Giorgio Armani showed a fantastic collection that closed a strong Milan season. (Which by the way the season should not be a day shorter. New York is too long due to too many shows that are of little importance. Here in Milan, the first and last days had little going on.)
There was so much to see at Armani. The collection was pure tailored chic. Black fedoras punctuated every look. The perfect suits that had the signature Giorgio Armani tailoring and shapes were all done in a new way. A strong surrent of men's wear was present and worked well with some bright colors such as fuschia, hot pink and orange.
Skirts were cut for ease and comfort as well as the dresses. Shorts were a smart addition. The integration of numerous textures and weights kept everything interesting.
Evening was sportif. The shorts were part of it along with jackets and skirts. The upper pieces were crystal-embroidered for a lavish and young feeling.
The last look that was an extravagantley embroidered jumpsuit that was fit for a fashion diva. Although it looked like Armani went back to the basics, he managed to reinvent his signature in a well tailored casual way for this fall and winter of 2012.
Alber Elbaz celebrated his 10th year at Lanvin singing. He has evolved so much in his talent since he started designing for the house of Lanvin. This fall collection was full wonderful ideas that had a sense of heightened feminine power. Yes, this collection had looks that were powerful, seductive, modern, chic and elegant. Silhouettes had exagerated hips, ruffles, peplums, and reinvented exagerated sleeves that worked well with some looks. The first group of suits and dresses projected that power in bright colors.
The line up then turned to show that a woman can look tough yet feminine at the same time. El baz designed these looks smartly because he did not over do anything one bit by maintaining the balnance of strength and femininity. The end was a line up of fun, youthful looks that were flirty and fresh as well as structered and tastefully flashy.
I am certain that the next 10 years at Lanvin will be extremely bright, energetic and majestic as long as Alber Elbaz leads the way with his incredible talent and his eye for modern style and glamor. Congratulations!
When it is time to go there is a way to say goodbye by leaving a mark that no one will forget. This is exactly what Raf Simons did with the last collection he designed for Jil Sander for fall 2012. This is a collection that was so clean and jam packed with wonderful silhouettes encompanied with smart details. Out of all the years that he has been at Jil Sander this collection was the best one out of all of them. Chic, elegant and refined that only Simons can do best with his talent for minimalism.
The show started with double faced clutch coats that were sublime in pale pink and dove gray, tobacco and bright pink, with an air of the late-Fifties couture and then went into confections with lingerie references. Intricate construction was involved, many in powdery make up shades, combined tones and textures with visual ease.
Simons has worked with the couture aura for several seasons and showed that not only can he create elegant evening wear but can also turn out some luxe looks for the day that will make women throw money to purchase them.
So on the way out, Simons bids farewell to Jil Sander and steps into the unknown, only to be carried on into a new chapter that will be the most amazing journey of his life.
"We're always asked to be ourselves," Dolce said before the show. "The challenge is to remain true to Dolce & Gabanna while renewing ourselves, so we work on materials and research."
What Dominico Dolce and Stefano Gabanna came up with is what they call "Romantic Baroque." A motif rich with material from the island they adore, Sicily.
The principal motif is heavy golden embroidery against black was inspired by ornately carved frames. They went on everything from outerwear (coats, jackets, and capes, one of which appeared to weigh more than the model who wore it.) to the necklines and waists of pretty dresses.
On the lighter side the white lace and tulles were just right and were worked into dresses and blouses. There were some petite point florals and dark cherub prints infused with color.
Overall this was a wonderfully theatrical presentation. Dolce & Gabanna remained true to themselves and if they weren't their work would not be as good and people would not resonate with it. There are designers out there who are themselves and continue to be and it shows in their work. There are others who just miss the mark because they are not true to themselves and it shows. Dolce & Gabanna are so true that their next collection will be just true as this one, I'm sure.
Gucci had a magnificent collection that was tight, seductive and chic. The house of Gucci have a reputation for producing outstanding clothes that are quintessentially Italian. Frida Giannini thought of Romanticism of the 19th century. It really worked with the dark colors (maroons, greens and navys) and fabrics with flourish; high drama brocades and jacquards formed the base, worked in combination with velvet, fur, silk and leather.
The tailoring was absolutely impeccable. Suits were worked in different ways from soft to structured tailoring. Jackets were cut perfectly for the perfect fit including the right touches. Capes were the perfect pieces that finished the looks. Equestrian looks were an influence and worked well with the theme and attitude of the collection.
Evening was absolutely romantic and quite sultry. Some black numbers finalized and completely kept the attention of everyone because the fine draping That molded the body included the right touches of beading. All of this was the perfect and happy ending of the collection because of the seductive, glamorous looks that mesmerized the fashion audience.
Giannini knows how to turn on anyone and has done so consistently every season. The house of Gucci is still standing strong because of her great talent in design and how she continues to hold a strong vision for the house.
Mary Katrantzou is a wonderful talent because she is a master at experimenting fearlessly with shapes and prints, and in creating silhouettes that are just simply perfect and never look in any way over exaggerated nor out of sync. She found inspiration in household objects making the prints and designs turning out to be not only inventive but also pretty whimsical. Clothes hangers were arranged on a pale jade dress, while old fashioned rotary dials dotted a heavy silk dress with a billowing chiffon cape. Katrantzou worked with the embroidery house of Lesage and what came out of that were some
amazing creations, such as hundreds of eraser-tipped pencils sewn onto the tulip shaped skirt of a silk dress and sparkling sequins and crystals in graduating shades of blue for a bolero jacket.
Katrantzou also offered her prints in intartia print manipulation on sweater dresses. Standouts were a black sleeved one dotted with crystals, and a moss green number with silk embroidery, sequins and crystals. Always on point, Mary Katrantzou is a talent that has a vision that always carries the fashion world on a dream journey of print that only she can exquisitely do.
The great wonder of this Peter Pilotto collection is the amazing assembling and craftsmanship of these clothes! This fall the looks are done in high necked, scuba-inspired silhouettes that the designers Peter Pilotto and Christopher de Vos explored last season. These all had yellow florals and abstract prints added to an underwater palette of blue, green and gray. Luxury was heightened with velvet details, as well as intricate beading and sequins. Pilotto and De Vos carried on with the aesthetic they had for their spring collection and did an amazing job with creating a well crafted collection.
Roksanda Ilincic is a playful designer with fabrics, textures and fur and the results are always clothes for a lady who loves being a girl with a touch of luxury without trying too hard. The clothes will help with the cold outside with a bit of fur on everything from a sweatshirt to an evening gown. There was astrakhan silk with silk for day dresses and trimmed hoods, pencil skirt hems and evening gowns with thick lengths of the pelt. There were some simpler silhouettes that were standouts like the bright purple shift with a special touch of a pleat in the front and a fabulous fold on the back.
It is always nice to see Ilincic's collections because they have a nice simple and smart quality to them. I am sure her clients are always happy with everything she designs.
Christopher Kane got a little dark this time around for Fall 2012. He is known to take some elements that do not work well and then turns everything around and make it all interestingly fashion forward. Black and white pinstripes, leopard prints, fur and flowers all together walked down the runway.
A group of black leather was paired with pinstripes were a bit gothic with glaze of glam. Shifts in red and purple moire had leather piping on the hems and shoulders and black velvet flowers were appliqued on others.
Underneath all of these looks that had a sinister feel to them was a beauty that filtered through. Christopher Kane did a nice job in creating looks that can be editorial as well as commercial creating an impact with his vision.
Mulberry's creative director Emma Hill said "I'm always obsessed with movies, so we started with 'Where the Wild Things Are' both the original Maurice Sendak book and the Spike Jonze film." So the collection turned out to be rugged and at the same time quite luxurious. She used a lot of Mongolian fur, sheepskin, and rabbit.
A lot of warm chunky knits helped with the layering of the clothes along with pencil skirts from lacy to some of which where sheepskin. intricately beaded with gold sequins. Enjoyable were a long parka in russet colored lacquered viscose and a long cream sheepskin number. The new Del Rey bag, named after the singer Lana Del Rey, made its debut.
The collection held to the essence of the Mulberry brand without getting to literal. Mulberry is always playful and can be youthful yet offer clothes to women at any age.
The collection was packed with outerwear that was all about cross-breeding country with city dressing. Inspiration came from hunting, shooting and horseback riding, and working them in an urban wardrobe. Yes, it was a call from the wild - from the Scottish hillsides abloom with heather, the green hills and the dales of Yorkshire and, of course, the gritty streets of London. "I love the idea of merging worlds - the digital and physical worlds, the country and city." This collection is a testimony of how Christopher Bailey creates hybrids of clothing and how genius he is in doing so.
A trenchcoat with a plaid peplum, a cropped herringbone bomber jacket with a shearling lining and a quilted burgundy coat for evening are all examples. To give more sense of the country side there owls and dogs on knits and blouses, and ornamental animal heads on belt buckles and umbrellas.
Bailey also worked a Thirties chrysanthemum print into shift dresses and on his pencil skirt a big fat, curving ruffle that cascaded at the front. The elasticized bow belt was shown in many colors and cinched a many coat, jackets and dress.
The collection is full of hybrids indeed and Burberry Prorsum is a brand that always shows magnificent outerwear and are fortunate to have Christopher Bailey as the chief creative officer because he is always thinking out of the box.
Downton Abbey is a popular show these days and the soundtrack of it came over the loudspeaker at Ralph Lauren and everyone who were a bit tired from seeing so many New York collections all perked up. The show has been so popular that the references in this collection has not been all that literal. The first group was all of men's wear for ladies.
The majority were tailored looks and mostly with pants. The outerwear was all in the mix as well, from a houndstooth greatcoat to a glen plaid double breasted style. Suits were plenty. A silk velvet three piece suit was the tops.
The evening portion of the collection was a mixture of sleek glamour - a line up of gold and black numbers with a shot of fuchsia gowns - and playful Twenties - a beaded flapper number and a black column dresses embellished with gold and platinum Art Deco embroideries. It was all very modern elegance.
Ralph Lauren has kept the looks classic and American which is his signature and has always been consistent with giving his clients exactly that.
The Calvin Klein Collection is sculpted with silhouettes that were created by Francisco Costa. Dresses outnumbered pants and the skirts were all mid-calf length. This is a strong collection that spoke loud with volume. There was a focus on the waist, cinching coats and dresses from dense wools or bonded leather with metal-banded belts.
Great inverted darts above the midriff and pleats below created the nipped silhouette. There were peplumed jackets that followed the curved lines. Pants were presented and they were cropped above the ankles. The heavy fabrics did not feel in any way weighed down because of the built-in volumes.
There were few dresses that had sheer panels on the torso that had a clean sense of sex appeal. Speaking of sex appeal Costa always makes sure that none of it gets lost in the marvelous genius of his designs for the Calvin Klein Collection.
Marchesa went into a more sophisticated direction. Of course there is a need to design dresses for the red carpet and the Oscars, but there were a lot of shorter and lighter dresses. A beautiful white short dress with caped sleeves that looked light as a feather was beautiful and girly and another had rich blue embroidery on a delicate white dress. Georgina Chapman and Keren Craig were taken by the late Nineteenth century French painter William-Adolphe Bouguereau's A Soul Brought to Heaven, which depicts two angels spiriting a young woman through the clouds.
You can see this inspiration in the winged embroideries and and the feathers that were details on some of the dresses. Four dresses that were extravagant ball gowns moved along the runway sweeping every one's feet, almost carrying Ingrid Sischy's phone which she accidentally dropped. She did pick it up in the nick of time. There was a darker side which came in dresses worn over skeleton-embroidered bodysuits and a laser-cut black dress which was elegantly tough. Marchesa continues to be known for their unique and elegant designs and construction which are always looked forward to in every season.
Oscar de la Renta had a very youthful momentum in his entire collection. In this case it means that no matter how youthful these garments look this fall, any woman of any age can find something to wear from his entire collection. The line up of course included the sophistication, elegance and class that Oscar is known for and really does not disappoint.
The girly effects such as fishnets, jewel encrusted booties, pouf or tiered tulle, pastel furs and helmet hair tied with a jewel-encrusted bow were the details that made some looks playful. Bauble motifs threaded throughout that featured huge prints and embroideries of pendant brooches on jackets, skirts and sheathes.
The wonderful group of glamorous restraint, soon morphed into a group of pretty pastels, tweeds and party frocks fit princesses of any ages. Silhouettes were from fitted to straight sophistication. There were some pouf skirts as well as some pencil skirts.
Daywear included some fabulous suits that were signature Oscar de la Renta that came in many different tweeds. pants with fur hems were matched with fur vests and short sleeved shirts showing that the Oscar girl can be playful and fun.
Evening was precious with an array of sophisticated looks. A gown covered with graphic paillettes was divine. And how can an Oscar de la Renta collection not be without any ballgowns? It would be blasphemous! This time the ballgowns were truly gorgeous with tulle skirts that tastefully and gradually got bigger and bigger.
This collection was certainly without any limits and it was done well. Oscar truly has a great eye and taste for fashion and at his age it is wonderfully endless! I Love you Oscar!!!
Michael Kors had a fabulous day at Wall Street the day before his show, with his company's shares rising 27.5 percent. The collection was definitely in the spotlight and it did not slow him down in a NY way from going onward and upward. Being in business for 30 years Kors has his formula down and it is definitely working. Of course there have been some rough years within these 30 years but Kors has always been happy to give his ladies glamorous, sporty clothes that are sexy and practical.
"What does American beauty really mean?" he asked in an interview. "At the end of the day, it's roughly elegant." This certainly was what Michael Kors sent down the runway which were looks that were highly luxurious and had an extravagance. All of it can be worn in Manhattan or up in Aspen. The furs came in shearling, Mongolian lamb and raccoon. For the women who want tamer outerwear can opt for the tartan chesterfields and striped blanket ponchos with deep fringe. There were accessories that included hats, neck ruffs, and a pack-for-a-week shoulder bags.
Daywear had quite a mix that was unexpected for example an almost conservative midi-length skirt paired with a knit lace tank bustier, or black leather adding edge to a grey plaid dress. Kors also worked in a more ladyfied approach for smart dresses, one a strapless black wool stunner; another in black leather with black lace insets.
Evening had some wonderful stunners. The crystal beaded stretch jersey gowns in red and black with keyhole backs were beautiful.
Anna Sui showed a collection full of clothes that told there own story. The clothes had precision and polish. The stories within the collection were caftans inspired by those worn by Elizabeth Tayor, commercial art of Fellini favorite John Alcorn, the valentine card illustrators Walter and Naiad Einsel and the Todd Oldham book about textile designer Alexander Girard. Plenty of stories but it all worked well in this presentation. There were also some folkloric touches that Sui is good at like the handcrafted owl applique which was attached to a velvet varsity jacket over brown corduroy shorts that is a look perfect for Twiggy.
A beautiful glittery plaid shift topped by a matching coat and paired with kitten heels looked perfect for the Jean Shrimpton type. Anna Sui on the long run in this season made sure she created clothes that would walk off the runway and be worn in the streets. And you know what? That she did a great job!
Antonio Gaudi was the inspiration that led Gilles Mendel to design his ultra elegant fall collection. It was filled with mixed textures, rounded shapes and most of all, mosaic like details and the palette was mostly neutral. The experiments were mostly centered on the construction on his furs of which there were up to eight different kinds. Coats were knit together with various fur textures, and voluminous yet lightweight dégradé furs mounted on tulle. The white group in Mendel's show was a stunner and really set the tone for fall and cold winter days or nights. His sportier looks were a hit such as a black tiered shearling jacket and flippy short skirt.
A great deal of eveningwear was displayed. Mendel certainly did not skimp out in this section. It was all sophisticated and beautiful. A white column slashed with gold accents was modern and chic. The beaded and hammered charmeuse bias-cut gowns were nice and a strapless, gold beaded sheath was stunning. There are many more that were shown that were luxurious.
J.Mendel is a fashion house that truly represents high luxury looks and quality that is a treasure here in New York. Mendel did a great job in designing clothes that are perfect for his fans and clients. Yes, J.Mendel is a treasure and this season it shows.
At the Narciso Rodriguez show there sat Gloria Estefan at the front row and her Latin beat was playing on repeat. This led to thinking that Rodriguez would show some of his passionate roots for fall. It turns out that he had something else in mind for his collection. "There's so much inspiration that went into it," Rodriguez said after the show. "Collaging, collecting, color, film stills, many artists, the film world. A lot of thinking."
The first look that came out was a chartreuse coat that was architectural and tailored in a modern bell shape. What followed were dresses draped around the torso, where there was a playful mixture of matte and shiny that accentuated the figure. Coats had a bell shaped volume that started at the waist and falling in A-line shapes from the shoulders and had a nice twist of a look at them. A pair of beaver coats were color blocked in warm autumn shades and looked fab. There was a saffron and burgundy dress that looked as though it had two looks in one.
Sexy looks such as a double layered tweed and flannel bustier and a tank stitched from black lace and embroidered silk were slightly awkward yet they were attention getters. The same lesson was applied to narrow bias cut silk evening skirts that fluttered and gave runway wind a good name. Pants were not so much on Rodriguez's mind yet the ones he presented were beautifully crisp, tailored and perfect. The introduction of his show and handbag collections debut here and they were precious and were a strong addition. They were a mixture of alligator, lizard, and python with suede in geometric ways.
Rodriguez used his strong sense of construction skills, layering different colors and fabrics that only he can do so successfully. The minimalism was sensual and the looks were all clean and polished. The colors in this collection may have looked moody but they were absolutely gorgeous either together or by themselves. Narciso Rodriguez is a name which is a stamp in American Fashion and it is a pleasure seeing it every season.
This collection by Marc Jacobs went through quite an adventure. A wonderful fashion fest of clothes that were wonderfully sculpted and made with beautiful custom fabrics, all punctuated by furry hats designed by Stephen Jones. The shoes were tricked-out with holograms and sparkly buckles.
After a fabric delay, due to snowy weather, an involvement of a Learjet and a spur-of-the-moment conversation between Jacobs and Rachel Feinstein that resulted in the intriguing set she designed. "I'm thinking about Puritans and Pilgrims and kind of fake melancholy," Jacobs told her. "That's right up my alley," she offered back. The result were paper thin grottoes made of a series of paper thin wood, their decrepit arches encompassing several stairs from which the models would descend. The designer said that he was also inspired by the likes of Anna Piaggi and Lynn Yager, fashion eccentrics of the first order and mash-up artists long before the Sartariolist arrived on the scene.
Stoles over coats over skirts over pants over egg shaped dresses, fitted brocade jumpers over crisp shirts came out that were pretty lyrical and quite interesting in a modern way. A subtle Edwardian silhouette with the curvature were created not with any crinoline achieved through cut and construction. Colors were many and were sprinkled throughout the collection with prints that ranged from oversized paisleys to floral pencil doodles, and holographic appliqués dripped off dresses.
A daring collection full of play of textures. colors, prints and silhouettes. Marc Jacobs is a force of nature and every season he steps over the line of 'just right' to the area of 'just fabulous'. This fall and winter season can be enjoyed with the bold creativity of Marc Jacobs.