Marc Jacobs’ spring 2016 show, held at the Ziegfield Theatre, was a perfect way to end New York Fashion Week. You know how many of us have been talking about how fashion isn’t fun anymore? Well, Marc Jacobs is apparently ready to have some fun. Leave it to him to put the fun back not only in the presentation, but in the clothes. It was a hold no bars, out there theatrical production that had to make one smile  (it was not without its drama: the clothes reportedly arrived 15 minutes before the show, but it still got off on time: 6 pm).

Evening dress printed with the face of Janet Leigh in Psycho

Filled with a dizzying variety of looks, lengths, proportions, it was chock a block with joyous ebullient color, shine, embellishment, zany pattern (like Ralph, Marc used quite a bit of red, white, and blue, but I can attest to the fact that that is where the comparison ends!). Best of all, if there was one theme, it was that it made a case for not playing it safe, and rejecting quiet, pared down minimalism, and it made a strong case for freewheeling maximalism. (Of course, the great thing about Marc, is that it goes without saying that by next season, he will be going in the completely opposite direction!)

Marc goes western

The best way to describe it is like this: think of the most discordant, sparkly, colorful, embellished pieces one could imagine, and then put them together in the most personal, expressive, irreverent way possible, without any rhyme or reason. Quite frankly, many of the outfits looked as though Marc gave the models a group of clothes, directed them to wear them as they would like (after making sure they had too much to drink). His inclusion of singer Beth Ditto in the lineup also spoke volumes about his desire to be inclusive and challenge traditional ideas of beauty.

The outcome often bordered on ‘bad taste’ (which is great because I think good taste is highly overrated myself). Come to think of it, Marc was really echoing Diana Vreeland’s notion that “Bad taste is better than no taste” so I guess you can say he is still feeling Diana Vreeland’s influence (he cited the icon as inspiration for his fall 2015 collection).

Fashion Underground: The World of Susanne Bartsch

Dr. Valerie Steele and Susanne Bartsch Photo: Marilyn Kirschner (click images for larger views)

Speaking of good taste vs. bad taste, it could not have been more appropriate that the opening of the exhibit, “Fashion Underground: The World of Susanne Bartsch” (a fabulous display of bad taste if ever there was one lol), followed Marc’s show. All I could say is: what a party, what a scene, and what an appropriately spirited way to put an exclamation mark on fashion week!

Norma  Kamali, Calvin Klein, Susanne Bartsch

Hundreds of people, including designers Calvin Klein, Norma Kamali, and Stephen Jones, packed into the Museum at FIT in celebration of the amazing new exhibition which runs through December 5th. Talk about eye candy; I didn’t know where to look first. Not that this was any surprise given the subject (the Swiss born icon, fashion influencer, trailblazer, rule breaker, retailer, event planner, aids fundraiser). Quite frankly, it made the “Daphne Guinness” exhibition, which ran from September 16, 2011 – January 7, 2012, look tame by comparison.

Colorful guests Photo: Marilyn Kirschner

Susanne did not become known as the “Queen of New York City Nightlife” back in the 80’s for nothing. Her first party, which took place at a club near the Chelsea Hotel (where she has lived for many years), drew a diverse and colorful mix of dressed to the nines individuals as had never been seen before (uptown, downtown, gay, straight, multiracial), and from the look of things, many showed up last night. Susanne and her friends (and followers) have long viewed fashion as a performance art; the ultimate form of self-expression. As she once said, “It was about seeing and being seen”.  Indeed.

Photo: Laurel Marcus

It was one of those exhibition openings where the guests rivaled the actual exhibition. Well, almost, because quite frankly, it would be almost impossible to outdo the dazzling 80 ensembles on display, culled from this fashion chameleon’s personal collection of clothing and accessories. It included all manner of designs by such as The Blonds, John Galliano, Jean Paul Gaultier, Alexander McQueen, Thierry Mugler, Rick Owens, Vivienne Westwood, Norma Kamali, and Zaldy.

Mr. Pearls’ corsets Photo: Marilyn Kirschner

If there was a theme, or one thing that held it all together, it was that it was all provocative, in your face, over the top, and out there. When I asked Dr. Valerie Steele, who curated the exhibition what her favorite pieces were, she quickly said, “Mr. Pearls’ corsets”. As for Susanne’s?  Zaldy’s designs. It was impossible to look around the room and not wonder where Susanne kept all these clothes. Dr. Steele confirmed that in addition to her Chelsea Hotel apartment (which is just a few blocks from the Museum at FIT), they were stored in a warehouse.

– Marilyn Kirschner

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Just when everything started looking the same, (with an emphasis on sportswear), Marc Jacobs closed the week by delivering an eye catching, highly visual tour de force that was all about the joy of getting dressed and putting the fun back in fashion. Gone are the waifs in their sad military outfits and combat boots from last season. In their place: a parade of grown up, sophisticated women (down to the dark red lips, severe top knots, leather gloves), each and every one of them polished, put together, and dressed to the nines.

The collection, an ode to a true fashion icon, Diana Vreeland, spoke volumes about her unabashed obsession with fashion and her love of the bold and eccentric (there was nothing shy and retiring about her pronouncements, directives, or her personal style). It was the polar opposite of minimalism and quite frankly, you didn’t know where to look first (“The Eye has to Travel” indeed). There was no surface left unadorned or kept plain, and other than the relatively simple opening group of dresses in black, it was a beautiful mash up of metallic brocades, leopard and snake prints, bugle beads, jet embroidery, menswear patterns, cabbage roses, and fur. Graphic skunk to be exact. There were skunk capes, coats, muffs, bags, and stoles. It was not lost on me that Marc’s very first collection as head of design for Louis Vuitton in Paris, was all about skunk, so it’s as though he has come full circle.

Trousers were shown sporadically, but basically, it was all about a feminine silhouette (dresses and skirts). There were narrow pencil skirts and there were very full, knife pleated skirts, which were really the focal point of the collection. They came in dizzying variety, in lengths that went from below the knee length to floor sweeping, and were shown with everything from tailored jackets and belted coats, to voluminous capes.

It was often so over the top, it begged the question, “Good taste or bad taste?” Diana Vreeland said it best, “Bad taste is better than no taste”. Touche!

Groovy Baby!

Calvin Klein Fall 2015

Well, it looks as though Francesco Costa has been spending some quality time at the periodical vintage shows (I’ve  spotted him at the Manhattan Vintage Shows held at the Metropolitan Pavillion), but it seems he couldn’t quite make up his mind as to which pieces (or decades) most inspired him. His fall 2015 collection for Calvin Klein was quite a departure in that it was an unabashed nod to mod (modified space age), but it also referenced the 70’s and 90’s as well. To the designers’ credit, he made it his own and nothing was taken too literally. The overall effect was subtle and sophisticated, and hardly stuck in a time warp.

Working in a signature palette of black and white, there were hits of camel, coral, brown, and deep burgundy. The emphasis was on dresses and skirts (both short and long), and only a few pants were shown in the entire collection (they were cropped and wide and paired with cropped jackets). The elongated pieces looked especially good, thanks to their perfectly proportioned, narrow, lean silhouettes, and almost everything was shown with a mid-heeled second skin boot (there were also mod inspired block heeled pumps).

Coats and outerwear, the true stars on the runways here in New York, have always been a strong part of the DNA of the Calvin Klein label, and they were the stars in Costa’s collection as well: everything from 60’s inspired abbreviated coats (combining plush fur and leather, often horizontally worked), to long and lean coats layered over long dresses. Highlights in the latter group include the elongated black coat with pronounced silver buttons, trimmed with black patent; the ivory double breasted coat with silver button; the belted number in rich brown and black leather patchwork.

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Just about five months after John Galliano’s firing from the venerable French house of Christian Dior, the fashion world is abuzz with imminent news of his replacement; and it seems as though Bernard Arnault did not have to go much further than his own stable (Louis Vuitton) to find him. The name Marc Jacobs has been on everyone’s lips as of late, and not only is it not one bit surprising: it actually seems like the perfect fit (a match made in fashion heaven).

The award winning talented designer, beloved by fashion editors (it hasn’t hurt him one bit that Anna Wintour has been a longtime friend), is one of those ‘elite’ names of international designers who ‘matter’ from one season to the next. Marc has a proven track record (look what he’s done for Louis Vuitton since taking over as creative director) and an impressive resume that belies his relatively young age (48) and in fact, he was the most recent recipient of the CFDA Lifetime Achievement Award (in his case as, he put it, hopefully it will be a ‘half’ lifetime achievement award).

From that very first ‘grunge’ collection for Perry Ellis, up until the present, he has managed to create buzz, excitement, and drama. Not one to play it safe, his fully realized, love it or hate it shows (mainly the former), are wildly anticipated, considered to be must sees each and every season, and are extremely influential.

An apt pupil who appears to successfully soak in his surroundings, his dual citizenship has served him well (he lives in both New York and Paris). Marc has been able to tap into the current zeitgeist and has his finger on the pulse of popular culture. He respects the past, has thorough knowledge of fashion history, and is as adept with dressmaker skills and impeccable tailoring. With a wink and a nod, he can be thoroughly classic and subversive at the same time (who else can make a peter pan collar look kinky?)

Finally, it’s not lost on me that he shares the same first name and spelling, as the legendary Marc Bohan, who was creative director of Christian Dior from 1960 (when Yves Saint- Laurent left) up until 1989, AND, he is Jewish, which is ironic considering John Galliano was fired because of racist and anti-semitic rantings.

-Marilyn Kirschner

The post Editorial: John Galliano Who? appeared first on lookonline.

(Ralph Rucci review later today)

The Man of the Hour (glass)

Marc Jacobs Fall 2011 Collection (All Photos: Firstview.com)

It was a no brainer that Marc would change directions and go in a completely different direction for fall, and that the runway would not resemble spring in any way, shape, or form. But who could have guessed that the collection he showed last night (right on time once again) would be literally ‘all about’ shape and form and that the object of his affection would shift from YSL to Azzedine Alaia? (Well, for this season anyway. Marc will always keep his love affair with the great Yves alive but when it comes to his fashion fixation, I guess you could say he’s a fickle guy).

The overall mood and feeling was one of structure and rigid shape, with the supremely feminine emphasis on the waist. A taut, curvy, hourglass silhouette pervaded and peplums abounded. Skirts were primarily pencil thin and hit just below the knee, and jackets were molded to the body. While waists were whittled down, sleeves were often rounded and blown up, (this had the effect of making the waists seem even smaller). Shoulders were often dropped and armholes, roomy. Primarily, it was all about a cropped jacket, or one that emphasized the waist, and interestingly, in a season that has been all about coats thus far, there was really only one coat shown (and waist defining, elongated version in dusty blue, and shown over gray flannel pants).

When pants appeared, they were low waisted, and cropped. The footwear consisted of a high heeled bootie, usually in black, and made of a shiny vinyl like material (I’m sure it wasn’t), which hit at the ankle or a little higher, and legs were encased in sheer black patterned hose (dots, lace, point d’esprit). I think the hosiery industry should be happy this season. Speaking of dots and lace, Marc used both lavishly and he actually went a bit ‘dotty’ this season, using large dots quite liberally, including the accessories. As for lace, when it showed up (and show up it did, as tops, dresses, skirts, pants), it was of the thick, weighty, re-embroidered variety, resembling armor.

These are sophisticated, grown up, and quite dressed up clothes with a couture like feeling, and not for shrinking violets, played out in a palette of black, white, gray, indigo, with hits of red, green, brown. Even the sportswear separates had a dressed up and quite sophisticated look, with structured tops and skirts covered with large paillette like discs resembling fish scales, (these were applied to thick wool or tweed surfaces). It would be impossible to say exactly what the fabrics were, but it’s a safe bet they were customized. Interestingly, in a season of furs, Marc kind of played them down, opting instead for a thick mouton-like fabric, which showed up as cropped jackets, or in some cases, was used only on the voluminous sleeves, adding to their hefty proportions. The models’ hair was slicked back away from their faces and almost each one had a hat (a small structured hat which almost resembled a tiny helmet, which was fastened onto a band to keep it in place, and worn to one side).

Love it or hate it, the wonderful thing about Marc, is that you always leave his shows wanting to re-evaluate your wardrobe.

– Marilyn Kirschner

Carolina Throws in the ‘Gauntlet’

Carolina Herrera Fall 2011 Collection (All Photos: Firstview.com)

Carolina Herrera’s 41 piece fall collection shown yesterday morning, mixed elements of day with elements of evening; was highly textural and ornamental, and an exercise in shades of gray with gray degrade, pyrite, gunmetal and metal sequin embroidery playing off the more rustic and humble fabrics such as dark gray wool flannel and felt. It was also quite organic in both color palette (rust, greige, jasper red, amethyst, turquoise, bone), and the use of an abstract ‘feather’ and ‘waterfall’ print. Sculptural shapes defined face framing necklines, knee length pencil dresses, dress coats, and ‘wing’ skirts, and the use of sculptural gloves on almost every outfit (with their exaggerated gauntlets) added drama.

The gloves, whose proportions gave them the look of elegant oven mitts, were designed by Shaneen Husham, and they were statement makers, all but replacing jewelry (one suede pair in particular, was covered with gunmetal and primrose embroidery). Narrow belts by Bennett Liberty, Wolford stockings, and elegant high heeled pumps (Manolo Blahnik for Carolina Herrera) were the only other accessories used.

Speaking of accessories, I have to say something about all those teeny tiny little clutch bags which are constantly shown on many a runway, including most recently, that of Jason Wu and Alexander Wang. Chic they are, and how I wish I was the kind of gal who could actually get by with something so small (most of the ones I’ve seen wouldn’t even fit my cell phone). But how impractical for real life, unless you have a limo waiting at your disposal, or an assistant following behind you and carrying all your things for you. I love all those celebrity editors who completely eschew handbags and are never seen with one (Anna Wintour has admitted she doesn’t use one because they break up the line of her clothing; and the same can be said of the new editor-in-chief of French Vogue, Emanuel Alt. I spotted her at the shows this past week, clad in black but carrying a thin red book (thinner than she is if that’s possible) – not a bag. As I said, how nice to have a limo.

– Marilyn Kirschner

The Daily Bet by Rhonda Erb

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The post New York Fashion Week Notes – Day 5 appeared first on lookonline.

FashionGPS sponsored report

Marc Jacobs collection – all photos Firstview.com

Word is that Marc Jacobs’ show, which was called for 8 pm at The N.Y. State Armory on 25th street and Lexington Avenue , was really supposed to start at 7:45 but alas, it began precisely at 8 pm and it was over at 8:10! (Funny, since the heavens literally opened up a few hours prior and I assumed that would make for a late show start!) In fact, when the announcement came over a loud speaker that the show would begin in “one minute”, it did, and the models began walking out, with Vivaldi’s The Four Seasons playing in the background, even as members of the audience were still getting into their seats (all but colliding into few of them). Gone are the days of the two hour late shows and gone are the 9 rows of bleachers (where basically nobody after about row 4 could possible see anything below the knee). There were only 4 rows, which allowed everyone a good view, and the models walked out of a set (in groups of 6) that was situated in the center of the stage, so I suppose you could call it, Theatre in the Round.

It was telling that the show began with evening (long chiffon evening dresses in shades of pink to be exact, followed by evening jumpsuits and peasant blouses), because it was all about eve, or should I say, ‘Yves’. Indeed it was a very dressed up, grown up, sophisticated collection where evening wear completely outnumbered daywear, (the latter came by way of beautifully cut heavy cotton belted 4 pocketed jackets, short coats paired with full pants, cropped or long, several dresses, and knitwear); there was no ‘casual’ sportswear. And yes, full cut trousers have seen all over the runways, and Marc’s ‘endorsement’ has solidified them as a major trend this season.

The models’ hair was long and frizzed and many had large flowers and feathers in their hair, or around their necks. The eyes were smoky and their lips were red. It was impossible not to immediately notice the overtly YSL, 70’s references: the clashing colors (lots of pink, red, purple); the one shouldered tops and peasant blouses; the jumpsuits; the use of chiffon, satin, gold, transparency; the wide legged trousers and pantsuits; voluminous shapes; the shoes (high heeled metallic sandals or espadrille – like shoes on a low bejeweled platform which are sure to be the ‘it’ shoe this season. But I also saw touches of Missoni and even Sonia Rykiel (in the striped and patterned sweaters and knitwear ensembles). Apparently, this is not coincidental since Marc admitted the collection was all about those things that made him “fall in love with fashion” in the first place.

Unfortunately, it was impossible to take any kind of intelligible notes or even get a good look at the clothes because the models came out at breakneck speed and there was no run of show offering descriptions or fabrication of the clothes. However, at every seat, there was a white shopping bag which contained a bottle of Marc’s new fragrance for men, ‘Bang’, and a plastic pouch with the word, BANG in large letters, which contained a gray cotton t-shirt with a picture of Marc naked, holding a bottle of his fragrance between his legs, and seemingly in a state of (well, I won’t say what).

Carolina’s ‘gift’ of the Mikado

Carolina Herrera collection – photos Firstview.com

It should have been a quick giveaway upon opening the Carolina Herrera program prior to her 10 AM show at Lincoln Center this morning (printed with an assortment of colorful flowers) that the runway would be replete with floral patterns and prints. Indeed, that was the case, but hers took an Oriental slant since she stated that in addition to the colors, prints, and floral appliqués taken from botanical plates collected in the 18th century, her other point of reference was the “traditional clothes from Korea”. That would explain the wide brimmed tall lacquered straw hats normally worn by men in that culture, which were perched on the heads of many of her models (Carolina’s hats are once again by Albertus Swanepoel). It would also explain all the Oriental embroidery, lotus blossom and white blossom prints, Korean boleros, Korean cocoon shaped shifts, Korean top stitching, and a good deal of Oriental blue, hibiscus and lacquer red throughout.

The collection might have come off looking overly costumey, but it was nicely done and often quite beautiful. There were of course, the requisite fitted cocktail dresses and very grand ballgowns one comes to expect from Ms. Herrera, but the pieces that stood out for me were actually the white shirts which were shown in a variety of incarnations and fabrications and paired with knee length pencil skirts or full legged trousers (hers were so wide they almost resembled a ball skirt). Actually, this should not be surprising since Carolina’s ‘uniform’ has always consisted of a beautiful white blouse or crisp white shirt (which she routinely pairs with everything from slim pencil skirts and well cut trousers, to floor length ball skirts and when she took her bow after the show, she was wearing a white shirt with gray trousers. Several that stood out where the Jasmine white cotton pico edged sleeve shirt worn with a black daisy faille knee length skirt with foldover waist; the Jasmine white cotton Korean bow blouse paired with black wool twill single fold pants, and the Jasmine white double fold cotton blouse paired with the ultra wide black sesame wool twill aikido pants.

Yeohlee’s ‘Comfort’ Zone


Photos: Dan Lecca

For spring, Yeohlee cited inspired by ‘energy’ and ‘sound’ (which as Yeohlee’s program notes mentioned, are also invisible), as well as Cutter ants (and the spaces they occupy in a world “envisioned by Lebbeus Woods”). The 20 piece collection (shown in a fabulous terraced penthouse apartment on Central Park South, with magnificent views facing north over Central Park and the entire city, it seemed), was also a study in wearable clothes and comfort as much as it was about great ideas and well thought out and highly conceived design, which is always a Yeohlee signature. The use of sporty Bensimon shoes (a very chic sneaker), with every outfit, summed it up as the models jaunted out looking smart, chic, and above all, comfortable.

And yes, there was more than a touch of athleticism in much of what was presented. It was all short (meaning, above the knee), and shorts were used as part of a suit (they were shown under jackets and coats in fact). Several of my favorite looks were the coffee UT cotton Y dart jacket and crescent shorts, and the red and ivory tiny pincheck cotton coat with matching walking shorts. And in a season of crochet and open work, Yeohlee’s ivory hand crochet silk top with seersucker semi circle skirt/short, and her black knit cotton/hemp/metal lace tank worn with a black and white rick rack cotton knit cylinder skirt, definitely stood out.

-Marilyn Kirschner

SHOP!

The Natori company’s fun, contemporary brand, Josie by Natori, now has its own dedicated website. It will become your favorite destination to find fresh new styles of bras, panties, and sleepwear. You can also shop the Natori collection simultaneously and check out of both sites at the same time. Receive a $10.00 iTunes gift card with your first purchase during the month of September.

josiebyNatori.com

-Rhonda Erb

The post That’s 70’s Show appeared first on lookonline.

Let’s try this again…Woops! Well of course, the title yesterday should have been, “I (don’t) feel bad about my neck”, not “I (don’t) feel back about my neck”….what can I say? In my haste to send out the story, rushing out to the morning’s shows, I somehow overlook the glaring typo. – Marilyn

I am a big fan of Michael Kors. I always look forward to his collections since he is one designer with a consistent vision and great taste. And his clothes are not hard to wear for women who don’t look like Elle McPhearson or Gisele. In other words, the proportions and lengths are generally well suited for your average woman; a woman who wants to look great but not like a fashion victim. While he delivered some nice classic pieces and desirable items, as always, I’m sorry to say his spring collection, presented yesterday morning, was not one of his stronger shows. It just fell a bit flat, especially when you consider his blockbuster fall 2009 line, with its strong message and even stronger visual images. Spring simply ‘paled’ by comparison (pun intended).

The program notes said that the message of spring is “urban renewal…sleek architectural shapes…utilitarian luxury…splatter prints, etc”. But instead of East Coast, urbane chic, and a look that was ‘very New York’, much of the line smacked of the West Coast and was ‘Very Hollywood’. Oh gee isn’t that funny? Michael’s new fragrance is called ‘Very Hollywood’ and its elegant bottle, packaged in a chicly square coral and gold box and sitting inside its own mini shopping bag, was on the (white covered) seat of each show attendee. At least Michael was classy enough to put the gift on every seat, including those up in the bleachers.

How insulting it is, for a gift to be made visibly available to only the front row? This is exactly what happened later in the afternoon at Alexandre Herchcovits. And what a pity, because the chic and sturdy wood handled umbrellas, which were lined up in a rainbow of colors to mimic the rainbow hued, bold and graphic theme of the collection, was one of the more practical and desirable gifts given out this season. Especially since rain was threatening all day and rain was predicted for the last day of Fashion Week as well).

Getting back to Michael, the splatter prints sounded better than they were, the group of black stretch crepe dresses with their open cage work and transparent insets, looked too forced and contrived, and the use of one sleeved tops, often looked awkward. And when I read the run of show and saw the words ‘trompe l’oeil – it put me in a good mood. As an admirer of Roberta di Camerino and Elsa Schiaparelli, both of whom have dabbled quite a bit in trompe l’oeil, I have always loved its whimsy. And wouldn’t you know it, at that same moment, I saw Robert Verdi walk to his seat wearing a trompe l’oeil sweater that could be seen from rows away. But Michael’s black merino trompe l’oeil cardigan was not exceptional. You had to really look hard to see there was any trompe l’oeil in the silver and black paillette trompe l’oeil shifts that ended the show.

FYI, one of the best examples of trompe l’oeil I’ve seen in a long time, was the sweater (designer unknown) worn by Lizzie Tisch at last week’s Couture Council luncheon, honoring Dries Van Noten. Knitted on the front, was a larger than life facsimile of a huge, statement making necklace. What made this so much fun, is the way it mimicked what turned out to be one of the biggest trends (on, and especially off, the runway) this season.

That said, the white glove leather zipper shift was clean and modern; the strong modified pagoda shoulder, (especially when translated into a white stretch cotton suit) made a statement without looking like a dangerous weapon (Michael’s tailoring is also great); the coats were standout as usual including a perfect white bonded faille reefer coat with a trench back, and the ink blot cotton broadcloth pea coat and matching Bermudas, which was an interesting take on a classic. The mint crinkle cashmere oversized cardigan and ombred thistle tissue mohair tank, sea foam tissue mohair pullover, and watercolor shantung shorts looked fresh; the draped jersey dresses, one in thistle and the other, an asymmetrical white version to the knee, were great; and his graphically cut out swimsuits always make an impact (just be sure you have the body to carry them off).

Yes, Yes, Nanette!

Nanette Lepore is on a mission to save the garment center. She not only wrote an Op-Ed in The New York Times along with her husband Robert Savage, “The Fabric of New York”, which appeared on Monday, September 7th, but had time to put the finishing touches on her well done, lighthearted 28 piece spring collection which was shown yesterday. (Included in her run of show, was a copy of the editorial and a bumper sticker: “Save the Garment Center”).

The overall message of the collection was its endorsement of color and prints, (notably florals and multi colored stripes which were often mixed together or juxtaposed against items normally considered to be utilitarian and military staples like the trench, the army fatigue pant, the drawstring short, the parka), and the use of knitwear. It was point/counterpoint (the idea of hard and soft, sweet and functional, girlie and masculine, street and evening). Best pieces were the short watercolor floral wrap dress and striped top; the olive utility trench jacket worn with a striped top and wildflower pants; the floral jacket, striped sweater, and raindrop printed shorts; the multi colored striped knee length cardigan worn over a shorter raindrop printed dress; and the midcalf khaki trench coat dress worn over a striped knit.

Phillip’s ‘Mac’ Attack

Phillip Lim’s clothes resemble nobody else’s. The young designer has a wonderful vision, a great sense of color and proportion, and his clothes have that rare combination of youth, modernity, personality, and sophistication. There is never anything vulgar or insulting about his designs.

Among those things he has become known for in a rather short time, are his inventive mixes, his beautiful fabrics, and his love affair with military inspired outerwear (trenches and Macs). The spring show which followed Oscar de la Renta’s double header, began with a grouping in lacquer red (almost head to toe), went on to grey mélange cashmere knits, and continued into tan and camel (here come the trenches and Macs, which were sometimes cropped of abbreviated). His pants and cuffed shorts are always beautifully cut and his offhanded combinations, taking classic shapes and wardrobe staples and putting them together in surprising combinations, are interesting. But for me, it was the beautifully done group of organza knee length, accordion pleated dresses at the end, (especially the sculptural, collaged, and appliqué numbers, some with abstract cubist detail) that stole the show.

‘Marc’ my Words

FYI, I am so bored with that aggressive and ubiquitous ‘bridge and tunnel’ look which is visible all over town and in and around the Bryant Park tents: the skintight low rise jeans, the skimpy tops, the tacky hooker like high heels, etc. This is another reason I think the adulation surrounding Marc Jacobs is not underrated. Regardless of what you think of all his designs, there is always symbolism within a collection and what Marc’s collection pointed to was a return to the chic and feminine, a move away from the tough, aggressive look that has pervaded fashion, a call to dress up and have fun again, a re-evaluation of a longer length, and a signal that the heavy, clunky ‘orthopedic’ looking shoe which nobody can seem to walk in is over (I loved that Marc showed a decidedly innocent, practically flat, delicate, t strap shoe). I have spotted so many girls and older women literally having to lean on someone in order to navigate the streets in their ridiculously high heeled shoes. One editor-in-chief (I won’t say who), was seen leaving Donna Karan literally holding on to her associates in order to get to her car. Would you please explain what the appeal is of footwear that not only looks horrible, but is impossible to walk in, and makes the wearer have to literally hunch over?

-Marilyn Kirschner

In the Center Ring: Anna Sui

How apropos that Anna Sui’s Spring 2010 presentation would have a circus theme. The spectacle that is Mercedes Benz Fashion Week is, after all, held in an enormous tent. On Wednesday night, Ms. Sui entertained an audience that included celebrities like Whitney Port with what was undoubtedly one of the greatest shows of the season.

Only Ms. Sui could concoct a mixture of prints, plaids, dots and stripes and have it turn out to be such a sheer delight. Her collection was playful and flirty, and every ensemble was a study in unexpected contrasts.

The models strolled the runway to a soundtrack inspired by traditional circus music and a big top backdrop completed the theme. Ms. Sui showed a black capelet with an orchid print dress, a preppy purple cable knit sweater with a lilac floral crinkle chiffon blouse and liberty print skirt, and a foulard print dots and daisies dress with a circus striped sweater in black and cream. Her dresses in sunflower and marigold prints were particularly appealing, and the mix of a voodoo beaded jacket, royal paillette embroidered dress and denim short was a clear stand out. Accessories included majorette hats, oversize bags, and gladiator sandals.

Ms. Sui recently collaborated with Target on a successful collection inspired by Gossip Girl and received a CFDA Lifetime Achievement Award in June. Judging from the reception that her show received from the crowd on Wednesday night, it is clear that many will be running off to join Anna Sui’s circus.

-Rhonda Erb

“The Daily Bet” by Rhonda Erb

Casio Watch

This bright yellow Baby-G from Casio is definitely the “It” watch of the season. It’s been seen everywhere this week on the wrists of celebrities and fashionistas alike. You say yellow is not your color? This stylish watch is also available in black, red and white.

Casio Baby-G Watch
(BG5602-9)

http://www.casio.com/

Casio Digital Camera

The Casio EX-S5 is the perfect little camera for snapping shots from the front row. It has 10.1 mega pixels and a 2.7” LCD monitor. The camera is small enough to fit into the tiniest handbag and its two-tone body comes in four great colors.

Casio EX-S5 Digital Camera

http://www.exilim.casio.com/

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