It’s hardly a secret that Ralph Lauren is an avowed Francophile but I guess you could say he confirmed what we already know with his Thursday morning spring 2016 show held at Skylight Clarkson. He took his bow looking dapper in a navy double breasted gold buttoned blazer to the sound of Frank Sinatra belting out, “I love Paris”.

Saddle leather jacket navy linen shirt saddle cropped pant tan sail cork platform with stripe webbing

And while saddle leather made an appearance (by way of a fabulously tailored pantsuit, trench blouse, biker jacket, some handsome handbags), as well as tan calf totes and sandals (including cork platforms which have officially made a comeback this season), the majority of the 48 piece collection (his most abbreviated in memory), was played out in different combinations of red, white, and blue, or should I say, ‘bleu’ (both navy and cobalt).

Blue white striped luxe cotton shirt bright  red silk top navy silk cady pant

Of course, this is a color combination that is also American to the core, and admittedly, it can sometimes look hokey and obvious. But leave it to Ralph to make it look classy, chic, timeless, and freshly appealing. Really, isn’t it how you want to look in the spring and summer, especially if you’re lucky enough to be by the water or on a yacht off the South of France (or have to make do with South Jersey)? In case you ‘missed’ the boat (bateau) connection (figuratively!), a colorful and graphic sailboat print in white, red, cobalt, and yellow, was printed on to the side of a pair of wide legged pants and was used for an oversized cotton canvas tote, and completely covered a cotton sateen trench.

Navy ivory silk mockneck ivory silk pant  bateau printed canvas turnlock tote

While there were some fitted, body conscious pieces, there was a sporty ease to the majority of his shapes and proportions. The collection was built around a fuller pant (that can best be described as a luxurious jogging pant), jumpsuits, bias cut skirts, pleated dresses, silk and cashmere knits, and button down shirts, which looked especially crisp when they showed up in blue and white stripes.

Navy white stripe luxe cotton shirt blue  cashmere cable knit sweater  ivory silk organza embroidered skirt

He apparently loves them so much, he not only showed them as basics, but in more surprising ways (a Ralph signature). For instance, in one case, he added a blue cashmere cable sweater and a long ivory silk organza embroidered skirt, and he turned them into three long shirting stripe gowns and a wide legged jumpsuit for his finale.

DKNY: A New York State of Mind

DKNY Spring 2016 Photo Marilyn Kirschner

I have lived downtown (just blocks from One World Trade in fact) for about 13 years. If you had told me when I first moved down here (a year after the 9/11 attacks) that this area would be rebuilt the way it has and become a true destination; that Conde Nast would relocate here from their midtown digs; or that two major fashion shows (during New York Fashion Week) would be staged here, I would ask what you were smoking. But that has come to pass. First there was Riccardo Tisci’s 9/11 extravaganza at Pier 26, and on Wednesday afternoon.Dao-Yi Chow and Maxwell Osborne, who head up the popular CFDA Award winning label Public School, unveiled their vision for DKNY, in their double roles as creative directors for this line.

Down the escalator to get to the DKNY show Photo: Marilyn Kirschner

The invitation named the venue as The West Gallery, Brookfield Place, which admittedly, was not the easiest place to find, for many (including me, and I know my way around). But I had never been downstairs at the PATH station beneath One World Trade. Taking the steep escalators down to the below ground level space and mingling with tourists and commuters, could not have been a more different and less rarified experience than heading into the Frick Museum for Carolina Herrera’s show on Monday (lol). And as you would imagine, security was tighter than tight.

Charcoal grey and white pinstripe wool asymmetrical wrap dress and white poplin pleats Photo: Vogue.com

But given that this is a label which was initially inspired by and built around its gritty urban New York roots, there could not possibly have been a more fitting (and symbolic) venue. The large, vast, tunnel like show space is not being used for anything at the moment but it will eventually be utilized for transporting commuters and everyone else, from one side of West Street to the other. In addition to moi, I would venture to say that the Conde Nast editors, who are now ensconced in One World Trade, are most assuredly the only ones who did not mind this choice, as we only had to walk a few steps or blocks, in order to get there.

Cement grey wool tailored jacket cement grey wool  tailored jumpsuit Photo: Vogue.com

As for the 42 piece collection, let’s just say, it was pretty much what one would expect. And while at times, things got a bit too tricky, contrived and artsy (the photo printed pieces), for the most part, yes, it did stay true to Donna Karan, and DKNY (streetwise, slouchy, a play of masculine vs. feminine). There was a touch of navy and blue, but the collection was almost entirely played out in the ultra-urban palette of black, white, and grey (charcoal and cement). Pinstripes (shown in both grey and white and black and white) were one of the important recurring themes and in fact, the opening look which set the tone for what was to follow, was a grey and white pinstripe wool tailored jacket worn over a white cotton crepe jersey bodysuit. The use of a white cotton crepe jersey bodysuit (and a group of sarong skirts) was an obvious homage to Donna, who employed them as the foundation of her landmark 7 Easy Piece Collection in 1985.

Charcoal grey and white pinstripe wool tailored  jacket white cotton stretch crepe bodysuit Photo: Vogue.com

The notion of ‘tailored’ was another key element here. There were tailored jackets, tailored dresses, tailored shorts, and tailored jumpsuits. On every model’s legs were sheer black anklets worn with a pointy toed black leather low heeled boot shoe.

– Marilyn Kirschner

The post Ralph Lauren: Red, White, and ‘Bleu’ appeared first on lookonline.

Pure and Simple

Calvin Klein Fall 2012 Collection All photos: firstView.com (Click images for full size verson)

 The trouble with ending Fashion Week with Calvin Klein, is that Francisco Costa’s collections are always the end result of such purity of design unfettered by anything extraneous (which at first glance might LOOK simple yet we all know that is hardly the case), that it is hard to compare with anything else. Yesterday’s show (there were two back-to-back presentations held on West 39th Street), spoke volumes about volume – a controlled volume that was inherent in the couture like construction of each piece. The predominant silhouette was waist defined, curved hip, rounded sleeve, and contoured bodice. It was a very concise, strong, and powerful statement.

The 33 looks played out primarily in midnight (so dark it looked like black), onyx, parchment, and flint, with flashes of poppy, sienna, and cerise. There were hefty fabrics such as technical wool and wool tweed, shaved shearling, glazed/wool and mohair, plongee (a thick scuba like fabric that resembles leather), an embroidered on laser cut wool that imparted surface interest, and knotted silk.

As on almost every other runway, the coat was the pivotal piece. The first outfit out, in this case, it was a collarless knee length beauty in midnight glazed/wool and mohair, belted with a wide hammered silver belt which further accentuated the waist and added the perfect amount of glistening shine. It was accessorized with onyx alligator flared heel pumps. The flared heel pumps (in alligator or polished calf, and flared heel black alligator boots, appeared throughout. Other standouts were the poppy technical wool tweed coat, the sienna glazed wool and mohair belted coat with inverted pleats, the onyx pebbled and the high neck parchment bonded wool crepe coat with shaved shearling.

The dress was also KEY: they were in the same fabrication and benefited from the same amazing techniques and construction as the outerwear. In some instances, the placement of seams, the combination of fabric, the employment of sheer panels made the difference. Day and evening were almost the same, although the all onyx finale included several embroidered laser cut wool dresses (whose surface interest approximated paillettes), ending with three dresses in knotted silk embroidery, featuring contoured bodices or open backs, and slightly longer lengths. Rooney Mara, the beautiful, young Oscar nominee for ‘The Girl with the Dragon Tattoo’, (and someone who is considered to be a real fashion star with her own individual sense of style) was at the 2 PM show, and it might be a safe bet that she will be wearing one of Francisco’s dresses when she attends the upcoming Academy Awards later this month.

Ralph’s Gold Mine

Ralph Lauren Fall 2012 Collection All photos: firstView.com (click on images for full size verson)

The invitation to Ralph Lauren’s fall show (black with gold lettering), was a dead give away that this would be a theme at Friday morning’s show.  While it was certainly not the whole story, there was a strong statement made in black and gold, whether a subtle one, or not so subtle. Gold beads completely decorated the front of a black cashmere turtleneck which was shown with a black glove leather pleated skirt, and accessorized with black suede platform sandals accented with gold, and a black calfskin clutch with gold hinged handle.

A gold beaded on black tulle cardigan was shown over a white broadcloth pique shirt, worn with black wide legged pleated front pants, accessorized with black suede platform sandals with gold mesh detail; a gold dusted black shearling jacket was thrown over a gold chiffon beaded evening dress; an ostrich feather cape in black and gold, was the perfect cover up for a fluid black satin evening dress; and the finale was a gold lame evening dress.

 But Ralph’s true “gold mine” ( what he does best and could easily be his signature) was summed up by the strong opening group: perfect put togethers comprised of impeccably tailored jackets, great coats and wrap coats, jodphurs, boy trousers wide legged pleated front trousers, and fitted cashmere lambswool fair isle sweaters, rendered in mixes of his beloved fabrics (herringbone, houndstooth, heather tweed, windowpane, chalk stripes, and heather tweed), played out in warm shades of camel and brown with a few hits of color. Jaunty caps, white cotton club collar shirts with ties, high heeled burnished leather ghillies and monk strap shoes, polished calf small doctors bags or alligator attaches and briefcases provided the finishing touches.

True standouts were the narrow brown ocelot printed shearling coat which was layered over a taupe cashmere lambswool fair isle sweater; a light green striped cotton shirt with club collar, and camel and brown cashmere glen plaid plus fours. Other ‘vintage’ Ralph pieces: the black beaded leather motorcycle worn with green tartan slim boy trousers and white cotton broadcloth shirt; the black fluid velvet smoking robe with scarlet shearling collar worn with black chalkstripe flannel wide legged trousers and the black polished bonded leather wrap coat.

-Marilyn Kirschner

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Ralph Lauren ‘Black’ Label

Ralph Lauren Fall 2011 Collection (All Photos: Firstview.com)

And I mean ‘black’ literally since out of the 53 looks that came down the runway yesterday at Skylight Studio, where Ralph Lauren showed his fall collection at two back-to-back shows, almost each and every one was either all black, mainly black, or black enlivened with hits of white (as in white shirts), lacquer red, which often came by way of the high heeled red satin open toe pumps, or mixed with multi colored prints or patterns with a hard to miss Oriental flavor (one standout was the red silk shantung embroidered smoking jacket worn over a crisp white shirt and black pinstripe trousers, and shown beneath a black cashmere cocoon coat trimmed with long hair shearling). If it wasn’t black, it was trimmed with black, such as the good looking chestnut tweed double breasted coat and hacking jacket, both of which had black curly shearling collars.

One always expects Ralph to switch gears from one season to the next (but he does it in his own way, within his own ‘oeuvre’), and since last spring was a study in prairie chic, I guess it was safe to say he would completely go in another direction for fall. And so he did. This was a sophisticated, completely urban vision, one that was quite slick actually, and it didn’t hurt that many of the fabrics used, (black silk, silk/wool, leather) thanks to technology, were given a shiny, glossy, polished finish, which heightened the effect.

It was pure Ralph through and though, with its emphasis on strictly tailored, shaped and molded jackets, perfect trousers (pleated and narrow), tuxedos, skinny sweater dresses that fit like a second skin, velvet shawl collared smoking jackets, and fabulous coats (it’s hard to forget that amazing, long, black glossy leather trench coat with shearling trim collar, which was shown with a black polished leather pencil skirt, black turtleneck sweater, and accessorized with a black satin pleated peep toe with red lacquer heel).

A subtle art deco vibe was apparent in the 8 black floor length gowns that formed the finale. Bugle beaded, embroidered, or done in silk panne velvet, they were simple yet dramatic, and a few had alluringly cut out backs. Not so subtle were the two, especially the finale, which featured a fabulous bugle beaded collar and matching ‘hood’. When RR took his bow to a standing ovation, he was wearing a black turtleneck and black distressed jeans (he is always wears a version of the look he is proposing on the runway). It was pure class all the way.

Francisco Costa Wipes the ‘Slate’ Clean

Calvin Klein Fall 2011 Collection (All Photos: Firstview.com)

If someone wanted to know my definition of what ‘modern’ is, vis a vis clothing for our times, or my definition of a collection that is at once youthful yet sophisticated, appropriate for a range of ages, and easy yet still quite structured and sculptural, formal yet informal, sporty yet couture, I would tell them to look at Francisco Costa’s fall winter show which was presented at two back to back presentations yesterday afternoon. The 35 piece collection was whittled down to shades of gray (slate, mercury, smoke), desert, wheat, stone, black and white and played out in luxurious and innovative fabrics such as bonded alpaca and cashmere, alpaca jacquards, needle punched shearling (coats); technical silk twill (pants); silk ribbon jacquard, technical jersey, and technical silk boucle (sheaths); mercury/cotton (shirts).

The silhouette he seems to be most taken with – it was the first outfit out and one that repeated itself but in slightly different variations, was the use of a lean cigarette pant cropped to the ankle  and not a skintight jean or legging, nor a wide trouser pant but something chic, elegant, and in between, worn with a coat that hit just above the knee, in a slightly rounded shape, worn with a white cotton long sleeved shirt. When it wasn’t a coat, it was a cropped jacket with a ‘baseball collar’, a collarless or zip front jacket in leather, or an easy yet beautifully shaped ‘sweatshirt’ with abbreviated sleeves (of course, his sweatshirts are made of alpaca jacquard).

And when it wasn’t a white long sleeved shirt, it was a white, wheat, or black sleeveless shirt. Sometimes, it was an above the knee length skirt, which formed the bottom half of an outfit, and those were needless to say, perfectly cut to be easy, not tight or constricting, yet done with a controlled volume. Dresses (sheaths, shifts and shirtdresses) also fell slightly above the knee (there was not one long dress or gown to be found in the entire collection), and they were also, cut to perfection and innovative. One new dress shape that repeated was the ‘two piece sheath’ that, thanks to tromp l’oeil seaming, appeared to be a two piece dress in the front. Some of the dresses made effective use of fabric mixes. The most ‘evening’ the collection got, was the group of metallic jacquard shifts (in slate and wheat), with fold detail, scoop back, or scoop arm.

There was absolutely no jewelry, not a handbag, and the only accessory were the shoes: a rounded toe, ankle strap sandal or pump on a slight platform, boasting a chunky, low heel (some were white, which gave a clean modern somewhat mod look to the darker clothes, and others matched the outfits) made from wheat hair, truffle hair, and brushed calf. It was hard not to notice that thanks to the comfy, grounded footwear, the models (with their hair pulled back into youthful straight ponytails), were not only ABLE to walk down the runway (wow- what a novel idea!!!), but seemed to literally jaunt down the runway.

This brings up another point. I may be missing something, but I TRULY do not understand the fascination many women, as well as some designers, still seem to have with ugly ugly ugly orthopedic (if not worse) looking, heavy, platform high high heeled footwear that renders them almost cripple. I’ve seen countless of them during fashion week, and mostly, they have been hunched over and almost unable to navigate the sidewalks without leaning on something – or someone. Is that what they perceive as attractive…or modern????? I don’t think so. Especially in the city, when one should be able to move at breakneck speed. Certainly, being able to walk briskly, gracefully, or just walk at all, seems to be what ‘modern’ is all.

To ‘Dye’ For…

Isaac Mizrahi Fall 2011 Collection (All Photos: Style.com)

Isaac Mizrahi’s noon time show, held at Exit Art yesterday, was in one word a HOOT! (okay, two words). It was quirky, imaginative, and insanely off the wall, and like no one else’s. According to the run of show, the collection was dubbed, ‘Cake’ but a look inside the program revealed nothing of a descriptive nature, other than the names of the 26 models. The first model came down the runway, a vision in lavender (a below the knee length coat and dress), with a puzzling poodle like oversized black ‘fixture’ sitting on the top of her head, followed by a model wearing a pale green dress with a large bow; at which point a ‘waiter’ walked down the runway holding a mint green cake with the same large bow in front, the audience got a hint of the madness to come.

Some of the colors (mint green, marigold yellow, hot pink, purple, gray, black) as well as the prints and fabrics (confetti crystals, oversized florals) which were used for the collection of coats, dresses (some long, some abbreviated), elongated skirts, cropped pants, floor length ball skirts, evening gowns, were literally mimicked by the dyed to match layer cakes, (brought out by serious looking ‘waiters’ taking their turn down the runway), AND by the dyed to match poodles that came out with the models.  I thought I’d lose it when one model, wearing a hot pink strapless gown, came out holding a hot pink dyed poodle; and when after a model wearing a short blue and purple floral coat, accompanied by a dyed blue poodle, was followed by a waiter carrying a layer cake covered in the same blue and floral fabric.

(FYI, I don’t even want to guess what sort of dye was used but I would hope it’s not permanent).

 In addition to fashion and the theatre, Isaac has a fixation on layer cakes and poodles? In addition to the models resembling poodles, there were poodle pins affixed to some of the outfits, replicas of miniature poodles topping layer cakes, and there were dyed to match bags in ‘poodle’ cloth. (Thankfully, Isaac stopped just short of showing poodle skirts). When Isaac walked down the runway, he was wearing a poodle pin affixed to his jacket, and holding the leash of what I assume, is his poodle. (Coincidentally, this past week was the Westminster Dog Show in New York, so the timing was not lost on me). Needless to say, the audience was in stitches and we all needed this after 8 days of covering shows. What a perfect way to (almost) end fashion week. Bill Cunningham, taking it all and capturing it on his camera was similarly amused, exclaiming in glee, “Not a moment too soon”, and then he literally dashed down the runway to get a better shot of the last model, wearing a black gown, accompanied by a black poodle.

In the meanwhile, luckily for me, there was an appealing new bakery a few steps away from Exit Art, because after looking at all those ‘cakes’ during the course of Isaac’s show, I developed quite a sweet tooth.

FYI, as I strolled down west 39th Street, on my way to Calvin Klein, I saw a man handing out blue buttons saying “We all get dressed for Bill” (a quote made by Anna Wintour many years ago), along with postcards advertising the long awaited public release of the “Bill Cunningham New York” documentary. It will have a two week run, beginning March 16, at the Film Forum on Houston Street (you can buy tickets online, www.filmforum.org and can watch the trailer at www.billcunninghamnewyork.com). Coincidentally, I literally bumped into Bill, coming out of the first Calvin Klein show, and showed him the button and the postcard and in true BC form, he sort of embarrassedly shrugged it off and quickly changed the subject to fashion shows. You gotta love him!

-Marilyn Kirschner

The post New York Fashion Week Notes: Day 8 appeared first on lookonline.

FashionGPS sponsored report

Photo: Firstview.com
(Editor’s note: Calvin Klein and Ralph Rucci reviews online this weekend)

I loved Ralph Lauren’s collection, held at the Skylight studios on Hudson Street Thursday morning. While this may be an out of the way location for some, taking the fashion troops far from Lincoln Center, his showing at this space symbolically separates him from the pack (geographically and every other way). Plus, with a bus taking us from downtown up to Lincoln Center, we all got to Isaac in time anyway.

The collection played to all Ralph’s strengths and made the most of his wonderful way with mixing: soft with hard, rugged with delicate, ethnic with classic, day with evening, boy meets girl, etc. Every length and proportion was covered and it was not about that, it was about great pieces and putting it together with unabashed American joy.

Photo: Firstview.com

It was pure, quintessential Ralph (down to the neutral color palette – no brights and no black or navy), and it didn’t look like anybody else this season. You can always tell what the overall look will be by checking out what wife Ricky seated in the front row and schmoozing with the attendees is wearing. This morning, she had on a pale camel suede jacket with long fringe trim, accessorized with a massive Southwest Indian Native Indian belt. And sure enough, that was almost the exact outfit worn by the first model out (though she had on shorts with crochet inserts and a tulle embroidered blouse).

Photo: Firstview.com

There were cream deerskin beaded vests and jackets, serape striped linen jackets, palomino deerskin jackets and pants and one terrific fringed coat. Saddle suede tailored jackets were paired with off white cotton hand crocheted floor length skirts, and ivory hand crochet was a theme throughout (there was a wonderful below the knee length dress and knee length cardigan coat). An was an all white group in cotton pique and linen followed which consisted of terrific leg-o-mutton sleeved fitted jackets and frock coats worn with linen pants and cuffed shorts. A loose sand washed linen jacket was paired offhandedly with a natural distressed canvas jean that was heavily embroidered, and shown with an antique brown handmade braided fringe sandal.

In one instance, a serape striped linen jacket was juxtaposed over a beautiful cream tulle crinkle chiffon embroidered long dress with a train. A fitted lame jacket was paired with a beaded embroidered fringed pant, a saddle distressed leather jacket was thrown over a platinum lamé beaded slip dress, and a platinum tulle beaded long dress was pulled together with an amazing, wide vintage looking brown belt with fabulous buckle. Get the picture? Needless to say, there was a lot going on but thanks to brilliant fabrication, cut, execution, and styling, it worked!

September Showers Bring May flowers

Photo: Firstview.com

The heavens literally opened up right after Oscar de la Renta’s 5 pm 62 piece collection, held at 583 Park Avenue, got under way. And how fortuitous since in addition to natural silk linens, pretty silk crepe de chine blouses worn with wide legged pants, highly textural degrade tulle tweed pleated silk organza skirt suits featuring a cardigan jacket (like the one worn by Sarah Jessica Parker, who was seated next to Anna Wintour in the front row), mixes of graphic black and ivory in coats and jackets, sweet ivory cotton voile and black guipure lace embroidered dresses; and a finale of prom worthy pastel confections that came out with the 50’s jukebox favorite, “Yes I’m a Great Pretender” playing in the back, it was really all about flowers.

Photo: Fashionologie.com

The show, which had an unapologetically Spanish feel (Cristobal Balenciaga is a well known inspiration to the designer), opened with a natural silk linen coat whose hem was decorated with yellow silk organza flowers, and the model carried a beautiful bouquet in her yellow ostrich tote; multi color garden florals and posy prints abounded, and there was even a full skirted white silk gazar ballgown entirely decorated with red carnations, further accessorized with white gloves and high heeled satin sandals, which were also decorated with the carnations.

He’s So ‘Transparent’

Photos: Fashionologie.com

If there’s anyone more madcap, entertaining, exuberant, expressive, or outgoing than Isaac Mizrahi (or anyone who is better at ‘schmoozing’ for that matter), I’d like to know who it is. And if there’s another designer, who should be showing at The Theatre at Lincoln Center, I cannot think of one.

While his best designs are actually more classical than theatrical per se. The fiber of his being, his entire ‘shtick’ is entertaining and theatrical to the core. The multi-talented fashion designer starred in his own satiric cabaret show, Les MIZrahi, is a bona fide TV personality in his own right, has directed and designed costumes for the ballet, modern dance productions, and theatre (some of which were staged at Lincoln Center).

Photos: Fashionologie.com

Which is why it was interesting (or should I say, curious) that his noon time show on Friday, at The Theatre at Lincoln Center (which was called IM Xerox), was one of the least entertaining, theatrical, or madcap in a long time. I can recall several shows in the past few years, (one at New York Public Library and several at the Bryant Park Tents) that had a lot more pizzazz, and involved more staging, and actually rivaled a Broadway production. That said, the pieces that stood out among the 38 (it was really all about cocktail and evening wear, with the exception of a black pantsuit, and ivory belted ivory jacket worn with a skirt, and several pale shift dresses), involved the use of volume in the back, and the play of sheer over opaque: the use of see thru illusion and transparency (a big trend this past week). For example, a narrow black strapless short dress was covered with a longer black tulle overlay; a black and white abstract patterned dress with a cape back, had a black sheer top; an ivory sequined dress had a nude sheer top and enamel or plastic collar; a thigh length black strapless dress boasted a knee length glittery black sheer point d’esprit cage over it.

In addition to the aforementioned white plastic (?) collars, Isaac used white plastic cuffs that resembled shirt cuffs, which if you think about it, are quite inspired since it ensures they will stay forever clean! The shoes were all feminine pointy toed mules which were either flat, Sabrina heeled, or high heeled.

– Marilyn Kirschner

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I suppose you can refer to Francisco Costa as Mr. Clean but Calvin Klein himself, already has that title. So I’ll call Francisco Mr. Bond because of his frequent use of bonded fabrics (more on that later). Talk about minimal and architecturally pure. Francisco Costa’s collection for Calvin Klein, a rigorous exercise in self control and attention to meticulous detail, all but stood by itself this season. There was nary a fur, nary a muffled neck scarf, nary a hat, nary a bag, nary a print, and (almost) nary an embellishment in sight. What there was, was pure, unadulterated beautifully structured, expertly cut, shapes: amazing outerwear, shifts, jackets, separates, and column gowns, and details such as rounded shoulders, engineered darts or drapes, raglan sleeves, embossed pockets, draped backs. The feeling of menswear was exemplified by the relatively simple yet highly effective midnight silk folded raglan shirt and midnight wool/silk tab front embossed pocket trouser worn by Sigrid. It was such simplistic perfection, the members of the audience almost gasped when she walked out.

The clothes followed the lines of the body without being constricting, and while there was experimentation with volume, nothing was ever exaggeratedly full, unflattering or voluminous. In a season where so many have almost blinded with superfluous ornamental decoration, Francisco added texture and surface interest to coats and dresses through glazed and embossed double faced cashmeres, hammered, or polished cashmeres When he used sequins or silver lurex (as he did in the elongated columns at the end of the show), it was done in the most subtle way. It’s obvious that each season, Mr. Costa strives to perfect his craft and he been delivering with clothes that are feats of perfection in terms of cut, construction, and fabrication. And this season was no exception. The color palette was pared down to the almost expected black, midnight, off white, ivory, gray, with just a touch of color in the form of a royal blue he called ‘aurora’ (my best guess is that black will outdo this hue).

There was the continued experimentation with fabric techniques to get just the right results. For fall, it was to be found in the ‘bonding’ technique (bonded viscose, bonded silk pointelle, bonded boiled wool). In a season of truly stellar coats, Francisco’s really stood out, such as a black bonded silk pointelle embossed pocket coat, a midnight bonded stretch technical wool storm flap trench, a midnight bonded boiled wool/cashmere/leather storm flap pea coat shown over a midnight sheer silk mock t and an engineered dark skirt; the ivory shearling storm flap trench, and a black double faced hammered cashmere cape with its curved hem. There were also the brilliant fabric combinations, where leather was effectively employed (an ivory silk crepe leather sleeve blouse with shown with an ivory silk crepe tab front trouser, and midnight leather was used with bonded boiled wool and cashmere in one very chic pea coat).

The footwear consisted of a tumbled calf metal heel bootie and a ‘stingray’ ankle strap skinny heel sandal, both on relatively high platforms. These, in addition to the elongated and narrow shape of many of the pieces, which were flatteringly form fitting, lean, and attenuating, made the already statuesque and amazingly proportioned models (including runway ‘stars’ like Kristy Hume, Stella Tennant, and Karmen), looked even more like (beautiful) tall drinks of water.

Boss ‘Tweed’



Almost nobody does tweeds like Ralph Lauren (somehow, after I leave any one of his shows, I basically want to ‘live’ in my chic tweed hacking jackets, jodhpurs, and riding boots), and he was definitely in a tweed mood for fall. The collection, which was presented at two back to back runway shows at Skylight Studios in Tribeca, was played out in the designer’s much beloved muted neutrals, and Ralph was making a case for the interesting contrasts that lie within the ongoing yin and yang of masculine and feminine, day and evening, soft and hard (this is what helps keep fashion looking modern and believable). But of course, none of this is anything new for RL because interesting pairings have always been one of his strong messages throughout the years.

But getting back to THE message for fall: it was all about the mix of hefty menswear inspired tweeds (mainly brown and moss wool tweeds), charcoal wool/cashmere herringbones, and donegals with softer more feminine elements: namely, jewel toned silk velvet separates (blouses, skirts, and jodhpurs) or wispy floral silk georgettes: flutter sleeves blouses, midcalf skirts, and floor length gowns (he’s another designer this season, who’s made a case for longer lengths and with few exceptions, most of his skirts went from below the knee to the floor). A moss washed wool Shetland tweed frock coat which was shown over a charcoal wool and cashmere herringbone vest and Rivington floral silk georgette skirt epitomized the concept. As did the olive mélange chesterfield coat thrown over the Ludlow floral silk georgette gown.

The strongest group from my point of view was not the opening (I’m not a wispy floral kind of gal), but the group that followed which consisted of rich mixes of black mélange wool tweeds, suedes, cashmeres, Shetlands, and donegals, and vintage like dark brown shearling pieces (bags, vests, leg warmers).
Standouts: The black mélange wool tweed cutaway jacket, shown with a black cashmere turtleneck, brown wool tweed cropped ‘boy pants’, and accessorized with a dark brown hand burnished calf leather Ricky bag; the narrow black tweed/wool coat shown over black leggings and a black cashmere sweater, and accessorized with a chocolate alligator shoulder saddle bag; the moss cashmere and wool Donegal tweed jacket, chocolate cashmere turtleneck, Donegal wool tweed skirt, and brown shearing hobo bag; the knee length caramel brown shearing vest (really, a sleeveless coat), which was shown with an espresso cashmere turtleneck, brown wool covert spat, chocolate crocodile clutch.

A group done all in all black and black morning stripes (not the most interesting), was followed by another grouping in black which was somewhat ethnic (this was exemplified by the black ottoman passimentary embroidered coat). The evening finale was comprised of silk georgette florals, with names like Saint Germain, Bloomsbury, Chelsea, and Le Marais, fashioned into floor length gowns which were bare on top and fitted through the torso, featuring skirts that were flounced and tiered. The last dress out was interesting in that it was juxtaposed against a moss felted cashmere cropped shawl collar jacket.

Just a note, Ralph has more often than not, been known to devote an entire collection to an all out Americana theme, though that was not the case this season. I found it curious or interesting at the least, that he would chose to emphasize a print (specifically, florals with decidedly European heritages and names) for a collection shown in such close proximity to the opening of the Costume Institute’s ‘American Woman, Fashioning a National Identity’ in May. Well, I guess we are all so very international and global these days, n’est pas? In the meanwhile, his show last season was all about variations on that all American fabric and wardrobe staple: denim, and I guess Cathy Horyn was trying to pay homage to that aesthetic when she showed up in her well worn jeans (flat boots and non descript black jacket) for this show and the rest of Friday’s schedule. Well, it sort of didn’t work – there’s real life chic, relaxed glamour, and there’s just plain poor.

Isaac’s Tall Tale

I often wonder what the madcap and always entertaining Isaac Mizrahi is ‘smoking’ (and I mean that affectionately because I adore him). Especially, when I read the fantastical and imaginative ‘essays’ describing the inspiration behind one of his shows. (If nothing else, he must have some amazing dreams)

This season, the theme was Central Park Story Book and he spun quite the tale, a fable consisting of “girls trying on glass slippers, flaps coats, and ending with evening clothes that might be confused with camping gear” (I kid you not). He spoke of ‘glorifying’ the bag lady, observing that “every upper east sider has at least once admired a bag lady” (yikes, I admit, I have!) He even used phrases like ‘Geoffrey L.L. Bean or ‘Buffalo Bill Blass’ to conjure up the proper irreverent mood, and went on to describe the show as a kind of “upper east side camping trip where the rocks have new uses”. He’s nuts, what can I say? But we all love him because he’s so unique and so, well Isaac.

The collection was presented at the Tent at Bryant Park, and the stage was decorated with bare trees made to resemble Central Park during the winter with the Manhattan skyline in the background. The 45 pieces were broken up into 5 groups: Parka Avenue, Society Samurai, Vagrant Fairies, Fish & Wildlife, and Seven Winter Fairies. Dresses and outfits were given names like Luncheon armor, Cocktail warrior, City sweats, Diamond crocodile, Toggle town, Manhattan cable, Furry, Wooly, etc. It was all very Isaac: the glamorous evening takes on survival wear (quilted coats, glittery quilted fur trimmed vests with quilted and fur trimmed hoods; dressed up survival parkas; lame utility pants; crystal toggle buttons), the shaggy orange knee length coat; the group of abbreviated shifts that were so overly embellished with crystals, they glowed in the dark; and the finale, a group of strapless evening dresses and gowns in muted, pale shades with poufy organza skirts. When the Seven Winter Fairies made their appearance on stage at the end, a snow machine made fake snow (just we needed, more snow). We all know that Isaac is neurotic about his love for Manhattan (in a Woody Allen kinda way), because he has admitted that he cannot bear to leave the city and hates to travel. So I guess you can call the show, an homage to Manhattan.

-Marilyn Kirschner

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-Rhonda Erb

The post Mr. ‘Bond’ appeared first on lookonline.

Ralph Lauren showed his spring 2010 collection at two back-to-back showings downtown on Hudson Street. His program notes made mention of these trying and difficult times and the “resilient spirit of America”. He was inspired by the “character of the worker, the farmer, the cowboy, the pioneer women of the prairie living authentically through challenging times”, and the ‘honesty of their work wear and its reinterpretation”. This theme played out for both day and evening (a metallic ice blue lame voile overall gown, anyone?). Save for the vintage prairie flowers, a grouping in white, and a pink gown at the end of the show, which was shown beneath a blue pinstriped jacket, almost the entire line was a study in shades of blue. It was signature ‘Ralph’ and both the designer and his wife Ricky, were wearing their faded denims in a display of harmony.

The show opened with western inspired work wear and denim in a range of washes, silhouettes, and proportions: fitted jackets and boxy jackets, roll cuffed relaxed jeans, and overalls. (But ‘honesty’ and ‘authenticity’ has its limits; Ralph did not show these pieces with dirty and soiled workmen’s boots but metallic high heeled sandals). This was followed by what Ralph does better than anyone else: different takes on the haberdashery lightweight wool navy pinstripe 3 piece suits (fitted jackets, vests, shirts, pants, broadcloth shirts, ties – the whole nine yards). Then came the whites followed by a grouping in faded blue ombre charmeuse (workshirts, carpenter pants), and then the embroidered and beaded evening pieces.

For Ralph, it’s always about unexpected combinations and mixes, and so, while the vintage chambray single georgette beaded gown was pretty, it was the more unusual pairings that stood out (the indigo cotton striped jacket worn over a faded blue ombre organdy work shirt and faded blue stretch denim pants; the vintage chambray georgette beaded top and faded blue ombre charmeuse jodhpur, or the aforementioned indigo cotton striped peak lapel two button jacket thrown over a faded pink ombre gauze embroidered gown). FYI, since there is almost no living designer more synonymous with ‘American Style’ than Ralph Lauren, you can be sure many of the attendees at this year’s “Party of the Year” (in honor of the exhibit, “American Woman: Fashioning a National Identity”, will be wearing something by the designer.

You can always expect the unexpected, and theatrical from Isaac Mizrahi, though you never know what that will be. How funny fashion is, now that so many designers have seemingly ‘caught up’ with Isaac in terms of using bright colors, stripes, madcap pattern mixes, and injecting a feeling of lighthearted whimsy into their collections (remember his fall 2009 collection?), Isaac has moved on to something else.

And that something ‘else’ (though of course there is still Isaac’s sense of playfulness and whimsy) was decidedly chic, tailored, classic, and spectator-y (I loved the black and white spectator flats and low heeled shoes that were shown at the beginning). And the ‘something else’ also had more than a feeling of vintage YSL in the shapes (the tailleur, the pleated trouser pants, the tuxedos, the use of black and white, the dresses and gowns decorated with large flowers, the use of transparency in the form of sheer black ‘cages’ over dresses).

And then of course, there were the chic straw hats. Whereas last season, Isaac used pocketbooks turned upside down as hats, the only place bags were used (and they were classic and elegant as well), were on the arms of the models. Soon into the show, it began to ‘rain’ from the ceiling, and on cue, a guy dressed in a black jumpsuit ran out with an umbrella, to shield the models from the downpour. At the end, a golf cart appeared. I’m still not sure what the symbolism was; after all, Isaac was not hawking umbrellas and there was not one raincoat amongst all the beige (the main color story was the use of tan or beige mixed with strong pastels). Could it be that Isaac is spending a lot of his free time on rainy golf courses?

‘Needle’ in a Haystack

If nothing else, Francisco Costa for Calvin Klein had to put on one of the most quickly paced shows this season. There were only 35 pieces, but 35 pieces can last an eternity (lumbering music, slowly paced models -you know the drill). But Francisco had one exacting artistic vision and he delivered it quickly and to the point (the models walked by so quickly it was hard to take notes). It shouldn’t be a surprise that since fall was almost entirely all about black, there was hardly any black at all (when it was used, it was used as an abstract ‘print’). A grouping in white opened the show and there was also porcelain, bisque, shades of gray, and hits of color in the form of pale jade, shell pink, coral, and yellow.

Francisco has become known for his use of innovative fabrics and this time he introduced what the program notes described as ‘needle punched’ cotton voile or silk chiffon which was used along with double faced cotton poplin, nylon, rinsed double faced cotton voile, pleated cotton, silk gazar, and silk organdy. The result was somewhat rumpled and highly textural: surface interest without the use of any decoration. And each piece (be it a racer back dress, a coat, a gown) had its own organic shape. Speaking of organic, that would be the best way to describe the collection as well as the ‘prints’, which were very free form and abstract, (some looked marbleized in shades of gray, black, and porcelain, while others seemed to mimic the sky right before a storm).

Everything looked light and airy; nothing clung to the body, yet volume was controlled. While there were some pants shown with jackets, long skirts, (often paired with elongated racer back tank tunics), and a smattering of gowns, it was a ‘short’ story, and a dress story at that. Almost everything was short (but wisely, not too short), and when coats were shown, they were the same length as the dresses beneath. The overall effect was modern, if not somewhat Zen like, and a Japanese influence was hard to ignore. This was even apparent in the footwear (mainly lacquered calf t strap sandals on a very low platform). Hurray!Once again, another designer has endorsed a lower heel for spring. While it was certainly innovative, well conceived,and beautifully done, the clothes are not necessarily the easiest to pull off for most women and admittedly, this is not a collection for everyone (and that’s apparently fine with the designer).

-Marilyn Kirschner

“The Daily Bet” by Rhonda Erb

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The post Ralph’s Got the ‘Blues’ appeared first on lookonline.

I decided to start with what I saw last, not first, not only because it seems everyone else is reversing orders these days (though who really cares about ‘everyone else’?), and because I didn’t feel like ‘saving the best for last.’

Chado Ralph Rucci is always one of the most long awaited shows of the week for me (and I’m not the only one who shares that opinion). Not only because it symbolizes the close of the New York Collections, but because you know you are in for a rare treat. I always wait in anticipation to see what this master craftsman and couturier has up his ‘sleeves’. And as it turns out, one can say that literally, since the sleeves of jackets held a “special place” in this collection, and were an area of much interest, focus and experimentation. (According to the program notes, in many cases, sleeves, for both day and evening wear, in a variety of fabrics including fur, cashmere and satin duchesse, began at the center back of a fitted torso and then “undulated forward and outward, creating a spiral effect around the arm to form a pronounced curve”.)

But there was something else that was obviously on RR’s mind, other than sleeves- SEX. Not only was this one of Ralph’s most modern, simplified (well, as simple as it can be for such a tireless creator and perfectionist), stripped down, and perfectly executed collections, it was one of his most body conscious, and pretty darn sexy at that. It oozed sex, but relying on the hint and suggestion of nudity, it was not in a vulgar obvious way, but in a refined and elegant way), as exemplified by the black and white zebra shrug shown over a black velvet jumpsuit whose bodice looked sheer but had a strategically placed self ‘pattern’ mimicking the zebra stripe; the black double faced wool crepe on nude silk tulle foundation jacket which had a seductive spider web effect; the black feathered floor length ‘cage’ shown over a caviar beaded jumpsuit, which had the look of an insanely luxurious nightgown. And then there were the pieces given names like, ‘silk tulle fetish jacket’, and the ‘sable and silk tulle fetish coat (to me the ‘fetish’ pattern was somewhat box like and resembled a shadow plaid). When I went backstage to congratulate Ralph after the show (me and hundreds others)….I couldn’t resist making my observations known and asked him if he had sex on his mind. He smiled a wicked smile and answered, “Constantly!”

In addition to the sleeves and the sex, other themes that stood out were the lean black wool jersey jumpsuits (one actually began the show and others were perfect ‘foundations’ beneath something else); the textured rainwear, quilted to resemble reptile skin (how chic are those?); the quilted and slashed black nylon balmacaan, bordered with black patent leather; the tulle insets on jackets and coats in double faced cashmere; the leather embroidery and leather braiding; the chinchillas and sables; and of course, the dramatic and signature silk gazar, chiffon, and organza gowns printed with screens from Ralph’s own paintings and blown up photographs of 7th Century Khmer statuary. One word of caution: they look amazing on the beautiful young models who wore them on the runway, but I would stay away from them if your face in any way resembles that of the statues. Sleek, sexy, over the knee boots (leather, suede, alligator) by Vanessa Noel, architecturally shaped bags by Leonello Borghi, fingerless leather gloves by Samantha Storto, and cool Lucite (or plastic) ‘headbands’ which had the effect of a sporty and sexy ski goggle (all of which were made expressly for Chado Ralph Rucci), were the only accessories shown. By the way, this was the first time a middle aisle was eliminated at the Tent in Bryant Park, opening up the runway but giving the presentation a different look and feel, and making the venue seem a little less intimate and personal.

Ralph Lauren held his two back to back shows at the Skylight Studio yesterday morning. While he began the show with a group in black (a short black cocktail dress, several long black gowns, a long black beaded skirt, double face wool sweater and wrap jacket), these evening pieces were not representative of what was to follow. Nor did they set the mood for a collection whose strong points were its decidedly vintage flavor, predominantly monochromatic, tonal neutral color palette with an emphasis on browns, beiges, and especially winter white (it was here where fabric mixes, including the use of Mongolian lamb, was especially effective), or one that capitalized on Ralph’s strengths when it comes to mixing metaphors: masculine and feminine, old and new, soft and hard, day and evening, tough and delicate. And in a season of tweeds, well. RL almost ‘owns’ them so it’s not surprising that he focused on herringbone and Donegal tweeds, offhandedly putting them together to create something a bit more personal, eclectic, and unexpected (that eccentric glamour ‘thing’ that has been seen on so many other runways hit just the right chord here as well).

As such, the collection could have been called, Ralph’s Greatest Hits, which is not a bad thing, filled as it was with smart tailleur, perfectly tailored jackets, vests, well cut trousers, lean jodhpurs, great coats (standouts were the brown wool and cashmere patchwork coats), hand knit cashmeres, beautiful vintage silk organza blouses, vintage velvet separates, shearlings, languid charmeuse and georgette beaded gowns. Among my favorite looks were the brown wool cashmere patchwork coat shown over a lovat tweed vest, brown cashmere and wool fairisle sweater, and tan cavalry twill pants, and a similar version ‘thrown’ over a languid honey charmeuse beaded gown; the fur collared brown Donegal windowpane tweed vest, brown Donegal cashmere sweater, honey silk voile blouse, and tan cavalry twill pant; the lovat elongated Donegal cardigan worn with a honey silk charmeuse beaded short ‘flapper-esque’ dress; the cream Mongolian shearling jacket, antique cream cashmere hand knit sweater, vintage cram silk organza blouse, and winter white velvet pant

By the way, I thought I would thank all the guys from Citadel Security, headed up by Ty Yorio, for doing their jobs in the most professional way and never losing their cool (read our interview with Ty Yorio). And I’d like to thank McDonalds, who certainly advanced their ‘cause’ and upped their profile, with the little coffee café, McCafe, set up at the Bryant Park Tents. Not only were all the employees gracious and considerate, (smiling and greeting you upon entering, asking what you wanted, making you feel comfortable, etc.), but there was usually a place to sit, and the coffee (espresso, lattes, cappuccinos, hot chocolate) custom made to order, were great — and better yet, they were free!

-Marilyn Kirschner

The post A Tale of Two Ralphs appeared first on lookonline.