Lara Flynn Boyle’s tutu dress

As Oscar night beckons, it behooves us to review the history of Oscar dresses and to recommend some appropriate gown or pants choices for current nominees. Over the past decade we have seen some abominable fashion choices nearly end the career of numerous celebrities, such as Lara Flynn Boyle, Bjork and Kim Basinger. It is difficult to assess whether a bold outfit will catapult a star to stratospheric heights, or end up on the worst dressed list of every fashion blog and newspaper. Therefore, stylists have recently chosen to play it safe by veering starlets away from controversy and into safe territory by choosing an Oscar de la Renta, Givenchy or Armani confection, with little possibility of offending.

Cher in Bob Mackie

The delicate balance necessary to gain publicity without becoming a laughing stock is difficult to achieve and has ruined the fun of the show that was experienced back in the days when Cher showed up in 1986 in a feathered Bob Mackie. Consequently, an already too long, too staid Awards show has become nearly unbearable with predictable fashion choices leading most to let out a big yawn. Moreover, this year we face the added hurdle of bland host, Neil Patrick Harris, who averts controversy, and thinks tap dancing and show tunes are exciting. Needless to say, I will be sitting out this year’s show, but will nonetheless try to make some predictions as to who will dress appropriately, who will bore and who will shock.

Bjork’s swan dress

Bjork’s swan dress which she wore to the 2001 Academy Awards was the major fashion disaster of all time. Designed by Macedonian designer Marjan Pejoski, the dress was in the shape of a swan and at the Awards Bjork mimicked laying an egg on the red carpet.  While the dress has received some salvation by being reimagined for the Spring 2014 Valentino couture show, it is largely viewed as the fashion faux pas of the decade, and Bjork has largely disappeared from the public eye.  Similarly, Lara Flynn Boyle’s choice of a pink tutu like confection for the 2003 Golden Globes was just wrong.  Her look was “ballerina meets starving Hollywood wannabe” and it ensured the demise of her already shaky career.  Thankfully, we have not heard from her since this major fashion misstep, except to see her on some National Enquirer “who had terrible surgery” lists.  Kim Basinger, another fashion victim, showed up to the 1990 Oscars in a gown she designed herself, in which she looked like Cinderella after an encounter with a dangerous mugger, and we have not heard much from her thereafter.  While Cher’s outrageous look was lauded as one of the great fashion moments in history, these women virtually destroyed their careers by their daring and unfortunate getups.

Lupita Nyong-o in Prada couture gown

Last year’s nominees mostly played it safe with Lupita Nyong’o leading the crowd in a pale blue Prada couture gown-pretty but nothing outstanding. Jessica Biel bored in a metallic Chanel gown, and Julia Roberts made absolutely no list with her black peplum Givenchy. Even Lady Gaga showed up in a demure metallic Versace gown with a pink scarf-we are certainly in trouble if she underwhelms. Similarly, Kerry Washington, a usual fashion standout, showed up in a pale mauve Jason Wu gown-I am getting disinterested by just enumerating the blah fashion of last year. This year’s nominees are a fashionable group, yet they frequently play it safe and suffice it to say we will not be seeing any Jennifer Lopez green Versace gowns on the carpet. Julianne Moore, will most likely don a Givenchy gown with some sequins in either green, red or gold. It would be great to see her change it up and go for a more modern look, in a Naeem Khan feathered number or in an edgy pantsuit-however, this is unlikely.

Marion Cotillard In Dior couture

Another predictable dresser, Marion Cotillard, loves Dior and will probably appear in one of their elegant gowns, with her hair in some French chignon. Emma Stone, has been spicing things up a bit with a Lanvin pantsuit worn to the Golden Globes and a sheer tuxedo Dior dress worn to the SAG Awards, however, her unappetizingly boyish figure make her a “who cares what she wears” in my estimation. Assured is that Patricia Arquette who stated she “would love to wear overalls” to the Oscars, will appear in a dowdy, monochromatic dress designed by her friend Rosetta Getty and Felicity Jones will likely disappoint in a covered-up frock by Dolce and Gabbana or Dior. There is some hope that Rosamund Pike will choose poorly as she did with that dreadful off-white poorly fit Vera Wang she wore to the Golden Globes, but Reese Witherspoon will most likely disappoint in a safe single color, custom fitted gown with a stiff looking hairdo.

Gwyneth Paltrow in Tom Ford

Oscar history has produced some audacious fashion choices that have awed the public, including Gwyneth Paltrow’s white Tom Ford cape worn in 2012 and Julia Robert’s vintage Valentino worn in 2001. These choices were edgy, fashion forward, and spectacular without resulting in a spectacle. This year there may be some provocative garb donned by Rihanna, Miley or Gaga but their excessive risk taking is becoming tedious and desperate. The wish this year is that someone relatively unknown, will create that fashion moment that will cause conversation for the next 30 years, following in the footsteps of fashion iconoclast, Cher.

The post Editorial: Some “Predictable” Observations appeared first on lookonline.

Lanvin Fall 2013 wearing your mood on your neck

One person whose
astute, biting, and often hilarious observations about the industry have helped
parlay him into a sought after host at the most high prolfile events, and
routinely serve as fertile subject matter for his books,is Simon Doonan, the
creative ambassador for Barneys New York. I actually start laughing as soon as I
see the “Good Humor Man” because I always know he will have something
outrageously funny to say. His latest effort, “The Asylum, a collage of couture
reminiscences..and hysteria” will be
released September 3, and knowing Simon, its timing right on the heels of
Mercedes Benz New York Fashion Week, (which kicks off yet another round of fashion shows:
the ultimate three ring circus), could not possibly have been a devilish
coincidence.

The Asylum: A collage of couture reminiscences…and hysteria Click here for more info on book and to purchase

While I have not yet read the book, I have laughed out loud just reading the reviews by some of the
industry’s most well respected designers. For example, Marc Jacobs has already
weighed in, saying “The fashion world is – in a word – hysterical! Simon Doonan
is the one man who sees it and tells it like it (absurdly) is.” This, from the celebrated,
cultish designer, a darling of the editors, who always seems to look as though
he’s laughing all the way to the bank and asking: “Gee, what can I drum up and
foist on them now, that they will
invariably eat up and just go crazy over?” I mean really, this is a guy (Marc Jacobs)
who routinely shows up at major events looking as though he’s having the last
laugh, whether he is clad in his boxers and a see through Comme des Garcons
shirt, or his pj’s, and who, one season, uses Lynn Yaeger as his muse, only to
change his mind next time, and channel Twiggy.

Just weeks after writing Ready-to-“Ware”, my blog about the 4 “look changers”, I can honestly say I’m already
“over” may of them (well, sort of), and the season hasn’t even started. The
problem is (and has been for awhile now), fashion overkill and “fast fashion”. At
the highest end, before an item has gone mainstream, it looks novel and
appealing. But, by the time it’s been democratically filtered down to Bebe, Zara,
H&M, et. al., the results can be disastrous. Quite frankly, when something
is deemed “in”, perhaps that’s the perfect time to go in the opposite
direction.  (FYI, black & white have long been my signature colors, and I have always
loved stripes, so I was kind of ‘ticked off’ when they became so “in” last
season and everyone else followed suit LOL.)

Calvin Klein stretch patent knee high boots Fall 2013

Case in point: I know that I just gushed about over the knee boots, and I
still think they have their place, but lately, and perhaps unsurprisingly, I
have found myself being drawn to the innate smart chicness of knee high boots,
which have not been plastered all over the internet and which are not subject to
the vagaries of the ins and outs of fashion. They just always look great,
period. Conversely, peplums are so “last year”, they are truly “bridge and tunnel”
at this point. That said, when you see an interpretation that looks great, such
as Phoebe Philo’s elongated black leather peplum top, Alexander McQueen’s peplum
biker jacket, or Haider Ackermann’s military inspired peplum jackets, they
hardly look passé.

Peplum Celine Pre Fall 2013

The bottom line is that when
something is ill fitting, poorly made, inappropriate, etc., it doesn’t matter
that it is “in”, it’s just looks plain bad. And if something is good, it’s
always good, regardless of whether or not it’s on the hit list of magazine
editors, bloggers, and retailers. This always brings me back to something
Geoffrey Beene once said: “Don’t ask me what’s new…ask me what’s
good!” Something to keep in mind as we head into yet another fashion
cycle.

– Marilyn Kirschner

The post Editorial: “Send in the Clowns” by Marilyn Kirschner appeared first on lookonline.

The Mercedes-Benz Lincoln Center fashion shows produced by IMG have gradually lost their cachet. They are not what they used to be. What was new and exciting about them in the 1990’s, now seems old and passé . But worse, they have become boring for a lot of us. There is no fun being there anymore. No sense of an industry getting together. And where else does the press have to pay to cover an event? The venue is like going to an airport.  It is all so sterile and uninviting. Years back, there was an opening night party for all in the industry to get together; a cocktail party every afternoon/evening to network; sponsors offering all kinds of foods, goods and personal services that made everyone feel special. All of that is now very limited.

Why is it gone? Because there is no reason to cater to the press. Who cares what most of them say? Hundreds of opinions, some informed and many more uninformed — it all just so much background noise.  Fashion week today is not really about what the industry thinks at all.

For better or worse, the shows have purposely evolved into a form of mass entertainment in the same way as the Oscars did. Just as the red carpet hype at the Oscars overshadows the awards, the fashion shows have become secondary to all of media hype going on during the week. To put it bluntly, the media is the message and not the clothes. The question remains, does the event actually sell the clothes?

A lot of major designers do not seem to think so. They recognize fashion week, as organized by IMG, is really not about them. However, technology is allowing these same designers to reach just as many people in far more exclusive and controlled settings than at a Tent where they have to share the spotlight with lesser lights. One thing about fashion, when it becomes too all encompassing it loses exclusivity. It appears anyone with the money can show at the Tents. If they have talent, all the better!

FashionGPS had a cocktail party and panel discussion recently at Bumble & Bumble about the future of fashion and technology. There was a Q&A after with the audience. When a question was asked of Peter Levy, SVP Managing Director, IMG Fashion as to why so many major NY designers do not show at the Lincoln Center venues, he responded by saying that some designers can show anywhere they want. A follow-up question asked “Do you think the shows no longer have the cachet and thus many major designers feel it is better for them to show elsewhere?” There was no response.

While the Lincoln Center shows are still the central focus of New York fashion week and remain “too big to fail”, it has become less and less where the real fashion story is happening. More and more, it is to be found in other venues among other designers. There are over 300 shows and press events scheduled for the upcoming NY fashion shows in September, and only a minor percentage of them are showing at the Tents. And unless IMG finds new and more creative ways to instill new interest in their shows, they will continue to lose their luster.

Perhaps if they just brought back the fun again…

-Ernest Schmatolla

The post What Happened to NY Fashion Week? appeared first on lookonline.

Jil Sander Picasso inspired intarsia sweater Spring 2012 (Photo: firstView.com)

I cannot recall at what point in my life I began to obsess over expressive, Picasso like faces. Though it makes perfect sense since I have long been a fan of Pablo Picasso’s abstract, Cubist work: specifically, his portraits. About the only thing I love more than fashion, is art. Especially, the merging of art and fashion. So it was not surprising, I took note when Raf Simons sent out a group of intarsia sweaters for spring 2012 which were emblazoned with Picasso inspired faces.

Katy Perry wearing Jean-Charles de Castelbajac’s Obama Dress, Spring 2008 (Photo: Courtesy WireImage)

He’s not the first designer to put pronounced faces on clothing and he won’t be the last. During the course of his approximately 45 year career, Jean-Charles de Castelbajac (best known for his designs which mix pop culture, bright colors, and humor), has used famous faces to decorate his designs: everyone from Mickey Mouse (Spring 2012) to President Obama (Spring 2008).

Chado Ralph Rucci Buddha Dress Fall 2009 (Photo: Style.com)

Ralph Rucci (http://www.ralphrucci.com/ ) is not only a world class, award winning fashion designer, but an accomplished artist in his own right. His work is inspired by famed artists like Cy Twombly, Franz Kline, and Louise Nevelson among others. His global aesthetic, passion for collecting treasures from around the world, exotic world travels, and appreciation of diverse world cultures (specifically far Eastern cultures and Japanese symbolism), routinely find there way onto the surfaces of his designs. This was exemplified by several gowns from fall 2009, which were screen printed with images of the Buddha, (including one of his blown up face, which all but covered the entire surface of the dress).

Lisa Perry’s Roy Lichtenstein “No Thank You Dress”

Lisa Perry (http://www.lisaperrystyle.com/ ), is not only an avid art collector, but a fashion designer (FYI, she is the wife of Richard Perry, the hedge-fund tycoon who recently took a majority stake in Barneys New York). She has successfully combined her clean lined, space age, 60’s aesthetic, with iconic pop art, as exemplified by her Limited Edition Artistic Collections which have featured the wearable art of Andy Warhol, Jeff Koons and Roy Lichtenstein. One of my favorite products is the eye popping Roy Lichtenstein “No Thank You” dress, $2000. Her flagship is located at 976 Madison Avenue, tel: 212 431 7467. She also has a store in Sag Harbor, located at 63 Main Street, 631 725-7467.

Marc by Marc Jacobs top Resort 2013 (Photo: firstView.com)

For resort 2013, Marc Jacobs included several sweaters emblazoned with his own face. But let’s “face” it, not everyone may want to wear an item of clothing emblazoned with the likeness of another person (no matter how attractive, talented, iconic, important, or legendary he or she may be). You can always satisfy your urge (should you have one) for incorporating faces into your life via products for the home.



Vintage Desimone mug from 1965

 Giovanni De Simone, who passed away in 1980, was one the greatest Italian ceramic artist who studied under Pablo Picasso. I began buying and collecting colorful Desimone pottery: mugs, espresso cups, plates (and love that no two are alike). His hand painted artistry of true Majolica pieces are famous and now produced by his daughters Susanna and Margherita De Simone. I prefer the vintage versions, especially the ones from dated 1965, and if you keep looking, you can get lucky and find them on EBay.

Carrol Boyes plates

Along those same lines, on a recent Soho jaunt, I was immediately drawn to the window display at Carrol Boyes, 126 Prince Street, 212 334 3556, http://www.carrolboyes.com/ . It featured white porcelain bowls, mugs, and side plates (ranging in price from $20 – $90) decorated with black line drawings of quirky, Picasso esque, faces. It turns out that these drawings are Ms. Boyes’s personal renditions, (attesting to her passion for the human body), that have been accumulated in her archived sketchbooks. It was her daughters who encouraged her to make the sketches public.

Fornasetti Theme 2526 Variations decorative plate

Piero Fornasetti, was an Italian painter, sculptor, interior decorator and engraver. He created more than 11,000 items, many featuring the face of a woman, operatic soprano Lina Cavalieri, as a motif. Fornasetti found her face in a 19th century magazine. “What inspired me to create more than 500 variations on the face of a woman?” asks Italian designer, Piero Fornasetti of himself. “I don’t know,” he admits, “I began to make them and I never stopped.” The “Tema e Variazioni” (theme and variation) plate series based on Cavalieri’s face numbered more than 350. Other common features in his work include heavy use of black & white, the sun and time. His style is reminiscent of Greek and Roman architecture, from which he was heavily influenced.

Fornasetti Eclessi de Luna Pillow

His son, Barnaba Fornasetti, continues to design in his father’s name and the company’s signature face adorned products are readily available at Barneys New York (http://www.barneys.com/ ). Among the items that have recently caught my eye: the Eclessi de Luna Pillow, $160; the Viso bookends, $270, an assortment of Theme & Variations Decorative Plates, $185, and a Theme & Variations Umbrella $260 (a distinctive way to stay dry if ever there was one)

Last, but not least (thought certainly least expensive), are the malleable Picasso Head Morph Notepads, available at http://www.thelibraryshop.org/ , $15.

The post Let’s “Face” It – by Marilyn Kirschner appeared first on lookonline.

It Never Gets Old

Veruschka wearing Pucci  in the 60s


There are many things that improve with age. Wine, cheese, the Statue of Liberty, and Michelangelo’s David. And us! Just consider the ageless nonagenarian Iris Apfel, the amazing and inspiring subjects spotlighted on Ari Cohen’s http://www.advancedstyle.blogspot.com/ , the 60+ fashion stars of the new Lanvin Fall 2012 campaign, and the “Wonder Women from 28 to 101” profiled in the August issue of Vogue which is their annual Age Issue.

82 year old Jacquie Tajah Murdock in Lanvin’s Fall/Winter 2012 Campaign

They say “Imitation is the most sincere form of flattery”, and gazillions of products (including those that are fashion related), have been imitated, though not necessarily duplicated. But I’d venture to say that most of us ‘sage’ fashion insiders, who have seemingly been around for ions and have “seen it all”, would agree that there are simply those things that cannot be improved upon (New and improved? Not so fast!) They can be tweaked, given endless bells & whistles, and made a whole lot fancier. But fancier does not make it better. Sometimes, it’s the stripped down, bare bones simplicity, the honest authenticity of the original, that makes it so chic and appealing. And sometimes, (though not always), it’s the more palatable price tag. Regardless, these are some examples that illustrate:

Marilyn’s favorite vintage Pucci blouse

Vintage Pucci: Emilio Pucci’s iconic prints are all time classics – wearable art – and will always be a wonderful addition to any wardrobe (whether it takes the form of a scarf, a jersey dress, a silk or cotton blouse, a velvet jacket, etc.) And once again, in my opinion, the patterns and colors found in the pieces from the 60’s and 70’s are more distinctive than anything currently out there today, and far more preferable (stains and all). There is something about the vintage patterns and colors, that cannot seem to be duplicated these days.

 The LL Bean Canvas Boat and Tote Bag: There have been so many versions of a traditional canvas tote bag through the years (they’ve even been made for evening in sequins, gold, etc.), but the original, made in Maine for over 65 years and available at www.llbean.com, cannot be beat (nor can the price: $20.95 – $38.95). They are tested to hold over 500 pounds, made of heavy duty 24 oz. cotton canvas combined with the company’s signature double layer base and handles, they feature a reinforced flat canvas bottom and overlapped seams double-stitched with nylon so that they won’t rot or break. They are basically indestructable. You can have them personalized, they are available in 10 colors ( including red, black, navy, and a vivid royal which is my favorite), and come in 4 sizes: from Small to Extra Large.

The Aigle Rubber Riding Boot: The marketplace is literally ‘flooded’ with rubber rain boots in every color under the sun, with every heel height, in every style imaginable, with a range of decorations and superflous additions. But the all time chicest, are still the traditional Aigle Rubber Riding Boots, www.aigle.com. Aigle is No. 1 worldwide for the manufacture of high quality hunting boots (Parcours model) and horseback riding boots (Ecuyer model) as well as a European leader for nautical boots (Glenan, Glenan ISO, Skey, Bora and Maramu models are topsellers).The Ecuyer model is the real deal and looks more like leather than rubber. In addition, the tall shaft height and the narrowness of the fit (they are meant to really hug the calf), make these exceptionally flattering. They are available at Barneys.com, $195, and at J.Crew (http://www.jcrew.com/ ), which is currently selling little girls’ sizes.

The Saint James Breton Striped T-Shirt:  The striped 3/4 sleeve bateau neck top is a unisex classic that completely stands the test of time, and almost nothing is as ubiquitous, especially in the summer (it can be considered a ‘neutral’ that really goes with everything). When you see images of the late Audrey Hepburn wearing hers with capris and ballet flats, it is still a look that cannot be improved upon. And nobody makes them better than the Saint James Company, (http://www.saintjames-usa.com/ ), established in Lower Normandy in 1889.

 Originally intended for deep sea fishermen, then adopted by known seafarers, and amateur yachtsmen, as well as their pure cotton “seashore” lines (comprised of striped tees in a range of styles and colors), are sold around the world. In New York, there is a Saint James boutique located at 1045 Madison Avenue, 212 535 1470. The Saint James Galathee Tee, $90, is available at http://www.j.crew.com/

The Patterned Hermes Silk Scarf: There are patterned silk scarves, and then there are Hermes patterned silk scarves. How do I love thee? Let me count the ways. They can be worn tied around the neck, tied around the handle of a bag, tied around the head to make a turban, or used to chicly camouflage a cast (remember Sigourney Weave in the move, ‘9 to 5’?). They can also be framed. While there are millions of patterned silk scarves in the market place (many at lower prices than the original), the ones at Hermes (the company was founded in 1837), stand out because of the saturated colors, the highly distinctive prints, and the luxurious, heavy silk twill which gives it a lot of body. (And true to form, I had a fondness for vintage Hermes scarves and find that the ones I’ve collected, are still better than anything out there today).

Burberry Fall Winter 2012 (photo: vogue.com)

A Burberry Trench Coat: This iconic 156 year-old global brand with a distinctly British attitude knows a thing or two about inclement weather. Their trench coats for men and women are still the gold standard, and though their original classic bare bones style is hard to improve upon, I have to admit that Christopher Bailey’s updated incarnations are always “right on the money”.

-Marilyn Kirschner 

The post One for the Ages appeared first on lookonline.

Bill Cunningham said it all with the 32 pictures (and accompanying copy) which comprised “Reality Check”, his On The Street pictorial that followed on the heels of New York Fashion Week for spring 2012, and ran in Sunday’s The New York Times. Once again, Bill Cunningham captured the essence of a week filled with countless runway shows and informal installations, and addressed the burning question: Where WERE all the day clothes????? (Not that they did not exist, but generally speaking, daywear, or work clothes, were few and far between).

There is almost no one who appreciates over the top flights of fancy and individual creativity as much as Bill. But he’s seasoned enough with his fashion historian knowledge, and smart enough to understand that this is not where it’s at; nor is it relevant for most women’s daily needs. As he put it: “Of course, there is room for the glorious kaleidoscopic diversity of designer visions shown last week on the runways. But then again, I can’t tell you how many women pulled me aside during Fashion Week and said, ‘Beautiful clothes, Bill, but nothing to wear'”.

Quite frankly, the most appropriate use of the word “day”, as it applied to designers showing in conjunction with Mercedes Benz Fashion Week, would have to be “day dreaming”. They were fantasizing  about what women want to wear, while not addressing their true needs. Let’s face it, most women are not looking for a wardrobe filled with pieces best suited for the Red Carpet or high profile fashion events, for the sole purpose of being noticed and photographed by one of the various street photographers.

As I have said countless times, it’s not about trends, but about what is good. Editors, bloggers, self professed fashion ‘experts’, and stylists can compile endless lists of as many trends as they want; it does not add up to a hill of beans if it does not look good or, if it doesn’t address the real needs of real women.

Bill’s decision to highlight Ralph Lauren’s impeccably tailored suits (the very pieces I thought were his most signature and outstanding), which were shown on Thursday morning, was spot on. As were the 9 pictures of Melissa Kuba Lederer on her way to work on 5th Avenue. I don’t know Ms. Lederer; I don’t know what she does for a living, or what business she is in; but she apparently did not attend New York Fashion Week. Yet, she all but upstaged those who did, (well, in Bill’s opinion any way), clad in a rigorously pared down yet hardly boring uniform of flattering, well fitted, beautifully cut blazers (all of them two buttoned with double vent backs), crisp shirts, narrow pants, menswear inspired two tone flat oxfords or mid high heels (high enough but not too high that she couldn’t walk!), and timeless bags (not a flashy ‘it’ bag in the lot). She knows what suits her best, and she obviously understands proportion and color. The overall effect was smart, chic, age appropriate, and thoroughly modern.

I’m not proposing that the only way to dress is in tailored menswear inspired clothing, (variety is the spice of life and there is a time and place for almost everything), but all too often, the most simplified, basic, and obvious ways to think about dressing, are all but overlooked. As Bill pointed out, “Certainly, as Chanel knew when she slipped into the clothes of her lovers, man-tailoring can be terrific on women”. The fact is, beautiful tailoring is always desirable, and always the right thing, even for an avante garde fashion icon like Daphne Guinness. As I previously mentioned, while there are enough over the top statement pieces on display at her just opened exhibit at FIT, the majority of the collection is predicated on perfectly tailored jackets and coats.

The post Bravo, Bill! appeared first on lookonline.

Informed vs Uninformed Criticism: Who Needs It?

Do designers care or even want anyone reporting on their shows who has an experienced & educated eye that really looks at the clothes, how they are made, fitted and presented? Sure, there are plenty who write about the shows – the Internet is awash with these so-called journalists expressing their opinions about this designer or that one. But what of all these opinions? Is everyone an expert who has an opinion? What is the difference between informed and uninformed criticism? Should someone with 20 years experience covering the shows be of equal weight with someone whose only experience in fashion is viewing collections on the Internet? If the editor with 20 years experience gets a 1000 readers a day and the 16 year old blogger gets 10,000 a day is the blogger’s content better informed or more valuable?

“Unfortunately, due to the very high volume of requests we received this year, we will be unable to accommodate you this season for the shows you requested.” -KCD

Critical review of collections is an essential. Good criticism helps point out the areas of strength and the areas of weakness in a given collection. This feedback helps the designer grow and develop. But, these days, everyone is an expert. Informed opinion is lost in a sea of uninformed opinion that permeates magazines and the Internet disguised in clever graphics, snarky tweets and celebrity worship.

Frankly, most designers are not interested in someone who is in a position to really judge the quality of their designs. What good does it do them? It is just another opinion among so many. Just look at any major NY show and you will see who is considered of real importance. The front rows are filled with celebs, socialites, family, close friends and those editors of status deemed friendly to the designer. Hardly a critical audience. The designer is preaching to the choir.

There was a time when the out-of-town press would come in to cover and review the shows for their readers. These full-time paid fashion writers took their jobs seriously and expressed their approval or dismay over what they saw on the runway. They also provided serious feedback to the designer. But, over the past 10 years, most of them are gone now. They do not come in because they are not invited. Why, because their opinion is no longer wanted. Why should a designer risk negative press? No press is better than negative press.

So, in their place, the rooms are now filling with 20-something year old fashion bloggers (and even younger) with mostly dubious credentials and questionable taste, junior staff members of major magazines (how many depending upon how much the designer spent on advertising in the magazine), pr firm “favorites” with no direct relationship to fashion other than they are well connected, sponsors’ friends, and more and more these days paying ticket holders who have deep pockets.

Besides Cathy Horyn, and maybe Robin Givhan, in New York where is the cadre of “informed” independent writers who cover the designer collections? Even WWD, being owned by Conde Nast, is alway suspect of playing up those designers who advertise the most in their other fashion books. Who dares speak for fear of not being invited next season? Designers and their publicists have to put up with some of the big national press, but for the rest of us it is: “we will be unable to accommodate you this season for the shows you requested”.

– Ernest Schmatolla

The post Editorial: Is Fashion Journalism Dead? appeared first on lookonline.

As everyone knows, Thursday, September 09, 2010, the first day of the Jewish New Year, Rosh Hashanah, coincided with the first official day of Mercedes-Benz Fashion Week. (FYI, it is actually 5771 on the Jewish calendar and I’ve been covering the fashion scene for so many years, it sometimes feels like I’ve been doing it that long! Oy Vey!)

I had to chuckle when I read an article in The New York Post, (“It’s the season for back-to-shul fashion”), which talked about an upper West Side synagogue, conveniently located across from Lincoln Center, which was holding special Rosh Hashanah services for fashionistas attending shows at Lincoln Center. Rabbi Yehuda Lipskier said they wanted to provide a home for Jewish fashion world insiders who will be traveling from all over the world, and would even include “special prayers” for “famous Jewish designers” such as Diane von Furstenberg and Zac Posen to help keep them from putting out any designs that look as if they’re from the 5760’s”.

Lincoln Center has served as the most perfect, wonderfully dramatic venue for a host of memorable galas and opening nights (The Metropolitan Opera, the New York Ballet, etc.), and coincidentally in recent years, it’s become the venue of choice for the American Fashion Awards and the attending red carpets have no doubt seen (and will continue to do so) their share of notable fashion statements (from fabulous cocktail dresses and chic pantsuits to grand ball gowns). Among those designers whose chic ensembles routinely strut down the red carpet AND presented their spring collections at Lincoln Center during MBFW are Carolina Herrera, Narciso Rodriguez, Monique L’huillier, Naeem Khan, Vera Wang, Isaac Mizrahi, Zang Toi, Christian Cota, Zac Posen, Michael Kors, and J. Mendel (who designed costumes for this past season’s ballet).

In many cases, the designer, not just his/her creation, has made an appearance on the red carpet (let’s not forget that many fashion designers are well known patrons of the arts and their houses routinely underwrite high profile galas). Zac Posen, or should I say, Zac ‘Poseur’ has practically gotten this down to a science – he not only adores the limelight and comes dressed to the nines, but has his party face down pat and always chooses the most fabulous gown and model as his date..

In any case, the symbolism of Lincoln Center (an iconic cultural landmark which is home to the to the performing arts), now serving as the new venue for Mercedes-Benz Fashion Week, is not lost on me or many others since this has been a non stop topic of discussion in the months and days leading up to Fashion Week. Quite frankly, it would seem to be a match made in heaven – a perfect fit, and one can only hope it will inspire, if not ‘up’ the ‘glam’ quotient for all involved. Speaking of which, having Karl Lagerfeld come to New York during this time, to celebrate his newly renovated and enlarged Soho store on Thursday night, with a jam packed cocktail party attended by a group that seemingly included all of New York, (and the world), from Sarah Jessica Parker to Lynn Wyatt, and to receive his Couture Council Fashion Visionary Award at Alice Tully Hall today, doesn’t hurt. By the way, I thought I’d mention that the cocktail party was so classy (would you expect anything less?), that upon leaving, each guest was handed a black Chanel shopping bag with a beautiful large silk patterned Chanel scarf inside a box.

One can argue that fashion (in its highest forms) can be considered as an ‘art’ form, and it can certainly be called ‘performance art’ where runway shows are concerned. As I have previously pointed out, all the world is TRULY a stage where fashion is concerned: there’s a whole lot of drama, role playing, acting out, and theatrics involved, and there have been runway shows which have almost reached the level of a Broadway production.

While so many have likened the first day of Fashion Week to the first day of school, I would say that on Thursday, it was so disorienting at first, it felt more like Freshman Orientation. My first impression upon getting off the subway and walking across the expansive Lincoln Center courtyard (with all the various banners displaying a variety of the performing arts), was that it certainly looked and felt different than Bryant Park. After years at Bryant Park, there was a welcome familiarity: I knew exactly where everything I needed was. Yesterday, I had to start all over in order to find the best and most convenient places to get my lunch, my coffee, a computer, and a great place to rest in between shows, etc.

On the plus side, the main lobby is certainly spacious and more inviting; with an attractive courtyard that has tables and chairs, visible through large windows. And there are real bathrooms (not just glorified port-o-sans). But the Starbucks Café, alas, serves only frappaccino (no regular coffee or espresso and quite frankly, once inside the venues (The Stage, The Studio, The Box), it really felt no different than being back in Bryant Park, though the cushions which served as seats at The Stage, were very comfortable.

My schedule on Thursday was in fact, a light one with just a handful of shows, all of which were held at Lincoln Center; and I suppose one can say they were each inspired by art in one form or another. Richard Chai Love, inspired by Martha Graham, was filled with ingenious uses of transparency (including the use of a nude legging/pant hybrid) and layering (both of which are inherent in dance), and it was all about ‘movement’. Ruffian by Brian Wolk & Claude Morais called their show, ‘Frontline’ and it had an elegant, ladylike military feel thanks to the employment of structure and tailoring. wide legged trouser suits, high wasted draped skirts, and draped dresses, not to mention a color palette based on royal blue, white, gold, and khaki (plus leopard and tribal prints); the duo was admittedly inspired by the ‘art’ of diplomacy (specifically, those ‘heroic’ women on the ‘Frontline’). Christian Siriano’s aesthetic has always been about ‘glamour’ and his pretty, soft ruffled and flounced blouses, fitted, gathered, and draped cocktail dresses, and graceful, elegant flowing gowns, if not sometimes over the top, were all about the ‘art’ of dressing up. Even his cognac leathers, safari jackets, and trench coats were infused with a high dose of ‘feminine’ and were anything but ordinary.

-Marilyn Kirschner

One Night Only at Bloomingdale’s

Take a step back in time on Fashion’s Night Out as HBO and Bloomingdale’s team up to celebrate the September 19th premiere of HBO’s new series, “Boardwalk Empire.” Prohibition era Atlantic City serves as the primary backdrop for this period production, which takes place during the 1920’s. For one night only, Bloomingdale’s will offer a special collection of men’s accessories including cuff links, tie bars, and tie clips by David Donahue, priced at $19.20. These items are exclusively available at Bloomingdale’s NYC flagship store and only on Fashion’s Night Out, so be sure to stop by or you will miss the authentic 115 foot boardwalk at the entrance on Third Avenue.

Bloomingdale’s Men’s Store, 59th Street, New York City

Samsung 23” Widescreen LCD Monitor

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Samsung B2330H 23” Widescreen Monitor
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-Rhonda Erb

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After the very public fashion show held Tuesday night at Lincoln Center where tickets were being sold upwards of several hundred dollars each, I think we are going to see more shows being offered up to the public for a price. Years ago, designers used to have two shows each season, one for the press and the other for the buyers. It changed because Bernadine Morris, then the senior fashion writer of The New York Times used to go to the buyers’ show instead of the press show. Designers soon began showing only one show, with one side of the runway for press, and the other side for buyers.

In the future, designers may leverage their brand more and more by making use of a “public show” allowing those who can afford the ticket price access to it. I think they will then have a second small “exclusive” private show for select top press, celebs and buyers. Other minor press, bloggers and “lesser lights” will be given the opportunity of accessing the collection for free at the public show.

Some of the designers are already leveraging their brands at the low end of the market by selling collections to H&M and Target, so opening the shows to the public is a good way to help pay for the show and market their collections to an eager and willing public.

Box seats anyone?

-Ernest Schmatolla

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Eric Wilson’s column in today’s ‘Thursday Styles’ section of The New York Times reports a number of fashion magazines are opening their doors for behind the scenes footage that is being produced for TV, podcasts and streaming video reports on their magazines’ websites.

His report gave me an idea. How about a reality show of a start-up of a new fashion magazine, with weekly episodes featuring events focusing on getting the magazine launched with all of the in-fighting and personalities that ends with the magazine actually being published on the newsstands? It would be a novel way to actually launch a new magazine.

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