Youth is Wasted on the Young

Ralph Rucci Fall 2011 Collection (Photos: Zimbio.com)

I always look forward to seeing Ralph Rucci, but I have to admit that my interest and curiosity was peaked even more so this time after I read WWD’s weekend column asking designers “What were they thinking?” as far as their upcoming collections. Ralph Rucci’s answer was pared down to one word: “Youth”. Many words have been used to describe Chado Ralph Rucci (the designer and the label), but the word ‘youth’ has never exactly been one of them. And how ironic. Marc Jacobs went in a decidedly older, more grownup, and sophisticated direction this season, and RR is thinking ‘young’.

But in all fairness, it wasn’t that young. Nor should it be. Ralph’s customer is not teenage and that is not who he is going after. And anyway, ‘youth’ has more to do with a state of mind and spirit than chronological age. One look at the almost 90 year old iconic fashion star Iris Apfel, seated in the front row and looking ‘mahvelous’, confirms that truism. Having said that, as it turns out, the items that really stood out for me this time, just so happened to have a decidedly more youthful spirit as they were perhaps not as overworked as others.

The 61 piece Chado Ralph Rucci collection shown on the eve of Valentine’s Day, appropriately opened with head to toe red (and the shade also formed the finale). The eye-catching and crowd pleasing opening group consisted of a short red Mongolian lamb coat accessorized with a red scarf wrapped around the head, and ‘fierce’, tall red suede high heeled boots; a knee length red vinyl belted raincoat; a red wool jersey short dress with an open work trellis design; a red chinchilla tunic; and a red sable ski parka.

Standouts that followed (which could be considered ‘young’ in mood and spirit) include a tan ‘puffer’ coat with a Chinchilla vest, worn with tan trousers; a mod-ish white vinyl short coat with massive black fox cuffs; a white ultra suede tunic and floor length black velvet skirt; a white wool floor length coat and matching gown, both of which had sheer feathered hemlines; a short sleeved black wool challis dress that could be considered as a perfect LBD and a black wool and broadtail dress featuring a nude illusion halter neck top; a short black lace dress which was shown with a fitted black openwork spider web cardigan; a positively divine freshwater pearl twinset which was paired with a short, full satin skirt in ivory which was banded with a wide tomato red hem; and a short red embroidered chiffon and feathered dress, shown with sheer red long gloves.

A Chip off the old (color) block

Narciso Rodriquez Fall 2011 Collection (All Photos: Firstview.com)

Last night, American sportswear was alive and well and inhabiting Narciso Rodriguez’s runway at Lincoln Center! He managed to meld the world of art and fashion, bringing a new level to the idea of utilitarian fashion, and did it brilliantly and succinctly. It was strong and masterful in every way, including its conception and realization. I have always loved graphic art inspired patterns, and the strict, chic, timeless, seasonless, fail proof combination of black and white (which is a perfect foil for the use of other shades). And this was really the best of both worlds. Rendered in black and white, ivory, shades of gray, blues, red, pale lavender, the show reminded me of what, up until last night, had been my all-time favorite Narciso collection, shown several years back in February.

 Well edited, fast paced, and to the point, it spoke volumes about a strictly pared down vision predicated on menswear inspired coats in eased up proportions; they hit just above the knee to midcalf, elongated jackets both of which were collarless and stripped down of all superfluous decoration. Satin tops (many were color blocked giving them the look of a chic Jockey shirt), and elongated sleeveless or tank dresses some of which were graphically color blocked, covered with an abstract print by artist Iris Schomaker, and a few beauties had strips of sheer chiffon or chiffon overlays. The focus was on innovative fabrication (strips of cashmere or wool to create a contrast patterns, bias cut flannel, leatherized wool, laminated chiffon anybody?), expert tailoring, the play of masculine and feminine, soft and hard, and especially, the effective use of graphic color blocking was achieved in a number of ways using different color combinations.

For example, a collarless black wool coat with an ivory panel down the front, had black satin sleeves spliced with red, and was shown over black pants with ivory stripes down the side; an elongated black jacket banded in white was shown with white pants with black stripes down the side; a black coat with contrasting white panels was shown over white pants and a color blocked top in black, lavender, and navy; a black 7/8 coat which revealed red panels on the inside, was shown over a black satin top and a narrow lavender skirt (it was beautiful the way the coat was made so that it opens to reveal that flash of color); a jacket that was half red and half ivory, was paired with black pants. The models’ hair was slicked back into buns and the only accessory used was a pointy toed, pancake flat boot that hit mid knee.

The World ‘Accordion’ to Vera

Vera Wang Fall 2011 Collection (Photos: Firstview.com)

Vera Wang is one of the most consistent designers today, and she is also one of the few female designers who completely looks like their clothes; and visa versa. For her, it’s (very) personal. (I won’t name names but many if not most women designers would not be caught dead in a good deal of the ideas they send down the runway, and you know who they are). Not so with Vera, whose tightly honed personal aesthetic has also become the jumping off point for her collections.

One has come to expect the ‘mousey’ color palette with an emphasis on shades of gray, black, and brown; the mix of street wise and couture; the second skin leggings or skinny jeans; the grounded black leather platform ankle booties; the offhanded mixing of masculine and feminine, of day and night; the body conscious layering predicated on a perfect balance of urban grunge, athletic basics, and elements of utilitarian, played off touches of below the radar, subtle luxury. (No in your face, matronly bling, over the top excess, or fashion victim-y status symbols for this cool cat who, at 60 +, has an enviably athletic and lithe body thanks to years of ice skating).

A few days before her show, Vera jokingly told Vogue.com: “I think I now own a pleating company”. Duh! One need not be a rocket scientist to figure out that Vera is obsessed with pleats these days and they would show up throughout her upcoming runway show. And they did; no fewer than 5 different types in fact, including French Accordion, box pleats, and knife pleats.

Her fall collection, held yesterday at Lincoln Center, was not just tightly edited and whittled down to 36 pieces; it was also whittled down to basically one idea (pleats!) with variations on that theme playing out from start to finish. Thus, there were variations based on the cool and hip layering of a pleated skirt in wool or chiffon, over a skinny pant (in stretch wool flannel), shown beneath some sort of gusty, sporty, utilitarian, fur trimmed or (detachable) fur lined outer layer with an oversized collar (be it a cropped vest, a sleeveless jacket, a ‘boyfriend’ inspired blazer, or a ‘scuba coat’ in leather, mélange wool twill, or quilted satin).

When the pleats were not the foundation for layering, they were on their own, in the form of a one piece, multi pleated, chiffon dress. Standouts include an ivory cupro shift tank dress with French accordion pleats and stitching detail; a mustard chiffon sheer long sleeved pleated dress with a high gathered neck, a pebble chiffon multi pleated high neck long sleeved dress, a cardamom chiffon multi pleated racer back gown with a high low hem and pleated strap detail, and several versions in a flesh tones dusty pink.

-Marilyn Kirschner

The Daily Bet by Rhonda Erb

Nokia N8

Heads are sure to turn your way when you are using the new Nokia N8. You have never seen a camera like this in a smartphone. It has a twelve megapixel sensor, Carl Zeiss optics, Xenon flash, and HDMI connection. Plus it has all the social networking features you want, a fingertip friendly touch screen, amazing battery life, and the sleek aluminum body is surprisingly lightweight and durable.

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The post New York Fashion Week Notes – Day 6 appeared first on lookonline.

FashionGPS sponsored report

Photo: Style.com

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

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

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

To Die For (?)

Vera Wang collection – Photos Coutorture.com

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

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

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

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

“Cats”

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

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

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

– Marilyn Kirschner

Betsey Johnson Takes Us For A Ride/Spring 2011

Photos: Isabelle Erb

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

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

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

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

– Rhonda Erb

I Want Candy: Douglas Hannant Spring/Summer 2011

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

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

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

– Rhonda Erb

Tik Tok

Photo: Isabelle Erb

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

www.babyg.com

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

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

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

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

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

Strange Bedfellows

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

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

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

‘After Five’

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

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

Architectural Digest

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

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

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

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

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

-Marilyn Kirschner

“The Daily Bet” by Rhonda Erb

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