Global Warming? What Global Warming?

Michael Kors Fall 2012 Collection All photos: firstView.com

I would say that Michael Kors (and company) will be praying for a reversal of what seems an unavoidable trend towards global warming, and hoping against hope that the winter of 2012 will be a cold one, based on the collection he presented yesterday morning. Called “Rugged Elegance” (nobody does “Town & Country” as well as MK), the run of show promised cozy textures, gutsy knits and furs, sleek leathers, bold plaids, buffalo checks, graphic stripes, checks, easy blanket coats, ponchos, and warm tones of saddle, chocolate , and camel. In other words, vintage Michael.

Quite frankly, Michael is really one of the few designers whose collection really looked like autumn/winter; whose clothes reflect the lives of smart, chic, busy woman on the go  — as opposed to being dreamlike precious designs fit for a princess with a car and driver at her disposal. On many other runways this past week, I felt like I was looking at a pre fall collection (or maybe even a spring collection) because of the rather flat, almost one dimensional fabrics that read ‘seasonless’. Not at Michael, and it was refreshing to see.

Shrunken, skimpy, and fitted goes only so far and there is an enormous appeal to be found in the roomy, generous, elongated, and apologetically over sized. Of course, Michael’s models can carry anything off, but this is not true for the rest of us. Almost everything seemed wonderfully exaggerated, including the over scaled bags and hats made of fur. Speaking of furs, Michael was also one of the few designers who actually sent out full blown fur coats and didn’t just use furs sparingly as trims. His were in your face fluffy pelts (not thin ones like broad tail which resemble fabric): coyote, fox, and Mongolian lamb. The only downside to all this is, if the wearer does not die of heat exhaustion, should the weather be balmy, then PETA will eventually get her. In any case, it all looked luxurious and appealing, down to the chunky heeled boots, sandals, and t straps, that seemed perfect for pounding the pavement.

Of course, thankfully not everything was heavy, overly warm, and fuzzy. There were sleek black glove leathers – a narrow sleeveless dress trimmed with black lace, a short sleeved collarless blouse, and a belted trench with a black fox cape stood out; there was Melton, wool jersey, stretch flannel, cashmere, and an ivory/black herringbone mohair that formed the basis for fitted two piece suits that would be perfect for the workplace. Coats of course, were all covetable, many had luxurious fur collars, and were show for day and night. And then there were the evening dresses and gowns: art deco 20’s inspired mid calf dresses in gold and black paillette, and floor length paillette and crystal beaded stretch jersey halter, goddess, and turtleneck gowns closed the show.

-Marilyn Kirschner
(Correction: Yesterday we mistakenly used an Alexander Wang photo for one that was supposed to be the lead photo for Vera Wang. We regret the error.)

Better Bets by Rhonda Erb

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

Chado Ralph Rucci Spring 2012 Collection

Ralph had a few surprises up his beautifully sculpted sleeves this season. He left his Soho atelier, came uptown to Lincoln Center for the first time since it has been the venue for New York Fashion Week, and presented his spring collection. It was also his first midday show in memory (his usual time slot had been 7PM or 8 PM).

Chado Ralph Rucci Spring 2012 Collection Photo: Style.com

RR is in a class by himself and has always gone his own way; so it was hardly surprising that, in a season filled with so much color, so many dizzying prints and patterns, his palette was whittled down to black, white, silver, oyster, and nude with a few hits of wisteria and yellow (which he referred to as latex). The best pieces were really the most reserved and pared down in both shape and detail, and what stood out was the grouping in white wool and white matelasse with tulle or satin inserts which had the effect of cleansing the palette. His only print, an abstract in white, gray, and black, showed up only twice.

Chado Ralph Rucci Spring 2012 Collection Photo: Ernest Schmatolla

And then there was the use of plastic (I kept thinking of that famous line from ‘The Graduate’, when one of Ben’s well meaning family friends takes him aside to give him some advice; he said “I have only one word Ben, “Plastics”!) Clear plastic was used throughout, resulting in a space age, futuristic effect. There was a white faille dress, a white ultra suede coat, an oyster gros de longre raincoat, and a nude faille coat, all with clear plastic insets; a clear plastic trench coat was shown over a silver paillette pants ensemble, and clear plastic was used as cuffs encircling the models’ wrists. Peplums have been spotted all over, but Ralph found another way to add interest to the waist and hips:with an ‘apron’ (his was in white satin and shown over a white caviar beaded shell and pants).

Chado Ralph Rucci Spring 2012 Collection Photo: Style.com

But perhaps the best surprise was the duo of elongated dresses that looked plain, rather severe and covered up in front, but when you saw the back, it was a different story (the surprise of a paillette ‘tube’ ). The black matte jersey gown with nude paillette tube and the white wool version, with its cerise paillette tube, both drew a round of appeciative round of applause. Another crowd pleaser was the short white beaded fringe dress, which had such wonderful movement, I would think it to be the ultimate dance dress. (FYI, Ralph dedicated the spring show to the memory of Mrs Casey Ribicoff, a friend and a longtime client who epitomized chic and who passed away last month).

Michael’s Desert Storm

Michael Kors Spring 2012 Collection Photos: firstView.com

Included in Michael Kors’ run of show at yesterday morning’s presentation, was a bio which opened with this quote, “From the very beginning, I was convinced you could be sexy and sporty at the same time”, Women’s Wear Daily, March 2011, (on the occasion of his company’s 30th anniversary). As if we really needed to be reminded (at a time when everyone else seems to be referencing sports) that Michael has been championing luxury sportswear, making it look effortlessly chic and sexy, since the company’s very inception. A luxe sportif feeling has been the thread throughout his collections, and it has defined his aesthetic, regardless of what the overall theme of the line might be, from one season to the next.

Michael Kors Spring 2012 Collection

Michael has been inspired by everyone from Ali MacGraw to Jacqueline Kennedy. He has visited Palm Beach, Palm Springs, Aspen, and Capri, among other places. He has been consistent (and has remained true to himself) whether proposing a polished wardrobe in urbane black and white, or endorsing off the charts, high octane acid brights. But somehow, one gets the feeling that Michael is in his element, at his most convincingly best, when he is on neutral territory, working within a range of his beloved desert shades; perfecting his signature trenches, safari jackets, ponchos, anoraks, capes, caftans; offering up his fantastic knits, rugged boots and belts, and doing it in eased up, elongated proportions..

Michael Kors Spring 2012 Collection

Such was the case yesterday with his ‘Now Voyager’ collection, inspired by a recent trip to the Lebombo Lodge in Africa. By the way, when I was going through the list of recurring themes from the runways the other day, I left out a big one: “Out of Africa”, and that was the major connective thread that ran throughout Michael’s fabulous morning show. I loved when Michael did prints. Always in keeping with the mood, they were based on nature – culled from the animal kingdom: zebra stripes, leopard spots, antelope markings and snakeskin. The hands down best was the trench coat covered in antelope markings closely resembling a graphic check.

Michael Kors Spring 2012 Collection

The models as usual, looked enviably gorgeous, tanned, and fit, with their hair pulled back in long thick braids, sauntering down the runway to the tune of Adele’s thumping “Rolling in the Deep”, and they couldn’t have looked any more comfortable thanks to their gutsy flat sandals which laced up the legs, and were finished off with buckles. The show ended with Michael taking his bow to Willie Nelson’s “On the road Again”; but wherever Michael’s travels take him, (and I guess, eventually take us), the one thing that won’t change: his consistent aesthetic.

 Ronaldus Shamask Returns to the Runway

Shamask Spring 2012 Collection Photos: Courtesy Shamask

Speaking of nice surprises, I was Ron Shamask’s editor when I was at Harper’s Bazaar in the 80’s, and when I think of him, in addition to being a genuinely nice guy and a true talent, I think of his minimalistic, architectural designs, zippers, and the colors black, white, and gray (at the time, he was considered to be fashion’s reigning ‘monk’). Ron has not exactly been in hiding, he has a thriving business with sales totally approximately $7 million a year, a loyal clientele, and his collections are sold at stores like Bergdorf Goodman, Neiman Marcus, Barneys, etc..

Shamask Spring 2012 Collection

But his show yesterday afternoon at Lincoln Center, marked the first time he has shown in conjunction with New York Fashion Week in quite some time (ten years to be exact). And his 54 piece collection for men and women, was quite a nice surprise. While black and white were hardly in short supply –notable were the black and white pleated dresses, a textural off the shoulder quilted gauze long dress in black, and a black leather long shift with infinity zipper), there was a lot of strong exuberant color throughout, and it was hardly gratuitous. It looked good and it looked convincing, and jelled perfectly with the youthful, sporty, modern vibe. The footwear of choice was a flat thong with a white sole (the colors on top varied with the clothes they were shown with).

Standouts were the “Desert Zen Spa” group, comprised of tunics, dresses, and gowns in desert tan dipped in gold hues; the terrific ecru knits shown in eased up proportions; a red double face wool carcoat shown over a lemon chiffon top and silk taffeta shorts; and what he referred to as “Piet Mondrian doing Superman”. The finale featured a black dress in leather, suede, and chiffon, with graphic splashes of cobalt blue, red, and yellow.

If I had one criticism, it was the music, which I found to be rather distracting if not annoying.

– Marilyn Kirschner

The Daily Bet by Rhonda Erb

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The post Surprise! appeared first on lookonline.

You Don’t Look a Year Over 29!

Michael Kors Fall 2011 Collection (All Photos: Firstview.com)

I almost cannot remember back 30 years, when, as young fashion editor at Harper’s Bazaar, I first walked into Michael Kors’s garment center showroom. And while I certainly do recall that ill fated event years later, when, during the course of a formal runway show in a raw loft space, part of a ceiling fell on Suzy Menkes’ head, serving as a catalyst for what how has become a far more organized, centralized, and safe New York Fashion Week . Although, quite frankly, that one is hard to forget and I’m still convinced years later, that Ms. Menkes was spared serious injury thanks to her signature pompadour, acting as a buffer.

What I can recall, is how I felt when I first laid eyes on Michael Kors’s fabulously chic American sportswear classics; the way each piece was such a perfection of what it was meant to be, and how it symbolized the best in American sportswear. And now, 30 years later, that has not changed. Michael is arguably one of the most consistent designers in the world and that was the clear message on the runway at Lincoln Center yesterday, where the milestone celebration/fashion show, ‘30 years of American Luxury’, was staged before a huge and appreciate crowd. Unsurprisigingly, it was pure Michael throughout the 64 pieces shown for men and women and played out in a signature, beloved color palette — crisp black and white; crimson, platinum, smoke, and a range of make up in perfect flesh tones: blush, nude, and suntan (I was looking over at Aerin Lauder thinking she must be glad to see them as they would be perfect for her Estee Lauder ads).

The way in which day and evening were completely mixed together was very effective, with everything coming out at breakneck speed: cashgora bathrobe coats, felted flannel great coats, stretch cashmere jumpsuits, cashmere sweater dresses, sparkling crystal jersey dresses and jumpsuits, felted flannel reefers, felted flannel blazers, white silk charmeuse bodyshirts, knitted fox capes and coats, fox chubbies, double face tunics over trousers, jersey blouson dresses and halters, melton capes, etc. The strong message that resonated is that it all works, there’s a time and place for everything, and what looks good, always looks good. Yes, sharp tailoring is back, but so is languid jersey (did they ever go away?); the haberdashery menswear inspired great coat worn with a trouser pant has never looked better, nor has the crisp white shirt, or the dramatic cape and toga. Camel never loses its appeal nor does classic luxury (if you wanted to trade in your well worn camel hair coat for something a bit more luxe this season, how about that suntan colored belted alligator jacket?)

The accessories were minimal, in keeping with the pared down aesthetic of the clothes. While I’m a gold girl myself, I have to admit that silver does look clean and ultra modern and Michael was wise to go that route. It was very effective the way Michael used wide silver chokers and ultra wide silver cuffs, with the most menswear inspired outfits, quickly imparting a glamorous, ultra feminine feeling. Even the soles and chunky high heels on his sandals shoes and boots benefited from the use of gleaming silver. When Michael came out on the runway, Odyssey’s iconic anthem, “I’m a native New Yorker” played in the background. It was then that I understood why Anna Della Russo, seated in the front row, was wearing a gilt headpiece with what looked like two enormous apples (Get it? The Big Apple and New York?) I thought it was her way to celebrating being here. But when I saw her later, I realized it was two enormous cherries. Go figure.

By the way, in addition to the run of show, every seat had a handsome black leather case holding a pair of Michael Kors’s signature aviator sunglasses. How perfect since it was a sunny bright winter day.

Oscar’s Ottoman Empire

Oscar de la Renta Fall 2011 Collection (All Photos: Firstview.com)

I don’t think there could be anything less minimal, than the collection shown by Oscar de la Renta yesterday afternoon at 583 Park Avenue. Ornate, colorful, exotic, and luxurious, with mind boggling fabric techniques, textures, and combinations, it was hard to tell which part was daytime because it was all so over the top. Prints and patterns were often mixed together; there was an abundance of furs and the use of exotic pelts, often mixed together, fur trimmed hoods, and lavish fur trims, There was ivory chenille and gold metallic threadwork, crewel threadwork, silver metallic leather and silver metallic foil, metallic Ottoman jacquards, beaded tassels, bugle beads, and it appeared that everything in the 60 piece collection, was embroidered. There was Moroccan Beni embroidery, patchwork embroidery, gold bouillon Bukhara embroidery, floral paillette embroidery, multi color and grid sequin embroidery, and embroidered multi color abstract paisley print velvets. Often times, all the above were used in one outfit (I’m just kidding of course, but I’m not too far off the truth).

Instead of Cristobal Balenciaga and his beloved Spain, it seems as though Oscar had more exotic locales in mind when he conceived the collection, (hardly new territory for the designer who is known for his love of exotica), and it showed up from beginning to end. For example, a black and white patterned jacket with tweed trim, was made of sequin embroidered silk organza, and shown with a dress the top of which was crystal embroidered wool crepe with a feather and Mongolian lamb skirt; another heavily embroidered jacket was worn with an abbreviated red fox skirt; an ivory and black sequined grid embroidered charcoal mélange jersey jacket with tweed trim, was paired with an ivory gazar dress with ivory and black sequin grid embroidered charcoal mélange jersey skirt. A chic, rather simplified yet graphic sleeveless shift was hand painted and sequin grid embroidered. And speaking of simple yet not, in a sea of colorful long gowns, there were two that really stood out: a multi colored madras print silk chiffon gown, and a very narrow strapless gown comprised of multi color sequin embroidered patchwork and paisley print.

But hands down, the real standouts, were the eye-catching coats, which appeared throughout in dizzying combinations, many of which were patterned, fur trimmed, and embroidered, and accessorized with ottoman jacquard fox brimmed Louz hats, massive coin or crystal necklaces, and black leather boots with metal heels. In one case, a frothy silver lame mousseline and pearl embroidered silk chiffon gown with tulle skirt, was shown beneath a black crewel threadwork Moroccan Beni embroidered ivory shearling coat.

Forget about the grunge look, or the looking ‘poor’ on purpose look. This collection was all about being rich and looking rich. Oscar doesn’t show on Park Avenue for nothing.

A Match Made in Heaven

On Wednesday morning, I attended an informal showing of design collaboration between Derek Lam + Ebay held at Alice Tully Hall. Whoever thought of it had a brilliant idea. Out of the 16 dresses which were shown on live models (iconic dress styles ranging from a black cotton shift dress to an elongated crisp white cotton poplin shirtdress) 5 of them (voted on by whomever wants to do so: http://www.dereklam.ebay.com/ ) will be available to purchase on Ebay on March 1, when the choices will be made public. The popular price points, $125 – $295, a fraction of the cost of anything on Derek Lam’s collection, should be a big selling point. By the way, I had a chance to chat with the designer and I asked if he had a favorite but he did not say. I then asked if he could vote and he said, “Yes.” When I told him I “live” on EBay, he said, “So do I”. Hmmmm, I started wondering what fabulous finds have served as inspiration for his most recent collection.

– Marilyn Kirschner

The Daily Bet by Rhonda Erb

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Nobody does sporty chic, quite like Michael Kors and the collection he showed yesterday, filled with luxurious takes on “quintessentially American wardrobe staples” was “all about ease” (as described it in his run of show). The 64 pieces (both women’s wear and menswear and there were plenty of things for the guys that I wouldn’t mind having), played out in a chic neutral color palette consisting of camel (camel and more camel), smoke, anthracite, gunmetal, and of course, black and white. It was choc a block with great pieces and desirous wardrobe staples (great cashmere sweaters, sumptuous cross fox furs and fur accessories (flings, anorak coats, even a skirt), sporty anoraks, balmacaans, military coats, chesterfields, reefers, pea jackets, metallic tweeds, perfect trouser suits, silver cire storm coats, draped jersey and paillette jersey dresses). Every length and every proportion was shown and Michael seemed intent on infusing his signature, iconic pieces with an updated sexier edge.

To that end, ruggedly sexy boots or brown leather sandals (both on platforms) were used, and the body was visible even beneath the most oversized furs or classic of menswear inspired coats, thanks to the use of deep v neck cashmere sweaters or almost see thru mohair voile pullovers. Notable examples are the white Melton chesterfield shown over a white cashmere v neck pullover and a floor length white cashmere skirt, and the camel crushed cashmere pea coat worn with a smoke mohair voile pullover and smoke stretch flannel trouser. (Both of which, in addition to many other items in the collection, I could easily envision on Melania Trump- who was seated next to The Donald in the front row) Michael experimented with fabrics and surface textures by crushing and crinkling cashmere (giving his stellar outwear a somewhat lived in, wrinkly look), he also used distressed leather, and slashed (or slit) the elbows of some of his chesterfields, making them look as though they were ripped or torn but in fact, he was allowing for the narrowest of sleeves.

Coincidentally, when I left Michael’s show, I noticed that my vintage mink bolero had rips and tears on two sides. Instead of panicking or looking for a safety pin to temporarily patch it up, I thought of Michael and simply decided to go with the flow and let it ‘rip’.

Tory! Tory! Tory!

The many reasons for Tory Burch’s amazing success were very much apparent at her morning fall 2010 installation held at the Bryant Park tents. Even though it was very early, the venue was jam packed, filled with energy, not to mention the signature clothing, handbags, boots, accessories that now bear the name of Tory Burch. It looked fresh, modern, youthful, and appealing and was all about great, accessible, well priced wardrobe must haves. There were great coats, jackets, tweeds (many of them shot with lurex). Abstract painterly prints broke up the solid colors, and there was very little black but when it was used, it was highly effective. (such as the black t shirt with long sleeves shot with lurex, shown with pants tucked sportily into boots and accessorized with a black hood and leather envelope clutch adorned with gold nail heads (it shouldn’t be surprising to hear that Tory’s bags, which have been successful hits since the get go, were all standouts at yesterday’s lineup yesterday).

There was also a cropped black Mongolian lamb jacket paired with camel pants. The grouping in camel was especially strong, including a chic knee length coat thrown over a silvery tweed dress or the camel hand knit sleeveless sweater and matching knitted cap, paired with orange pants and accessorized with the crepe soled luggage suede high heeled lace up booties that were used throughout (and are destined to become best sellers next fall). I’ve always thought nothing looks as good with camel as orange by the way, and since orange is known to be Tory’s favorite color (and her signature), it’s not surprising that she has perfected a particular orangey/red shade which showed up in several other places. There was even an orange sweater and skirt ensemble (further accessorized with orange tights), that might have looked perfectly elsewhere but at TB, it looked chic as hell. Other notable outfits: the blue tie dyed mohair coat showed with cobalt leggings and the army green utility anorak thrown over a dress and tights in a matching abstract Jackson Pollack- worthy print.

FYI, I have known Tory since my Harper’s Bazaar days (I was the senior market editor way back when she was an assistant). I’ll be the first to admit that when I first heard years ago, that she was starting her own line, I, like many others, was skeptical and thought that this was just another attractive, chic, well connected socialite with extra time on her hands, putting her name on a clothing line. And I had my doubts that this would really take off the ground in any big way. Boy, us doubters were we all proved wrong. It became very apparent very fast, that she had a major success on her hands and all I can say is it is well deserved…she is not only talented, with a fabulously chic taste level, and highly focused, but she is sweet and nice, doesn’t take her success for granted, and does she let it go to her head (What an unusual combination!) Congratulations Tory!

Out on a ‘Lim’

I’m a fan of the young and talented Phillip Lim and have come to appreciate his inventive way with classic wardrobe staples, his melding of seemingly disparate influences, wonderful offbeat mixes and contrasts, and his ability to infuse many different elements into a collection. Phillip Lim described his inspiration for fall as a woman “boiling with youthful revolt but distinguished by unexpectedly classic style” who has said “goodbye to too much glitter and too much skin and is looking for something more polished and streamlined”. Working in a neutral color palette (the color palette of the season): camel, ecru, grey, charcoal, hunter green, amber, buff, and black, there were suspender skirts, airy mohair pullovers, silk crepe tuxedo blouses and one great gold tweed tuxedo pantsuit, and a group of electric purple paves sequined dresses with asymmetrical hems.

But as usual, the emphasis was on Phillip’s stellar outerwear, especially outerwear with more volume than we’ve seen in awhile, from pieced lambskin and shearling coat, grey merino wool oversized ponchos with side lacing, and camel double face coats to voluminous cape coats in outsized checks, some of which were binded in leather, a la Bonnie Cashin. Is it my imagination, or was the late Bonnie Cashin, who I’m also a huge fan of, having collected some of her great coats through the years, somewhat of an inspiration?

-Marilyn Kirschner

“A Rising Star”

This year’s winner of the Fashion Group International’s coveted Rising Star Award for womenswear, Peter Hidalgo, showed his Fall 2010 collection at FGI’s venue yesterday. The presentation was a chic and concise display of body conscious silhouettes and clever draping that portrayed a distinct point of view. Hidalgo’s dimensional creations are intricate, but not overdesigned. The Dominican born designer apprenticed under the famous fashion illustrator, Antonio Lopez. “I was more of an illustrator before, but now I drape everything. I need to see how the fabric is going to fall, how it reacts,” Hidalgo said. When I asked him about the technique behind his black strapless “heart” dress Hidalgo explained, “I started with a v-neck and the pieces just fell down that way and created the shape.” The heart concept was manipulated in different ways throughout the collection showing up in neckline shape, draped folds and as a beaded appliqué. The underappreciated designer has endured for nearly two decades in this difficult industry — perhaps the heart shape was a symbol of the dedicated Hildalgo’s passion for design.

-Stacy Lomman

Anna Sui’s Arts and Crafts Fare

The wonderful thing about Anna Sui is that her collections always focus on a theme. This season her Fall/Winter 2010 runway show, held in the Tent at Mercedes Benz Fashion Week, paid homage to the arts and crafts movement with a decidedly retro rock and roll edge. Appropriately, Peaches Geldoff, daughter of rock star Bob Geldoff, was seated front and center to observe the proceedings.

Sui mixed textures and patterns in layer upon layer to create looks that were homespun yet fresh and contemporary. There were jacquard knits, shearlings, silks and sequins in earthy tones like mushroom, rust, wine, cornflower and olive. Accessories included Adrienne Landau furs, James Coviello knit hats, and textured tights from the new Anna Sui Legwear Collection.

There are always ultra feminine looks in an Anna Sui collection and this one was no exception. The dusty blue/navy silk jacquard dress was particularly flattering as was the plum metallic velvet burnout dress. Other noteworthy looks included the short cocoa cardigan trimmed in velvet and paired with a metallic chiffon dress and a navy knit jumper over a print dress made of bamboo twill.

Sui saved her best for last, closing the show with vintage inspired dresses crafted of antique ivory lace and velvet that were exceptionally beautiful.

-Rhonda Erb

And Now For Something Completely Different: Douglas Hannant Rocks the Kaye Playhouse

Last season Douglas Hannant debuted his Spring 2010 collection at New York’s Plaza Hotel to coincide with the opening of his flagship store in the city’s venerable landmark. The location was just a stone’s throw away from the homes of his loyal Upper East Side followers. This season the designer took his show right into their backyards. His Fall 2010 showing was held on Wednesday afternoon in the Kaye Playhouse, located right off Park Avenue.

The audience included the usual attendees like Cece Cord and Kimberly Guilfoyle, but everything else about the theatrical showing was decidedly unexpected. Using the artist Jean-Michel Basquit as his inspiration, Hannant decorated the stage with graffiti covered panels and the models walked to a hard driving 80’s rock soundtrack courtesy of DJ Russian Bear. Surely this was not the Douglas Hannant we have come to know.

Leave it to Hannant to mix conventional elements like houndstooth checks and tweeds with graffiti inspired prints. A body hugging chocolate brown tweed banded dress was shown with a teal fox fur jacket and a leopard beret complemented a velvet and tweed jacket and skirt ensemble. Hand painted prints decorated stove pipe jeans and a short skirt. The color palette included metallics in silver, gold, blue and green as well as bright red and violet.

Douglas Hannant may have strayed from his roots with his fall collection but he has not forgotten who his customer is. His tailoring always complements the body and his 80’s inspired looks were all completely wearable. As always, Hannant closed his show with his signature formal gowns. He managed to infuse elegance into his graffiti stylings with a full-skirted taffeta gown and an exquisite sequin column dress that would be a stand out in any collection.

– Rhonda Erb

The Daily Bet

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– Rhonda Erb

The post Tory! Tory! Tory! 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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