dennis’s runway (PETA protesters were in position outside the Tents, shouting their disapproval and holding signs up but that didn’t deter some of Dennis’s faithful fans, including some of the social set like Jamee Gregory, Cece Cord, and Somers Farkas). Too many of the ‘ballet’ inspired dresses featured skirts that were too full and too short (and often had too much going on), and in general, the more simplified pieces looked the best, like the platinum jersey and bronze chiffon gown worn with a gold diamond dusted python bolero. And the group of dresses featuring a large poppy print on a white background appeared to interest the social set who always need dresses for garden parties and garden themed galas that always come up in the spring and summer months.

Architectural Digest

Ralph Rucci and Yeohlee are not the only designers with an architectural bent, who have lightened up, gone softer, more colorful, and less austere this season. The collection shown last evening by Narciso Rodriguez, was beautifully conceived, smart, chic, and wearable, and a study in restraint; and would suit the needs of many women who work and also need clothes that look special, not fashion victim-y (not often easy to find).

It was also a toned down yet natural evolution from fall’s almost jolting and bold graphic patterns (which were shown from head to toe in many cases) and its equally strong color story. This season, there were still shots of color (green, pink, fuchsia, burnt purple), used effectively with the designer’s signature palette of black, white, natural, and jute, but it did not look as jarring as it had for fall. And the patterns, while graphic and still effective, were more scaled down.

There was a feeling of lightness and weightlessness in the construction of garments, and the use of controlled volume throughout (jackets, coats, and dresses followed the lines of the body but did not constrain the body), and pleats gave movement to skirts and dresses. Layering and transparency, themes that have all been in Narciso’s stable of signatures, showed up again, and the over all effect is one that is feminine and even sexy without being obvious or vulgar in any way. This is something Narciso has perfected.

Suits, matched or unmatched, with jackets devoid of any stiffness, and shown with a soft skirt or narrow pant, were a recurring theme. (Sleeveless jackets, a trend on many runways this season, looked especially good here). The show opener, a beautifully shaped black linen canvas and silk faille jacket paired with an ecru pleated silk organza skirt and white satin chiffon top set the mood, and a white silk/linen organza jacquard jacket with a double peplum, shown over a white silk linen organza jacquard pant was very appealing.

There were two artfully constructed coats, in silk and cotton mud cloth and dresses (a Narciso mainstay) were given a lot of attention, appearing in a variety of ways. There were silk linen organza jacquard dresses, mud cloth dresses, printed dresses, dresses with arrestingly cut out backs, dresses with loose backs (a modified ‘sack’), and graphic tri-colored dresses (one notable example was the black/purple/coral silk crepe and chiffon dress). The show ended with a trio of gowns in black, white, and silver, that were short in front and long in back and when the models walked down the runway, they appeared to float.

-Marilyn Kirschner

“The Daily Bet” by Rhonda Erb

HP Simple Save Portable Hard Drive

Now backing up all the photos, video, music and other data on your PC is practically effortless. The HP Simple Save Portable external hard drive is quick and easy to use and comes in 320 and 520 gigabyte capacities. The sleek case stays cool and runs quietly without a fan. It’s so small that you can take it with you anywhere and keep all the information that you treasure safe and secure.

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