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Getting set for the fall
Source: Agencies/Shanghai Daily |
February 20, 2011, Sunday
|
Print Edition
Print Edition
AMERICA'S biggest haute couture event of the year wrapped up last week and while outlandish looks were kept to a conservative level as the economic doom cloud over the fashion industry refuses to budge, the fall collections on show did promise some sartorial respite. Fur was a particular feature flying across many designers' catwalks, while big Big Apple names such as Calvin Klein and DKNY offered staple classics. Designers with Oriental roots including Jason Wu, Alexander Wang and Vivienne Tam were well represented, the latter's collection clearly demonstrating her Chinese heritage. We wrap up some of the best fall looks to look forward to.
DAY ONE, DAY TWO
Jason Wu
In New York's early going there's a movement afoot to destabilize classic sportswear with hyper-attention to detail. Wu did so beautifully by putting wide strips of lace down the sleeves of a coat and sweatshirt, and attaching a lace "train" to the inside of a parka.
More often than not, his tailoring came in lean, androgynous silhouettes which, when lavished with colorful crystals, had a rhinestone cowboy touch.
Peter Som
Som upped the ante on traditional sportswear. Staring with a sturdy navy wool twill peacoat, which, from the back, revealed thick fox fur. That hybrid sensibility, not to mention the fur motif, continued throughout the show as well as a major push for "elevated classics." A luxe case-in-point: the mink-lined parka.
DAY THREE
Alexander Wang
Wang poked fun at luxury and decadence with a slew of inventive formal attire hybrids. Tuxedo pants zipped open on the sides to reveal track pants beneath. He melded parka with motorcycle jacket, jazzed up with a tailcoat in the back. Pea coats wed winter puffers. Even an oversize blazer came cut in mink.
Jill Stuart
Inspired by a dark, wintery fairy tale, the designer went literal with owl and fox scenic prints on dresses, tops and skirts and stellar looks in woodland tones.
Vivienne Tam
True to her Chinese roots, Tam's collection featured Kun opera costume references, as in the sculptured tweed outerwear and traditional silhouettes adorned with lace, embroideries, appliques and crystals.
DAY FOUR
DKNY
Coats were tailored and graphic, like the black styles with a bold white panel across the chest, adding edge with leather sleeves, and there were knit puffers and furs, such as the cheetah-print shearling.
Victoria Beckham
Beckham offered a teal matte gazar V-neck cocoon, but the finale gown in the same color and fabric was the one to talk about: It had chiffon-covered resin bits arranged in a mosaic pattern that looked like shards of shattered glass around the neckline.
Diane von Furstenberg
Fringe was everywhere - on boots, round hats with wide flat brims and gaucho pants. It even adorned a wool twill jacket, suede vest and felted twill coat.
DAY FIVE
Marc Jacobs
Dots came small, medium and large; matte and shiny; flat and 3-D, and in a dizzying array of fabrics: prints and embroideries; rubber that aped paillettes; paillettes that aped fur, and film discs fused onto rubber. There were fake furs and real furs, the latter sheared beaver with big dots inset into the larger piece.
But there was far more to this show than spotted fever. Jacobs also showed terrific sweaters, an "altered men's coat," sailor pants and gorgeous lace dresses detailed with romantic jabots. As for accessories, spotted socks, Stephen Jones' mini-berets and a range of slush-busting snow boots completed the message of feisty faux-restraint.
DAY SIX
Vera Wang
Wang's woman doesn't need T-shirts and jeans, she needs a closet full of proper tea attire, cocktail dresses and full-length, black-tie gowns.
Pleating, done with precision but also a softness, was a major theme of Wang's collection. The best looks were the chemise dresses with dropped waists and accordion pleats, or the mustard-colored, high-neck cocktail number with sheer, slashed sleeves.
Badgley Mischka
The designers channeled a vintage feel in everything from Deco-beaded sheaths and slender, tiered gowns to the lean, sleek jumpsuits and capelets. Several looks - a shearling bomber with a slim jersey gown, a wool lace twinset or pullover with tuxedo pants, a sequined tulle dress - featured an easy, restrained approach to evening that combined, as Badgley put it, "the diva and the ingenue."
DAY SEVEN
Oscar de la Renta
It was all there: glamor, luxury, color.
Coats were fur - cashgora combos and cashmere crocheted cardigans with fur hoods gave new life to a standby silhouette.
Daytime dresses were slim, some with a simple belt at the waist or a ruffle around the neck. He did not shy away from color: There were bright blues, greens and reds.
Anna Sui
The graphic mod mood of London met the ornate costumes of the Ballet Russes with nine rapid-fire black-and-white outfits, including a fuzzy chenille herringbone and houndstooth dress, and a Deco-sequin embroidered tunic over an optic-print dress.
DAY EIGHT
Calvin Klein
Creative director Francisco Costa has made his favorite shape a little looser - sometimes boxier - with sloped shoulders and a curved collar based on a baseball jacket.
A garment that looked like a dress from the back, but a slit just below the hip on the front created the illusion of flattering separates.
The colors, a range of neutrals from white to black, was classic Calvin Klein.
Richard Chai Love
Chai sent out a major menswear statement with a parade of terrifically tailored outerwear, all generously cut and oversized. Beneath those sportswear layers (wrap coats over blazers; vests over double-breasted chesterfields), his models wore filmy silk dresses, slips and cascading pleated skirts, mostly all maxi as per Chai's way.
DAY ONE, DAY TWO
Jason Wu
In New York's early going there's a movement afoot to destabilize classic sportswear with hyper-attention to detail. Wu did so beautifully by putting wide strips of lace down the sleeves of a coat and sweatshirt, and attaching a lace "train" to the inside of a parka.
More often than not, his tailoring came in lean, androgynous silhouettes which, when lavished with colorful crystals, had a rhinestone cowboy touch.
Peter Som
Som upped the ante on traditional sportswear. Staring with a sturdy navy wool twill peacoat, which, from the back, revealed thick fox fur. That hybrid sensibility, not to mention the fur motif, continued throughout the show as well as a major push for "elevated classics." A luxe case-in-point: the mink-lined parka.
DAY THREE
Alexander Wang
Wang poked fun at luxury and decadence with a slew of inventive formal attire hybrids. Tuxedo pants zipped open on the sides to reveal track pants beneath. He melded parka with motorcycle jacket, jazzed up with a tailcoat in the back. Pea coats wed winter puffers. Even an oversize blazer came cut in mink.
Jill Stuart
Inspired by a dark, wintery fairy tale, the designer went literal with owl and fox scenic prints on dresses, tops and skirts and stellar looks in woodland tones.
Vivienne Tam
True to her Chinese roots, Tam's collection featured Kun opera costume references, as in the sculptured tweed outerwear and traditional silhouettes adorned with lace, embroideries, appliques and crystals.
DAY FOUR
DKNY
Coats were tailored and graphic, like the black styles with a bold white panel across the chest, adding edge with leather sleeves, and there were knit puffers and furs, such as the cheetah-print shearling.
Victoria Beckham
Beckham offered a teal matte gazar V-neck cocoon, but the finale gown in the same color and fabric was the one to talk about: It had chiffon-covered resin bits arranged in a mosaic pattern that looked like shards of shattered glass around the neckline.
Diane von Furstenberg
Fringe was everywhere - on boots, round hats with wide flat brims and gaucho pants. It even adorned a wool twill jacket, suede vest and felted twill coat.
DAY FIVE
Marc Jacobs
Dots came small, medium and large; matte and shiny; flat and 3-D, and in a dizzying array of fabrics: prints and embroideries; rubber that aped paillettes; paillettes that aped fur, and film discs fused onto rubber. There were fake furs and real furs, the latter sheared beaver with big dots inset into the larger piece.
But there was far more to this show than spotted fever. Jacobs also showed terrific sweaters, an "altered men's coat," sailor pants and gorgeous lace dresses detailed with romantic jabots. As for accessories, spotted socks, Stephen Jones' mini-berets and a range of slush-busting snow boots completed the message of feisty faux-restraint.
DAY SIX
Vera Wang
Wang's woman doesn't need T-shirts and jeans, she needs a closet full of proper tea attire, cocktail dresses and full-length, black-tie gowns.
Pleating, done with precision but also a softness, was a major theme of Wang's collection. The best looks were the chemise dresses with dropped waists and accordion pleats, or the mustard-colored, high-neck cocktail number with sheer, slashed sleeves.
Badgley Mischka
The designers channeled a vintage feel in everything from Deco-beaded sheaths and slender, tiered gowns to the lean, sleek jumpsuits and capelets. Several looks - a shearling bomber with a slim jersey gown, a wool lace twinset or pullover with tuxedo pants, a sequined tulle dress - featured an easy, restrained approach to evening that combined, as Badgley put it, "the diva and the ingenue."
DAY SEVEN
Oscar de la Renta
It was all there: glamor, luxury, color.
Coats were fur - cashgora combos and cashmere crocheted cardigans with fur hoods gave new life to a standby silhouette.
Daytime dresses were slim, some with a simple belt at the waist or a ruffle around the neck. He did not shy away from color: There were bright blues, greens and reds.
Anna Sui
The graphic mod mood of London met the ornate costumes of the Ballet Russes with nine rapid-fire black-and-white outfits, including a fuzzy chenille herringbone and houndstooth dress, and a Deco-sequin embroidered tunic over an optic-print dress.
DAY EIGHT
Calvin Klein
Creative director Francisco Costa has made his favorite shape a little looser - sometimes boxier - with sloped shoulders and a curved collar based on a baseball jacket.
A garment that looked like a dress from the back, but a slit just below the hip on the front created the illusion of flattering separates.
The colors, a range of neutrals from white to black, was classic Calvin Klein.
Richard Chai Love
Chai sent out a major menswear statement with a parade of terrifically tailored outerwear, all generously cut and oversized. Beneath those sportswear layers (wrap coats over blazers; vests over double-breasted chesterfields), his models wore filmy silk dresses, slips and cascading pleated skirts, mostly all maxi as per Chai's way.
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