Ralph Rucci’s signature fur “Spiral Coat” (Photos by Ernest Schmatolla)

Akin to the character – Gloria Wondrous – which Elizabeth Taylor played to the hilt of fabulousness in “Butterfield 8”, the provocative, sensual, abundantly gorgeous film, which portrayed Taylor’s character, as a chicly coiffed, well-dressed, high-priced “escort”, Ralph Rucci’s Fall/Winter 2010 fur grouping immediately brings to mind, by its very nature, all of Taylor’s pure beauty, coupled with all of her blatant sexuality and sexiness, not only on the big screen way back then, but for the most part, how she looked and lived, in her off-screen life.

Still, in 2010, viewing Ralph Rucci’s lush pieces in the serenity and lavish environs of his SoHo, NYC atelier, all of the designer’s thoughts about developing the collection – “bouyant, intoxicating, and seductive” – bring to mind not only more than just a few beautious, moderne coats and jackets in the new line, but also the best of Miss Taylor’s characteristics in “Butterfield 8”, which in one pivotal scene, showed her looking otherworldly and gorgeous, as the camera panned from her blue-black hair, blue-velvet eyes, and red lips, to her tight, white slip, worn underneath a very stylized, mid-calf, fur coat.

Comparable to Taylor’s overt femaleness in this scene, some of Rucci’s furs are just as “female”; just as free and just as exhilerating, best noted for their irreverent and carefree qualities, which in Rucci’s hands are well done and wide open. Detail and texture, which of course, are always prevalent across the designer’s ready-to-wear grouping, are equally as visible and key for the furs. Rucci’s signature “Spiral Coat”, made up of dyed black Russian sable, combined with just the right touches of stiff, yet billowing nylon horsehair, and worn with a pair of thigh-high, high-heeled boots, is at once cool and hot. Ditto for the mink coats and jackets, which are either bleached or knitted togehter with fox, as in the case of the Degrade knitted mink and fox tunic. More great Rucci looks: Softest champagne, belted shearling and western-inspired, rich-girl, Cameron shearling, shown with sleek black top and pants.

As for color, it seems only fitting that there is a a strong palette of super-dark, black and grey. But, also, as one would expect from a designer whose career spans nearly three decades, there are a few surprises going on, one of which is most fun, in terms of Rucci’s sudden, unexpected splotches of day-glo pink, which pop up from time to time across the grouping.

Overall, there seems to be something here for just about every luxury fur client, particularly those well-heeled ladies who love the look of glamour and charm à la the ilk of a Hollywood star, such as Miss Taylor, as she was when she played, looked and dressed the part of Miss Wondrous.

– Adrienne Weinfeld-Berg

5 Easy Pieces


(Photo: Firstview.com)

Diane Von Furstenberg is not only President of the CFDA and a veteran fashion designer, but a renowned globe trotter. In fact, she is a self avowed expert packer who has written many articles on the subject, and quite frankly, she has gotten the art of packing down to a science. Let’s face it, she put herself on the map with her original jersey wrap dress and nothing could be more perfect for packing. I can attest to that fact having worn mine on that first trip to Europe in the early 70’s and it was perfect.

(Photo: Randy Brooke)

She once made the astute observation, “When you figure out your suitcase, you figure out your life” and if you think about it; it’s so true! She has her own line of stylish suitcases, briefcases, and travel bags and always calls her cruise/pre-spring collection La Petite Valise because it’s all about creating the kind of weightless, versatile, packable, desirable must have ‘essentials’ that could easily fit into a ‘petite valise’.

(Photo: Randy Brooke)

For the short (literally and figuratively), sweet, and well edited 33 piece 2011 collection she showed Monday morning at her headquarters in the Meatpacking district, DVF eschewed some of the more riotous color schemes she has been known for in the past, and instead, focused on a very chic almost tone down palette of black and ivory (the duo was especially effective when they showed up as bold stripes and graphic patterns often mixed together), nude, grey, white, navy with touches of lime and coral (mainly seen in the sueded mules, straw visors, and several cashmere cardigans).

(Photo: Randy Brooke)

The focus was definitely on the leg thanks to ‘hot pants’, short shorts, boxers, abbreviated dresses, and of course, swimwear (both swimsuits and bikinis) and while the collection was quite feminine, thanks to her signature georgette chiffon and jersey wrap dresses and several standout blouses with balloon sleeves, it nonetheless had a sporty, ‘boy meets girl’ vibe. In fact, the ‘heart’ of the collection was to be found in variations of what one could call the perfect, essential ‘5 easy pieces’ (okay…so maybe it’s more like 6 or 7) one would need to take away on a trip to a warm weather climate, most of which are predicated on basic menswear inspired staples: 1- The classic button down shirt (hers were done in gray and white chiffon, maze cotton voile, black jersey); 2- shorts (hers came in denim, twill, dot jacquard, striped boucle, black leather, beaded chiffon); 3- the trench (shown in both a graphic black and white tropical maze chintz print as well as classic beige); 4- the t shirt (DVF’s were in silk jersey); 5- the blazer (shown in black cupro and in a jaunty navy twill suiting fabric); 6- the swimsuit (Diane offered a variety of bikinis and swimsuits, both solid and patterned), 7- and of course, the Little Black Dress which was shown in both black silk and black open work crochet knit. I guess you could say the only essential item missing were a pair of jeans but as I mentioned, the legs were on display throughout and there was not one pair of pants.

(Photo: Firstview.com)

Oh, and by the way, it shouldn’t come as a surprise that some of the most standout pieces on the runway were Diane’s fabulously oversized versions of the eternally chic and traditional canvas tote bag (hers were in bold black and ivory stripes and patterns and trimmed with luggage leather).

“Have bag will travel” — indeed!

-Marilyn Kirschner

The post Ralph Wondrous appeared first on lookonline.

Derek Lam’s program notes stated “Ode to Summer…something I heard on the radio…Asbury Park, Rehoboth beach, P Town and Key West…Patriotic, optimistic, free for all”. A carnival carnal and a little bit tawdry. Glitter dust. Summer love. A summer fever, some bittersweet memories. I wish you were here”. Derek is known for putting his spin on American sportswear, but this collection was a departure in that it was decidedly dressed up, somewhat retro in feeling (think 40’s pin-up girls), and downright feminine and sexy (there were halters, strapless corset dresses, the ubiquitous use of draped jersey, and it was all very short, accessorized with high heeled sandals).

It was also colorful (in addition to black, white, wheat, and khaki, there were hits of yellow, jade, turquoise, apple green, and red). And it was patriotic. Stars were a recurring theme, showing up in the form of jacquard prints, patchwork poplin, and they even decorated belts. In one standout black and white poplin dress, a huge star appeared to explode on the front, and the theme continued onto the star studded wrap belt. FYI – by now we all know that the Costume Institute’s upcoming exhibit in May, “American Woman: Fashioning a National Identity” , (tracing the archetypes of dress and femininity from 1890 to 1940, and then examine how they affect how women are perceived today), so this seems rather timely.

Do you recall the season that Miuccia Prada showed almost her entire collection over skimpy briefs? The tops: sweaters, coats, jackets were all rather hefty and substantial, but beneath those pieces, there was practically nothing. (Though in Miuccia’s hands, it was not at all sexy or titillating but almost unisex). While Derek didn’t show everything over barely there briefs, he was making a statement about the leg he introduced a ‘one piece’, which was not only offhandedly paired with an ivory tropical wool jacket with black satin trimmed collar, but replaced the more traditional dresses or gowns that normally serve as a runway show’s finale.

Out of the ‘Blue’

If the words “folkloric, homespun, boho, batik, artisan, crochet, braided, rope, tie dye, and patchwork don’t seem to gel with the seductive sexiness long associated with Herve Leger, you might want to think again. As I have always said, sexy is in the eyes of the beholder, and sexy is as sexy does. In the spring/summer Herve Leger by Max Azria collection presented on Sunday, the program notes emphasized the “folkloric beauty of home spun technique with the sophistication of couture” and went on to describe the “allure of authenticity”. Of course, keeping most of the dresses at thigh length, and cutting them as close to the body as possible, doesn’t hurt the cause either. Nor does putting the models in such towering riveted cork heeled platforms, that a few of them could not keep their balance on the runway.

It wasn’t until number 21 (out of 34), that a dress that looked more like a dress than a bathing suit, and was actually a few inches above the knee, and cut with a ‘forgiving’ flared skirt, appeared. And those few pieces, in pumice ribbon and crochet, were really quite pretty and far less predictable than bare beaded and strapless bondage dresses. Also looking good was the grouping in shades of blue (dark denim, indigo, and sky blue, sometimes mixed together collage style). A denim multi jacket that took its cues from a cropped moto/jean jacket, shown over a fitted denim blue batik patchwork mini, and a black suede/denim jacket in a similar shape, thrown over a black beaded crochet bandage skirt, looked of the moment and broke up the repetitiveness of the skimpy, barely there bandage dresses.

‘Midnight at the Oasis’

In her show notes, the designer cited influences from Orientalism to Pre-Raphaelite in terms of the palette, and called the spring/summer collection, ‘Oasis’. Diane von Furstenberg is a renowned globe trotter and her world travels seem to always show up on the runway. This season, once again, it was all about a jet setting, colorful, exotic nomad, with more than a touch of the ‘gypsy’. And it was a continuation of Diane’s stable of signatures: her love affair with the dress; the lavish use of prints and patterns (florals, animal prints, abstract and geometrics, etc.); the abundance of color; textural plays involving macramé and eyelet; the use of draping and asymmetry;

the almost drunken use of embellishments and gold (gold coin, gold mesh, gold foil); and a veritable pile on of accessories. This time, oversized, rainbow hued bangles adorned each wrist, there were ornaments in the hair, bags were so oversized they could carry the world, and of course, there were the sexy shoes. To say there was a lot going on at the show, is an understatement: you almost didn’t know where to look first.

‘Taylor’ Made

Rebecca Taylor’s well received collection shown on Sunday was continuation of her girlie aesthetic. There were her beloved prints (tiny florals, pin dots, leopard); the short skirts and abbreviated corset dresses; the lavish use of ruffles and peplums; the sweet and pretty blouses; jumpsuits; one shouldered tops; and a group of mini cocktail dresses in eye popping solid colors like cobalt, scarlet, cyclamen, and orange sherbert.

Also looking good were those items or those pairings that were unexpected, untraditional, and offhanded. For example, a gray sweatshirt fabric one would normally associate with active sportswear and the gym, was transformed into a chicly draped and sophisticated cocktail dress; a nautical blue and white striped top (which was actually hand painted), was paired with a gilded draped short skirt; a menswear inspired navy shadow striped sleeveless jacket was belted with a wide denim and lime Liberty floral turnlock belt and shown over gilded trousers.

“I’ll have what she’s having”

It’s impossible not to notice the beautiful Gisele staring up at you in all the magazines, wearing nothing but a classic tan London Fog trenchcoat (www.londonfog.com). In the picture, the coat resembles a Burberry but instead of being well into the 4 figures, is closer to $100. I guess that’s why she gets the big bucks.

-Marilyn Kirschner

The post Derek’s ‘Brief’ Encounter appeared first on lookonline.

Diane Von Furstenberg, facing her first major issue since assuming the role as the new president of the CFDA issued the following statement regarding the “too thin model controversy”: “It is important as a fashion industry to show our interest and see what we can do because we are in the business of image…But I feel like we should promote health as a part of beauty rather than setting rules.”

So, after a meeting with industry leaders that included Anna Wintour and several members of her staff (what happened to representatives of other major fashion publications?), health professionals including a nutritionist, psychiatrist, physical trainer, model agency booker and a representative from the pr firm KCD, the best this group could come up were some non-binding “guidelines” for designers that included providing more nutritious food backstage at fashion shows, scheduling fittings earlier in the day for young models, and encouraging them to get more sleep?

The CFDA recommendations fell far short of Madrid’s banning models who have a body mass index of less than 18 and the recent “manifesto” by the Italian Chamber of Fashion that proposed models should hold a license issued by a panel of health experts and city officials attesting that they are in good health. And Didier Grumbach, president of the Chambre syndicale de la haute couture, has indicated that he plans no action regarding regulating the weight of models.

Perhaps the best way to approach the issue is to take the decision away from the designers who have neither the training or time to enforce standards and put it in the hands of the doctors? Why not require all models to have a recent certificate (say no more than a month before NY shows) from a doctor stating that he or she is in good health? Certainly most designers, the CFDA and even 7th on Sixth could mutually agree to enforce this minimum requirement?

-Ernest Schmatolla

(For more on the “too thin model” controversy, check out Eric Wilson’s article section C page 2 in today’s The New York Times)

The post CFDA “Cop-out” Over Thin Model Controversy appeared first on lookonline.