Standing side by side along a wall of windows, in the large expanse of a 12th floor loft along the Hudson, were Gregory Parkinson’s girls donning his breathtaking dresses for Spring.
Sex has been on the Wu docket for years, but never through a prism as sexually emblematic as that of Newton.
Beads of sweat ran rampant in that story, based in Vietnam, and Cibani has always been something of a merry wanderer herself
The first look was so telling. A fan-pleated navy blue sheer gown with a flute skirt and a blousy top, with see-through billowy sleeves, carried the spirit, the overriding silhouette, the wayward intention, and the sex of the collection to come – a perfect microcosm of the new ventures taken at the Valentino atelier.
Inspired by the clean lines of Hubert de Givenchy’s 60s dresses and the bohemes of modern-day southern Italy, aesthetically, this haute capsule asks for no leniency from its public – it’s severe, for sure, or in layman’s terms – a lot of look, but the craft has never looked more sublime. In truth, this is an Italian tree-hugger only Tisci could fashion into real world existence.
To say that today’s Christian Dior Haute Couture show was possibly the most anticipated fashion moment of the past decade is probably no hyperbole.
One would be hard-pressed to recall a more accessible line-up from one of fashion’s most wayward artists. It was burgeoning, bustling, ebullient punk.
It’s no secret that Balenciaga’s menswear shows and presentations are a considerably sobering experience compared to its universally lauded sister outings.
Gender roles as a theme has been a major story during the menswear shows for the past week and some change.
Iconoclasm and recalcitrance have always been staple tenets of the male Simons mode. First look out, those motifs weren’t announced so much by the tangled gutter punk hair, but by those parallel slits that hit way above the knee on a pair of black tailored shorts.
The iconic Gucci bit loafer is celebrating its 60th anniversary this year and it was beautifully honored in each look of Frida Giannini’s latest menswear collection.
Perhaps what’s most impressive about Phoebe Philo’s expedient course to the tip tops of today’s fashion heap is how she’s managed to cultivate so many house staples for the resurrected house of Celine in so little time. Well, if the striped flared silk trousers and pastiches of leather and animal print weren’t already signatures, they are now.
Marc Jacobs is not through with bombast. After a boisterous double-whammy last February and March with his eponymous line and Louis Vuitton, Resort finds Jacobs upping the quirk quotient with a colorful line inspired in part by artist Cindy Sherman’s clown series.
Zac Posen’s collections are best experienced in person. So when we received the invitation to personally view the Resort 2013 collection at the Zac Posen showroom in TriBeCa we knew we were in for amazing craftsmanship, showmanship, and new and interesting takes on 1940s Hollywood and American aristocratic dress.
When was the last time the house of Balenciaga showcased a floor-length gown? The only instance that comes to mind was over a year ago when Cate Blanchett hit the Costume Institute Met Gala’s red carpet in a stunning gold goddess gown, arm in arm with the designer, Nicolas Ghesquiere.
Jack McCollough and Lazaro Hernandez have had lots on their collective plate as of late (namely, the opening of their New York City flagship store uptown with another downtown location following suit right after), and yet, a heavy workload has never been known to stifle the creative juices that flow from the powerful Proenza Schouler duo – that is, until this latest resort collection.
Reed Krakoff is one of a few American designers who manage to successfully translate Europe’s minimalist sensibility into timeless American design.
At first glance, Christopher Bailey’s latest resort collection for Burberry Prorsum is something of a head-scratcher. For some time Bailey has been employing his arsenal of motifs, exploring everything from the artisanal to experimenting with fabric technology for breaking new grounds of inspiration.
The collections in Europe have made it exceptionally difficult to focus on the clothes. Not because there’s lackluster design by any means—Paris and Milan have definitely delivered the goods—but because some of Fashion’s most influential houses are in a state of limbo.
When you think about fashion trends you think of those readily available abstractions, such as minimalism, color-blocking, peplums, etc.
For fall 2012 Gareth Pugh took the term “man eater” to the next level. Set on a stage of black fabric discs fallen from the ceiling to resemble the debris on the ground of a post-apocalyptic Amazonian village, Pugh’s models were fearless cannibals, satiated by male flesh.
Domenico Dolce and Stefano Gabbana turned down the kitsch factor ten-fold with this collection, and set out to design a functional and fabulous wardrobe for the “renaissance” woman. Literally.
Angela Missoni knows texture. She’s sustained a house on that foundation. For fall 2012 she brought things back to nature, but with an expressionist twist.
If a fashion stint is to be measured by Shakespearean terms, an exit after his much lauded spring collection, with the envisioning of the Jil Sander bride, would’ve qualified as a departure steeped in the Logos – departing with order intact.