The Charmed Life

Oscar de la Renta Fall 2012 Collection All photos: firstView.com

Designer Oscar de la Renta’s fall 2012 show, the first in his new venue, was a confectionary delight. The sophisticated designer was clearly targeting PYT (Pretty Young Things), with the prettiest form of charming colorations – rose pink, ice blue and white – jeune fille styles and decorations. all turned out in a very Oscar way.

Femininity reigned in pretty in pink decorative styles, such as a duo perfectly poised for the ballet, an ivory silk cable knit sweater with rose pink pendant printed silk faille skirt and dyed pink feather fox stole and a pale rose faille and filagree cotton guipure dress with rose cashmere turtleneck capelet. There were sporty shapes in pale colorations, après ski style cable cardigans, skinny pants and silver goat vests. Evening took a charming turn with frothy tulle ball gowns and flirtatious silk cloque and tulle draped styles. Tres charmant.

Oscar countered those with a gorgeous black and white story with couture level touches – gorgeous trompe l’oeil embroidery, beading, pleating and touches of fur. Case in point, a white paillette embroidered black brocade coat with silver fox collar which got the crowd’s attention and a black double faced cashmere and angora coat with white feather bijou pendant embroidery and mink collar which had them cheering for more. Suit looks included two variations, one a ruby embroidered tweed jacket over a ribbon tweed skirt, and the other quilted sable tweed printed crepe de chine coat and dress beaded to ultimate effect. Perfectly ravishing.

Oscar is never better than when he heads to evening and this season was no exception as he offered a duo of dazzlers in gold and silver, a lame and beaded fringe silk crepe de chine dress evoking the ‘20s and a gold bullion and bead embroidered glitter tulle gown with iridescent gold silk taffeta skirt, spelling money in the bank gold.

In a season in which decoration and finishing touches count, Oscar de la Renta is more relevant than ever.

— Tricia Kenney

Graphic Designer

Narciso Rodriquez Fall 2012 Collection All photos: firstView.com

Coats are making a big impact this season –they are more than just an outer layer, needed for warmth and protection — they are the pivotal piece in a woman’s wardrobe. So it was not at all surprising that Narciso Rodriguez would begin his 34 piece collection, shown last evening at The Theatre at Lincoln Center (friend and customer Claire Danes was seated in the front row) with the chartreuse bonded wool coat. A sculptural, unfussy, modern and a perfect example of what the architecturally grounded designer does best. I loved the way he experimented with shape and volume, using gutsy fabrics like bonded wool and wool felt, playing with off beat hues (chartreuse, petrol, loden, brick, tangerine, russet).

Especially notable was his use of graphic color blocking, which was a theme throughout. It appeared in several of his coats, showed up in his group of silk and wool dresses (using combinations of colors like tangerine or russet with brick), and even in his furs. There was an ecru and chestnut beaver cropped jacket and short coat, both of which were shown over graphic laminated tops. But perhaps the most interesting use of graphic color blocking was through his strong accessories: short napa gloves, suede/ostrich booties, which featured a pointy toe and high heel and were shown with bare legs, and handsome bags.

Abbreviated jackets in bonded wool or textured napa and flannel were cut close to the body and paired with lean trousers in wool and cotton; a wool angora tweed was used for a dress and a bustier, and for evening, instead of a predictable floor length gown, he proposed a bias skirt that was short in front and long in the back, paired with a laminated or embroidered top. The only problem was that a few models were obviously having trouble keeping their stiletto heels from catching in the long panel of the skirt as they walked down the runway. I guess we won’t see Claire Danes at the Academy Awards wearing of these on the Red Carpet.

The Naked Truth

Vera Wang Fall 2012 Collection Photos: firstView.com

You know David Barton’s advertisement, which admonished us to “Look better naked?” Well, lets just say that most of us need more than just a gym membership to truly achieve that goal, but I couldn’t help but think of that yesterday morning during the opening segment of Vera Wang’s fall collection, because the first 7 outfits out were rendered in head to toe nude – as if she were showing us an alternative way to achieve that goal and still remained clothed.

Now I have no idea what Vera looks like naked, but she did show the world quite a bit of her well toned bod in the February issue of Harper’s Bazaar, posing in a bathing suit and high heels in her new ultra modern and quite fabulous home in Los Angeles. She also admitted she is not really a high heel and swimsuit kinda gal, preferring to dress in signature black or gray layers (I think she referred to her look as covered up, a la Laurence of Arabia). Vera always injects a lot of herself within her collections and they always mirror her look. While black and gray appeared throughout her 39 piece collection which admittedly harked back to her artsy side, and focused on opposites attracting, layering, transparency, lingerie touches, the idea of clothing as protective soft armor, they were not the whole story.

In addition to the aforementioned nude, there were flashed of bright tangerine, (which looks great with nude I might add), and Dutch blue, that latter appeared as multi layered organza or silk chiffon prints. Very West Coast, I was thinking. And while there were a few melton coats and oversized parkas, not to mention massive raccoon collars, hoods and trims, many of the outerwear pieces were sleeveless, and layered over sheer, wispy chiffons and the collection as a whole, did not look as though it were geared for someone who had to maneuver around the city during a tundra, relegated to taking the subway to-and-fro. I guess we can assume that Vera’s new bi-coastal life has thoroughly impacted on her sense of style. FYI, when she took her bow at the end of the show, she was not wearing a swimsuit and heels.

I have to mention that I loved the models’ upswept up swepts, which looked like an impossible feat of aerodynamic brilliance. Styled by Paul Hnlon for Frederic Fekkai, the gorgeous Mr. Fekkai was sitting the in the front row taking pictures with his cell phone camera so I guess he was pleased with the results as well. Whatever product they were using had to be a magic potion. Sign me on!

Shine On

Naeem Khan Fall 2012 Collection All photos: firstView.com

I felt bad for Naeem Khan. He was named the “Mercedes-Benz Presents” designer this season, and some of his work was on display in the lobby of the tents alongside Mercedes-Benz’s new ML63 AMG SUV. He also made a special appearance at the February 9 Fashion’s Night In event, which formally kicked off the week of shows at the tents. He has traditionally shown on the last day of Fashion Week, but somehow, had the misfortune of being given the 2 PM time slot yesterday afternoon. Since the Rodarte show, held in a far west Chelsea art gallery, probably did not start until 12:45, many of those guests did not have time to get back uptown in time for Naeem’s show. The collection was inspired by the “decadence and dust of India: the body as canvas: from the Mughal Paisley to the Hindu Tilakas”. But, for whatever the reasons, there were plenty of empty seats that needed to be filled in at the large Theatre and many guests who had standing tickets, eventually got bumped up to the first row.

In any event, one almost needed sunglasses because the shine factor (deco, crystal, silver dome beading, mirrors, metallic threadwork, silver and gold pailettes, etc.) was so high. Naeem is, of course, known for his entrance making elaborately embellished designs, many of which unsurprisingly find their way on the backs of stars walking the Red Carpet. Suffice it to say that there were many such creations on display at the show.

–Marilyn Kirschner

The Daily Bet by Rhonda Erb

Casio Baby G-BGA-131

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

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

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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.

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

Just like the recent weather, what has been shown on the runways during New York Fashion Week for fall 2010 thus far, could best be described as a ‘wintry mix’ (you can take that any way you want to but what I mean is there’s been a little of this, a little of that, and everything in between) — and that continued on Tuesday.

When the lights were dimmed at Badgley Mischka, (the first show in the morning), it was impossible to see the show program and everything else for that matter. The first outfit out, a rather subtle black matte jersey jumpsuit, followed a parade of 15 evening dresses and gowns, most of which glittered and shone in the dark, and given names normally associated with the sky and outer space. (a ‘cerulean’ matte jersey gown, a claret/cassis/Bordeaux galaxy gown, a gold tulle constellation gown, and a nude chiffon nebula dress). Apparently, Mark & James have been star gazing and are taken with the beauty in the galaxy; there in lies the inspiration for their line.

When the lights came on, I thought that was the end of the show, but I was wrong. Numbers 16 through 44 represented items from their new collection, Mark & James, and though I thought that’s where the daytime pieces would be, I was wrong again. Other than a few unembellished, fairly simplified pieces at the beginning (such as a black wool tunic sweater, a black suede dress and tissue jersey top, and several wool sweaters), almost everything else was geared towards evening.

Or perhaps a better way to put it, was that the line seemed perfectly geared for that young woman who is going straight from work to the clubs (or not going to work at all), because there was a distinctive club vibe, not only in the color palette (almost all black except for some gray and cream), but in the abbreviated lengths, the shiny second skin leggings (pewter glazed lace or lace jacquard), and the liberal use of tulle fringe, sequins, chain, mesh, glazed lace, faux leather and leather, and faux fur. It was also hard to ignore the thumping club music which served as the soundtrack for the show.

The Bride Wore Black

Vera Wang came back home for the last time, to the Bryant Park Tents, after showing in her Soho shop for a few seasons. But instead of using the large Tent venue (where she had traditionally shoed), she opted for the smaller Promenade. There were still plenty of empty seats. The run of show revealed that the title of the collection was ‘The Bride Wore Black’ (boy, it’s hard to remember that Ms. Wang began eons ago as a bridal wear designer), and Ms. Wang said that she used the Film Noir as a contemporary metaphor for youth, romance and sophistication tinged ever so slightly with a sense of mystery.

Let’s face it, black and (and gray) are known to be Vera’s favorite colors (I don’t think I’ve seen her wear anything else) so it’s not surprising that an entire collection would be similarly hued. The first look out, a sharply tailored black dry wool twill jacket with prominent organza ‘corsage’ at the shoulder, shown over a black dry wool paperbag pant and jersey tank, set the mood and was a harbinger of other changes to come (we don’t normally associate strict menswear tailoring with Vera). When one sees a Vera Wang Show, there are always the signature staples (Vera is very consistent and has a ‘look’), and there were plenty of those signature touches: the twisted jersey dresses, asymmetrically draped tops, faille boleros with organza rosette appliqués, tulle appliqués, illusion dresses with iridescent sequined panels, structured yet loose coats with short sleeves, asymmetry, the use of long leather gloves, and other such Vera-isms.

The pieces that surprised and stood out, included the coated black fringed coat (leather?), several heavy wool twill coats with Mongolian lamb trim (on the hem of one, on the short sleeves of another); the Charcoal Mongolian lamb fur pocket scarf; an architecturally draped white linen voile top that reminded me of something Gianfranco Ferre might have done decades ago; and those strictly tailored jackets and coats with roots in menswear.

Examples: the black felt Nehru cutaway jacket shown over a jersey harness dress; the black heather felt and heavy wool twill cutaway jacket with grey faille and sequined corsage at the shoulder; and my favorite: the charcoal felt boyfriend’s blazer with cutaway back shown over charcoal wool knit zip front jumpsuit with tuxedo stripes. Oh, I forgot to mention that Vera used not one chain anywhere on the line. Instead, she used massive ropes of teeny tiny seed pearls (not only around the neck, filling in bare necklines, but on both wrists, making it appear as an oversized pearl cuff from the distance.

Venus



Remember what I said about Carolina Herrera being PETA’s number one enemy this season? Scratch that. My vote goes to Dennis Basso, who freely combined the most luxurious of furs, leather, alligator, and fabric, and pulled no stops in his decidedly dressed to the nines fall 2010 fur collection which he says was inspired by the ‘great sculpture of Venus de Milo” and “represents the strong, statuesque, elegant woman”. Certainly, it would take one of those to pull off much of the Russian broadtail, natural Russian Barguzine sable, Arctic Finnish raccoon, natural cross fox, hand painted velvet chinchilla, etc. coats, jackets, vests, which were shown in oft times voluminous proportions with large face framing collars, and were paired with everything from charmeuse and liquid wool dresses, and wool knit skirts hitting just below the knee, to floor length embroidered lace gowns.

One interesting touch considering the popularity of anything military inspired, (not to mention the popularity of army green), was the grouping dyed in evergreen and paired with tonal ready to wear pieces. Examples: an evergreen chinchilla and fox coat shown with a khaki wool skirt and top; an evergreen chinchilla fox and leather jacket shown with a matching colored wool knit skirt and top; an evergreen ermine and sable elongated vest with outsized pockets, shown with an evergreen wool knit draped gown; a fitted evergreen alligator coat with massive fox cuffs, shown over an evergreen wool knit skirt and top. Once again, platform shoes accessorized and on this runway, some of those by Ruthie Davis (complete with diamante ‘spikes’) looked as though they could pass for a dangerous weapon.

Variations on a Theme



To say that the Max Azria show had one specific point of view (that played out over and over again), is an understatement. In fact, the entire collection was understated (and lean). The program notes said the show was a “minimalistic journey of clean lines and artful tailoring” And that aesthetic (an artistic personal approach to pared down minimalism), for a lack of a better description, could not have been more opposite from say, the over the top, in your face luxury quotient on view at Carolina Herrera on Monday. So, if your idea of fashion heaven and your definition of ‘modern’ is clean lines, organic elements, weightless volume, and individualistic style, Max Azria would be your label of choice for the next season.

There was not one print, one bright color (the dusty mineral toned palette was limited to black, nude, taupe, beige, various shades of gray, dark moss), and unlike other runways, surface ornamentation was kept to a bare minimum (and I mean that literally — subtle black beaded details appeared at the end on a group of black crepe dresses). Fabrics were mixed for day (leather, crepe, knit, wool felt, wool boucle, mesh), and evening (almost all black) was primarily done in silk georgette, ribbed knit, and crepe. Like elsewhere, a platform boot, was the footwear of choice.

– Marilyn Kirschner

The Daily Bet

The Nokia Twist

Here’s a unique cell phone that is sure to get you noticed. The Nokia 7705 Twist has a compact square shape that swivels open to reveal an easy to use Qwerty keyboard. The Contact Light Ring can be customized to identify the callers of your choice and the Twist phone has great features like a 3 mega pixel camera, HTML web browsing, e-mail, V cast music and video, and a built in mirror. It comes in black with Xpress-on Covers in black and purple and is exclusive to Verizon.

Nokia 7705 Twist, $99.99 after $50.00 rebate, with a new two-year customer agreement
www.verizonwireless.com/twist
Verizon Wireless Communication Stores

Casio Eco-Baby-G Watch

There is a new eco-friendly addition to Casio’s ever-popular Baby-G line of watches. The Eco-Baby-G has Casio’s Tough Solar Technology, which generates electrical power from sunlight, thereby increasing battery life. Since the watch is rechargeable, you won’t be adding to the more than three billion watch batteries thrown away in America each year. The Eco-Baby-G comes in an eye catching bright green color and is packaged in a recyclable box. It will be available in March, just in time for Spring.

Casio Eco-Baby-G, Model BGR300GR-3, $110.00
http://www.baby-g.com/
Select Macy’s stores

-Rhonda Erb

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