From windbreakers and rain jackets to protect you from the elements in spring’s unpredictable weather to trendy pile fleece and fashionable camo, there’s a spring jacket that’s just right for you. The best part? They’re all on sale right now.
[[tmz:video id=”1_ctgs24ve”]] Cuba Gooding Jr. is living proof you don’t need to be a college student to go absolutely nuts on spring break … because he’s wilding out at a pool party in Miami Beach. Cuba is just like most college kids — except…
While we love a good pair of jeans as much as anybody, falling into a rut and wearing the same few pairs every day is never a good idea. With spring right around the corner, now’s the perfect time to revamp your lineup and get some fresh new pants into your closet.
There’s never been a better time to wear sneakers. Once a humble footwear item designed specifically for athletic pursuits, sneakers have become elevated into the world of high fashion, and envelope-pushing designs abound. Picking up a fresh, bright pair of new sneakers is a great way to make a statement this spring.
From tried-and-true classics like Converse One Stars to top-tier examples from storied fashion houses like Versace, there’s truly a sneaker for everyone nowadays. But you don’t have to be a hypebeast to pull off wearing a pair. Below, we rounded up seven sneaks that deserve your consideration this season.
We happily endorse the spring uniform of T-shirts, sneakers, and jeans—provided you pick the right ones. With that in mind, we’ve curated our favorite new spring staples, which will take that classic look to the next level.
Perry Ellis Portfolio slacks provide a mix of sleek and classy. And with three fits—very slim, slim and modern fit—there’s a style and size for every guy. Want a fresh, contemporary look at work? Go for a pair of flat front men’s slacks. Want something a little more classic? Perry’s double pleated trousers impress by paying homage to the timeless looks of yesteryear.
Iridescent, pinstripe, plaid, wool, melange, textured, bengaline, solid, sharkskin, herringbone, heathered, check— well, you get it. There’s a pattern to suit any style and every occasion, in a variety of contemporary and classic colors.
Modern fit is for guys who want a slightly wider pant that’s not too tight and not too loose. Slim fit results in a slimmer feel through the waist, and a straighter finish through the hips and thighs. Very slim fit is for guys who want skinny without constriction, culminating in a sleek pant that’s trimmer through the waist, hips, and thighs.
Whichever you choose, Perry Ellis dress pants are an excellent addition for the on-the-go businessman. Perry Ellis performance features, including non-iron, stretch and wrinkle-free, give you a leg up on style. And machine washable slacks allow you to skip the dry cleaner.
Pot not sweet enough for you? Right now, use the code EXTRA10 to take an additional 10 percent off everything that’s on sale. Any pants, any shirt, any belt, any watch, any accessory—yes, anything that’s marked down at perryellis.com, you get another 10 percent off. That means many of the brand’s most popular styles will end up over half off.
If you were thinking about reinvigorating your spring wardrobe, don’t wait.
A FRESH FACE: Jonathan Anderson has always seen his role both at JW Anderson and Loewe as a “cultural agitator” as much as designer.
A longtime champion of photography and pushing the boundaries of image-making, he launched the “Your Picture/Our Future” project last year, in a bid to shine the spotlight on the new generation of photographers.
Now he has tapped Julie Greve, one of the winners of the competition, for his latest spring 2019 campaign, which will be released this week.
The campaign, dubbed “Jagged Whispers Ashore” includes a series of black-and-white images that have a nostalgic, raw feel to them, as well as a film shot by Greve. She worked alongside Anderson, stylist Benjamin Bruno and the creative agency M/M Paris to conceptualize the images and film.
Greve, who is U.K.-based, was one of three winners of Anderson’s “Your Picture/Our Future” photography competition. She also worked on the brand’s fall 2018 campaign alongside the other two winners.
As part of the initiative, which is supported by Prince Charles’ charity The Princes Trust, Anderson was flooded with more than 1,800 submissions from young, 18- to 30-year-old imagemakers. He selected three winners and curated an exhibition in Covent Garden last May, to showcase some of
Lebanese designers George Azzi and Assaad Osta presented their silk road inspired couture collection in Paris. The designers, who both worked with Elie Saab, before launching their own label, have known each other since design school days and shared a mutual fascination with journey of dressmaking. “It was always very fascinating to us how silk as a luxury had to travel from one side of the earth to another to get to the royal courts of Europe,” Osta said. Each piece from the collection paid tribute to a city, monument or memorable landmark along the road. The designers used various techniques including pleating, antique embroideries and the sculptured structures to reflect the journey. The color palette reflected of the skies from dusk to dawn, with shades of jade green, cerulean blue, jasmine white, powder pink, lilac, mulberry yellow and twilight blue.
“The idea of how secretive and protected the provenance and art of silk making was is very similar to couture, the savoir faire, the well-kept secret of the couture house, and the journey that undertakes every piece,” Azzi added. The designers have caught the attention of celebrities, dressing Beyoncé, Cardi B and Kendall Jenner.
It was a striking scene. Ghostly couture silhouettes designed by Nana Aganovich and Brooke Taylor, the duo behind Aganovich, seemed eerier still once set against the backdrop of a carpenter’s workshop.
A roaring fire rattled the panes of the Parisian atelier to the sound of pigeons cooing while models slowly navigated their way along the machines, surrounded by wood planks and various hardware. The label’s second couture collection explored the story of a woman on a journey: “She’s armed and protected, but as she goes through life things happen and she becomes someone different,” Aganovich explained.
This was expressed by trailing unfinished hems, giving the impression of the looks unraveling before the viewers’ eyes. The models’ faces were constricted by veils, with the occasional addition of fake locks of hair piled on top of their heads.
The looks were all about contrast. White billowing silhouettes were pitted against yellow plaid suits, a Victorian gown followed a jacket with a structured waist, and a delicate feather-rimmed skirt was given a hard edge when paired with leather boots held up by safety pins.
As expected of a couture collection, all the materials were treated in Paris by the label’s atelier. The brand uses the same patterns as
Decadence — a word tingling with intrigue, and the new object of John Galliano’s fascination for his Maison Margiela Artisanal collection.
The designer spent the past four couture seasons defining “a New Glamour,” the results of which are the “blood coursing through the veins of the Maison Margiela,” he notes in the latest installment of the podcast, created to provide context to his collections. Now, he’s ready to move on.
The collection Galliano showed on Monday was all about decadence, which he equates with excess, and what’s more excessive today than the insatiable thirst for technology, especially among Gen Z types? “The overstimulation of computer-generated imagery alters reality and degenerates the truth. Chaotic and unsettling, it is a confusion of the senses rooted in an over-satiation that inevitably overspills,” his program read. He thus wondered if now is the time for a counter movement, one from frenzy to something resembling restraint.
The show space at Margiela headquarters fueled overstimulation, covered in a wild, aggressive graffiti motif made all the more dizzying by the mirrored floor. The only image to emerge with clarity from the visual dissonance was that of a poodle in a color Galliano loves — vibrant Yves Klein blue.
Neon and tie-dyed looks, cargo pants, animal prints, tailored pantsuits and skirt suits, slipdresses, rocker-inspired jackets and grunge are touted to be key looks in the contemporary department this spring. That’s the word from fashion directors of department and specialty stores, as well as web sites, who were polled about what they consider to be spring’s biggest trends.
Here’s what they had to say.
Heather Shimokawa, vice president for fashion direction, ready-to-wear at Bloomingdale’s:
“Leopard print was a huge fall trend and we are really excited about the evolution of animal print for spring with great snakeskin and colorful leopard prints. Our customer loves this print and we will see updated versions on T-shirts, wrap dresses and denim. We are also loving the newer silhouettes for spring with wraps, ties and knots that span across all categories from dresses, belted shorts and pants to fresh swim styles. Wide-leg jean that emerged last season will be everywhere this spring in all lengths — cropped, full and flared. The wash is lighter with a vintage Seventies feel. What is really new is the way designers stretched the category beyond the jean — we are excited about the jumpsuits, tailored denim dresses and skirts that we are
LONDON — Jonathan Anderson is looking to the Eighties works of Gilbert & George, and specifically their early street shots of East End boys, for a men’s and women’s capsule that will launch Dec. 3 at Matchesfashion.com.
JW Anderson x Gilbert & George is part of the designer’s spring/summer 2019 collection and is meant to celebrate the artists, their take on masculinity and British modern life. Anderson has focused on three of his favorite works by the artistic duo: “Guard Plants” (1980), “Dog Boy” (1980) and “Heavy” (1988).
Gilbert & George’s candid shots of “normal” kids on the streets of London’s East End helped to make them famous, and by the end of the decade, works such as Heavy had become more stylized and reflective of the duo’s love of William Blake’s poetry.
“Guard Plants” shows the face of a boy in military-style uniform framed by leaves and vines in intense primary colors, while “Dog Boy” is a black-and-white shot of a teenage kid flanked by rows of flowers in full bloom. “Heavy” shows three dreamy young men floating in the sky with hair that looks as if it’s on fire.
Name: Neglect Adult Patients
Main message: Designer Junnosuke Watanabe has a diverse background, having studied political science and economics at Waseda University and performed as a member of a Japanese music group. For his first runway show, he played on his unusual brand name and turned out a hospital-themed collection, even sending out models in mint green gowns and scrub suits. There were also T-shirts and sweatshirts with slogans such as “Touch me, I’m heavy sick” and “Medical play.” He filled out the offering with a series of shorts and jackets in red plaid, leopard print and ath-leisure fabrics.
The result: Despite some odd English phrases, the clothes were pedestrian and showed Watanabe’s inexperience, although he’ll likely find customers among his fans. But it’s not clear that he needed a runway show to do it.
Name: Mitsuru Okazaki
Main message: Yohji Yamamoto alum Mitsuru Okazaki’s brand is only in its second season, but it is already establishing itself as one to watch during Tokyo Fashion Week. The designer is adept at creating unexpected shapes out of simple textiles, such as the denim skirts topped with petal-like layers or the white pants covered in pyramid-shaped puckers that he sent down his spring runway. He also did interesting things with concealed zippers, placing them on balloon sleeves and pant legs so that when zipped open they looked like multiple slits, sometimes in contrasting colors. Diagonal stripes and colorblocking gave movement to otherwise simple tapered trousers and button-down shirts.
The result: The collection was both cohesive and inventive, as well as casual and real-world friendly, making it a strong second effort. And unlike many designers who show in Tokyo, Okazaki demonstrated his ability to self-edit.
Main message: Former knit designer Mari Odaka drew from her roots while also demonstrating her range with her spring collection, the first one she’s shown on Tokyo’s runways. The knits were many and varied, from oversize, mixed-texture sweaters to open knit dresses and crop tops with openings at the elbows. But she combined these with silky and velour blouses, sheer mesh pants, and loose-fitting denim for a contrast of textures. The lines were clean and the colors classic shades of navy, beige, white and red, while bits of fringe and lace created focal points.
The result: Odaka delivered a strong offering with a clear point of view and unique sensibility, proving she deserves a spot on Tokyo’s regular fashion week calendar.
Main message: Nao Yagi and Hokuto Katsui gave their garden party-evoking collection a Space Age edge with tinsel wigs, Mylar visors and headscarves, and simple black cubes on their stark white runway. They showed loose, ankle-length dresses and skirts in sheer mesh or botanical prints, paired with fringed knits, wide herringbone striped tunics and linen suits. A few all-black looks, some with dark leopard-print pants or metallic accents, kept it from feeling too sweet or predictable.
The result: The easy shapes and soft textiles would be right at home at any picnic, but unexpected accents kept it feeling fresh, modern and urban.
Name: Ksenia Schnaider
Main message: Ksenia Schnaider’s Ukrainian resort-themed collection was a breath of fresh air during a largely subdued Tokyo Fashion Week. Its kitschy vibe and beachy influences translated into a fun collection of urban cool-girl clothes. The designer said she was inspired by the makeup and high heel-wearing beachgoers from her home country. She sent out sequin-encrusted T-shirt dresses, Hawaiian sunset-print shirts, and denim with unfinished edges and plenty of cargo pockets. A standout fur-like frayed denim jacket closed the show.
The result: With high energy, a clear theme and a fresh feeling, the collection was one of the most promising of the first half of the week, and showed that the designer doesn’t take herself too seriously.
Main message: A stark white runway got pops of bright greens, yellows and blues as Hare’s models walked in sporty mesh dresses, straight-leg pants, ankle-length skirts and bomber jackets. The silhouettes were familiar but the brand, designed by a team, has a large digital following, proving its commercial appeal. A head-to-toe shibori tie-dye look on denim and chambray, and a satin jumpsuit in a marbled paint print stood out, while details such as fanny packs and large cargo pockets hinted at a Nineties theme.
The result: While the pieces themselves were not particularly exciting, the styling and accessories helped to elevate them slightly, and the bright colors contrasting with black and white felt fresh.
Name: Jenny Fax
Main message: “An ordinary girl from a small town is going to buy a flower print dress for her date. That is so romantically sad,” said Shueh Jen-Fang’s show notes. Prone to taking inspiration from childhood themes and experiences, the designer made this collection a grown-up storybook tale. Spanning clown-like jumpsuits with exaggerated shoulders to sweet floral or pastel dresses with huge pockets, it permeated humor. But there were also plenty of less innocent details, like dresses, skirts and long fringed shorts worn with buttons and zippers undone to show the navel, or satin thong underwear attached to the outside of frocks and extending all the way up to the shoulders. Tiny cropped jackets, an oversize, stonewashed denim double-breasted blazer, and mismatched sleeves played with proportion.
The result: As the last show of Tokyo’s spring fashion week, it did not disappoint, cleverly mixing together unique yet wearable pieces with more theatrical, conceptual ones.
Takeshi Osumi and Yuichi Yoshii’s shows have come to be known as a highlight of Tokyo Fashion Week, and this season was no different. Since they began staging runway shows, they have honed their style so that each collection is fun and uplifting, and stylish with a hint of humor. The theme for spring was “vibrant,” which was clearly illustrated through their diverse color palette.
The designers layered sheer T-shirts over solid ones, sheer bomber jackets over button-down shirts, and sheer shorts over khaki ones. Bright neon trim appeared on the cuffs of dress shirts and at the back of trenchcoats, and panels of contrasting fabric were added to moto jackets and short-sleeved shirts. A series of color-blocked leggings and body-hugging jumpsuits in mixed prints were worn under more formal pieces such as blazers and toggle coats.
From socks with sporty drawcord tops to bags made by Outdoor Products, Karrimor and Speedo, the accessories rounded out the collection with fun and function.
Stephanie von Watzdorf was awash in the afterglow of the Meghan Markle effect when presenting her spring Figue collection. The Duchess of Sussex wore a floral dress from the collection for her first speech on the royal tour in Fiji earlier this week. “She’s in Fiji, which is one of my dream destinations, and she’s talking about women’s empowerment and education, which is so on my radar, aside from animals and outfits,” said von Watzdorf, adding that Markle’s effect on sales is real.
As for the spring collection, von Watzdorf titled it Nomad Love. She culled decorative elements — stripes, beading, florals, embroidery — from nomadic tribes the world over and coalesced them into pajama tops and bottoms, silk and cotton caftans, peasant tops and robes that fit the bill for pretty, bohemian style whether you’re wandering the globe or going about your everyday life and want something that telegraphs “summer.” What felt newest were airy, voluminous cotton dresses in polka dots, a quilted ikat robe and a great pearl and evil eye jewelry collaboration with Beck Jewels.
Two-and-a-half years after Tory Burch launched Tory Sport, the brand’s performance results are coming in. “It’s interesting to start to see what the business is coming to,” Burch said last week during a preview of the spring collection. “We’re starting to see what makes sense, less is more, and what is working for us.” The collection is not just cute, colorful and branded, although it is definitively all of those things — it’s also become a viable player in terms of performance wear. Yoga and running, particularly the seamless pieces, are doing well, as is golf.
For spring, Burch amped up the color with the Bauhaus principles of form and function in mind, working in fuchsia, red, green, blue and white in graphic stripes and lots of chevron. The clothes she wore to play sports in high school in the Seventies were on her mind, so chevron track jackets and silky soccer jerseys were updated in lightweight, breathable, moisture-wicking fabrics as opposed to the pure polyester the vintage styles came in. Weatherproof outerwear stood out, as did a few fabulous chunky hand knit cotton sweaters that fell into Tory Sport’s “coming and going” category. There was a new tennis skort and
While fellow designers Kim Jones at Dior and Virgil Abloh at Louis Vuitton were making splashy runway debuts in June, Kris Van Assche was quietly unveiling his first collection for Berluti to buyers in showroom appointments.
Editors discovered the collection this week, when it was presented in a temporary glass-walled pavilion designed by Jean Prouvé, set up on the Place de la Concorde in Paris to coincide with the FIAC contemporary art fair.
Designed as a prologue to his first runway show, scheduled for January, the capsule line reflected the mix of tailoring and sportswear that has been a trademark of Van Assche’s previous work, both at Dior men’s and for his own label.
Cropped-leg suits and white shirts, some with black leather patches, rubbed shoulders with smart cashmere blousons and hoodies, including one in paper-thin red lamb leather.
Van Assche used the Scritto, an 18th-century manuscript motif that normally appears on Berluti shoes, in a variety of guises: as a graphic black print on a white T-shirt, a multicolored pattern on a black shirt, or tone-on-tone jacquard accents on a cream tuxedo.
The house’s trademark patina appeared as a blue and red colorway deployed across clothing — such as a cashmere and silk crewneck
Main message: According to its profile, this brand aims to make “clothing that adds colors and [an] uplifting feeling for everyday life,” but you would never guess it from its spring collection. Designer Kanya Miki, a former assistant to John Galliano, showed a severe collection in shades of black, white and gray. He paired wide-legged, extralong pants with motorcycle jackets or a variety of T-shirts, some with asymmetric lines. While designed for men, the offering was shown on models of both genders to demonstrate its versatility.
The result: Rabd’s first runway outing showed a cohesive and consistent collection, but the looks were so similar that it often seemed they were being repeated over and over.
Main message: Risa Aizawa evoked a child’s dress-up party with her latest show, seating a group of models in nude undergarments, neutral colored heels and blonde bob wigs on the floor in the center of her runway. Around them walked more models, who wore her fairytale-esque designs. With sweet, girly looks such as tulle or lace dresses covered in bows, frills and ruffles shown alongside more casual, real-world pieces including see-through raincoats and an oversize, gathered T-shirt dress printed with a cartoon character with eyes in her hair, it was like a modern-day “Alice in Wonderland.” Aizawa’s pastel palette and opulent textures, which included velour and jacquard, were contrasted by an out-of-place ankle-length, frilled frock in bright magenta, yellow, orange, blue and green.
The result: Considering her background working in a “maid café” and as a Japanese pop star, it’s not surprising that Aizawa’s design sensibility draws heavily from Tokyo subculture. And while the collection is unlikely to garner a widespread following, it’s sure to appeal to her fans and target audience.
Main message: Austrian designer Lisa Pek lived in Japan for two years, designing for a Japanese company. Not only did she meet her Japanese husband during this time, but the experience also shaped her design sensibility. She focuses on unique materials, including both sustainable fabrics and innovative performance textiles “in order to create fashion with a dynamic attitude.” In her debut Tokyo show, she used tech fabrics to craft color-blocked parkas, shorts and tube tops in navy, black, beige and orange. While Pek designs for both genders, the men’s offerings mimicked the designs for women, including jackets with zip-off sleeves and pants that unzipped to create shorts. Asymmetrical cutting and folding techniques added an edge to athleisure-style tube tops and dresses with drawstring details, while shirting fabrics were layered with jersey and other textiles to create deconstructed blouses.
The result: Pek’s European interpretation of Japanese style was an interesting addition to Tokyo Fashion Week, and demonstrated that the designer has potential to succeed both at home and abroad.
Main message: Model Emi Suzuki launched her brand last year, and quickly gained a following on social media. This season was the first time she participated in Tokyo Fashion Week, thanks to support from Amazon through its At Tokyo program. Rather than a traditional runway show, she chose to do a presentation in collaboration with a new media artist, saying that she wanted attendees to be able to see the detail in her clothes more clearly. Inspired by the night sky, she used zodiac, swirly galaxy and aurora borealis prints, as well as solids in both deep tones and soft, shimmering shades. She chose classic shapes like pencil skirts, wide-leg trousers, camisoles and belted jackets.
The result: The collection had obvious commercial appeal, but Suzuki didn’t take any risks with it and there was a sense that it was missing a certain polish.
Main message: Hidetaka Fukuzono blurred gender lines with his spring offering, showing blouse-like tunics, satin pants and loose-fitting jackets in soft white, ivory, olive, khaki and gray. His textiles were also soft and consisted largely of natural materials. But linen suits and jackets with oversize pockets lent a throw-back, safari vibe.
The result: The collection didn’t offer anything new and the styling was uninventive, but the clothes were high quality and utilized some beautiful fabrics.
For the past few seasons, Yukiko Ode and Hideaki Yoshihara have been reinterpreting classic military pieces, and this spring, they drew inspiration from Thirties and Forties coats and pants from American, British and French armed forces. Their show was held in a warehouse near Tokyo Bay, and the simple raw concrete backdrop allowed the clothes to take center stage.
The designers put their own modern take on salvage parkas, chambray shirts, field jackets and pants, flight jackets, motorcycle pants and more. They mixed these with pleated chiffon skirts, sheer mesh dresses, ankle-length knit smocks, denim jackets and cotton dresses. They also showed the third season of their collaboration with The North Face, which included aggressively cropped pullovers, long rain coats, leggings, sweatshirts and T-shirts. While most of the palette centered around neutral shades of khaki, olive, navy, gray, white and black, a few calf-length dresses in red or blue and white stripes provided contrast and added a subtle nod to the nautical.
While the military influences were clear, the collection was still modern and urban, with well-cut silhouettes and quality fabrics, creating the ideal wardrobe for an urban nomad’s commute. And thanks to the pieces by The North Face, it’s also suitable for
St. John presented a more streamlined and sleek collection during an intimate cocktail presentation in place of a showroom appointment for spring 2019. The brand felt even more elevated with mostly mannequins dressed in neutrals at the forefront of the floor-to-ceiling walls of the Glass Houses penthouse venue.
“We thought highlighting black, navy and white just sort of synthesized and streamlined it to the silhouette and form — to highlight slacks, jackets, dresses. There’s tons more color as well though,” explained Tom Jarrold, the brand’s senior vice president of marketing, branding and communications.
The silhouettes were light and easy: a long caftan continued from resort was updated in white, but also offered short and in fiery red. Transparencies made for important details in the collection on dresses and blazers. The brand is making due diligence to keep new collections close to its core DNA — continuing long line and tweed jackets, a wide array of “New Standard” basics, and dresses — while maintaining a less embellished, tightly edited and focused approach going forward.
Main message: South Korean-born, Tokyo-based designer Chisung Ihn made his runway debut outdoors at his alma mater, Bunka Fashion Graduate University. The rain that came down as a drum corps signaled the start and end of the show and only added to the atmosphere.
While intended for women, the collection was partially modeled by males in bright red lipstick, a shade that was mirrored on trenchcoats, bustier tops and open knits. Other colors were equally bold, and textures ranged from sheer organza to thick pleather. Sporty pieces included a striped knit dress, tech leggings, sports bras and a skirt with multiple drawstrings.
The result: While the silhouettes were not new, the designer put his own spin on them through color and texture. But the styling was uninventive and the collection grew repetitive with too many looks.
In salute to the Instagram age, photo prints made a big showing in the spring collections. Jack McCollough and Lazaro Hernandez marked their Proenza Schouler homecoming by decorating some basic materials, like cotton shirting, with photos of New York.
Main message: Ryoko Mukasa chose a bright, sun-filled venue for her brand’s inaugural runway show, the softly filtered green of the trees through a wall of glass setting the tone for her collection. She showed loose lavender skirts and pantsuits, bright pink and coral-colored gathered satin jumpsuits, and a layered aquamarine chiffon dress. But her strongest looks had a subtle edginess to them, such as an off-the-shoulder blouse in crisp white shirting, with a thin lace underlay at the neckline, or a checked bias-cut skirt paired with a black-and-white open-knit sweater.
The result: There were some strong pieces, but as a whole the collection felt disjointed, as if the designer tried too hard to incorporate too many contrasting elements.
Before the start of Miu Miu’s spring show, the room was dark to enhance viewing of close-up video of models’ faces, their hair pulled back in headbands, one with a bold swipe of red across her eyelids, another with crimson lips, that was projected on white bubble letters spelling out the brand’s logo. It made you wonder if a beauty launch was afoot. In fact, the collection was about “deconstructing beauty,” explained Miuccia Prada after the show. “It’s talking about what’s interesting now — tailoring, glamour, elegance — reworking it and that’s what I did.”
You could take her at her word. The building blocks of a woman’s wardrobe, with the exception of any trace of hyper casual athleticwear, were on Prada’s table, up for reassessment. The question posed seemed to be: How to make it modern? The answer was to be to embrace the look of DIY, recycling, upcycling even if everything is brand new. It was all far from homespun, yet it took Prada’s signature ugly/pretty (but pretty perfect) trope in a different direction with a rare exploration of the messier side of imperfection. Consider the casting: aside from a few big name models, the runway was full of
An earthy majesty defines Sarah Burton’s work for Alexander McQueen. It’s raw, intimate and inspired by Britain’s rich pagan past.
For spring, Burton and her design staff visited several hallowed shrines of British paganism, including Silbury Hill and Avebury Stone Circle, sites where humans left indelible marks on nature, and where now, hundreds of years later, the two forces seem indelibly joined. She came away with a new take on her compelling, long-running heroine. “She’s always pagan, I suppose,” Burton said backstage, “rooted to the ground, rooted to the earth.” She is also typically self-sufficient, determined and powerful in her femininity, yet vulnerable, too, a concept that strikes a deep chord in our fractured world. Often, she projects an archetypal warrior goddess whose strength and gentleness manifest in unison, via, on one hand, strict tailoring, corsetry and harnesses, and on the other, gentle dresses with a look of ancient-world dishabille.
For spring, Burton focused on “a woman’s journey, the moments that she experiences in life, so birth, christening, sisterhood, motherhood, friendship. The idea of expressing feelings and being empowered by emotion and vulnerability.” All while being exquisitely turned out.
Burton is the reverse of the ready-to-wear designers who show during couture; she is
To counter what he sees as the darkness of the times, Nicolas Andreas Taralis moved away from his habitual somber register, injecting his spring collection with lightness and color in a sculptural way.
Rectangular strips of technical fabric were sewn together to evoke parachutes in free fall, moving with the body in transparent strips on column and bustier dresses in white and pale yellow, scarlet and fuchsia; billowing as a pale yellow puff-ball skirt with suspenders, paired with a T-shirt that read “Heroes” — in reference to David Bowie.
Tailored pieces like a dark green nylon satin suit and a black cotton jacket were crafted from panels of fabric, leaving gashes in which the wind would rustle.
Laser-cut foliage from a military register created texture on a unisex black coat intended to evoke a shell that protects the body, a motif reprised elsewhere on a white tailored jacket, its lining showing through, and on T-shirts and shift dresses. Elsewhere, Taralis delivered a more overt political message with printed slogans like “surrender” and “disobey” on bright Japanese sports mesh vests and photo prints of protests on his jersey T-shirts, adding a touch of street to what was an interesting, quirky lineup.
The designer in the gender-fluid, handiwork-intensive collection explored the concept of the east interpreted through a western filter. In particular, he looked to the creations of an American carpet manufacturer from the Thirties “who copied Chinese rugs.”
The designer challenged himself in the handiwork-intensive, textured collection, working with a weird palette of hues including deep purple, pistachio and mint that was outside of his comfort zone. The show set — a dingy garage with industrial lights and a wet floor sprinkled with eucalyptus oil — was equally strange.
A glitched jacquard suit in a carpet motif had a “foggy” aspect to it. Elsewhere, an eye-catching mesh dress came needle-punched with yellow silk thread, playing on the idea of forcing organic fibers into synthetic fibers.
The showpiece was an elaborate black and silver sequined robe dress, produced by hand in a workshop in Shanghai, bearing the face of an imaginary avatar.
A matching shirt and pant in a liquid mesh bonded with suiting fabric to create a wet-look effect, which was at once structured and light with an iridescence, offered the most compelling and wearable spin on the appearance-versus-reality theme.
Understated luxury is the code word for Dusan Paunovic’s collection, constructed from high-end fabrics that are the building blocks for his cathedral of minimalism. For spring, the Serbian-born designer worked in a muted color palette of neutrals, working a raw-edged beige and cream herringbone linen, for example, into an elegant yet relaxed spaghetti-strap dress.
Superlight cashmere and silk knits, wide-legged linen culottes and Japanese hand-pressed lamé skirts, all staples in the Dušan vocabulary, were the backbone of the lineup. The outerwear was also strong, as demonstrated with a camel Loro Piana water-repellent cashmere coat with lining and contrasting Mao collar in white neoprene.
His patchworks of supersoft silk scarf prints in a palette of navy, forest green and dusty pink, used on flowing pants and sleeveless tops with a simple tie at the back of the neck, worked a treat.
Jean and Judith Touitou took another step this season and moved outside the label’s intimate Rue Madame headquarters to show their coed lineup. They headed to a cavernous garage, emptied of cars and outfitted with roving spotlights that announced the start of the show.
The first look set the upbeat, rockabilly tone. Down the concrete car ramp came a sleek, jeans pants-and-shirt ensemble in dark blue with white stitching, a charming Elvis coiffe and pointy white boots, keys jangling from the belt. The bright blue bandana tightly wrapped around the model’s neck allowed a peek of the bright yellow T-shirt underneath.
It’s increasingly a question of survival-of-the-fittest in apparel these days and, not one to be left behind, the label is hankering after growth.
With their spring collection, the couple nudged their specific breed of easy and wearable elegance into younger territory, with their offer of jeans, colorful sweaters, smart outerwear and belt bags stamped with an A, a P or a C.
Dresses were cut sensibly, continuing in the same register as last season — non fussy, elegant and #metoo age-appropriate. These included a checked trenchcoat dress and several prairie dresses. The label’s emphasis on outerwear was expanded to include brighter colors, and
Anaïs Mak captured the coming-of-age vibe she was after. Tucked into plush sofas ringing the runway, guests waited under the dimmed red lights of the club’s low ceilings, the carpet’s skull-and-flower pattern barely discernible.
But when the lights snapped on and the sentimental saxophone riff streamed out — George Michael’s “Careless Whisper,” what else? — the audience was thrust into her bedroom, or wherever she had a full-length mirror, some privacy and a closet stuffed with possibilities.
“I think the girl is exploring maturing,” said Mak, the Hong Kong-born and -based designer whose label is called Anaïs Jourden. “You see a slight ‘Lolita’ influence in the collection,” she added.
The models wore mostly dresses, occasionally with a trail of ruffles, often in a bias cut and strapless at times — one had lacing between the breasts. Wearing stiletto Barbie heels — patent leather with a puff of fake fur, no straps to secure an ankle — some teetered, while others strutted confidently, hair tied up in a tussled ponytail.
“We used to rely heavily on textures and volume,” said Mak, noting the aim was ease and fluidity this time. Speaking before the show, she pointed to a pencil-shaped dress made from cotton treated for
Should fashion be political?
It’s a question that has consumed editors in a week dominated by the U.S. Senate Judiciary Committee’s hearing into sexual assault allegations against Supreme Court nominee Brett Kavanaugh. For better or for worse, in the era of #MeToo, a hemline is no longer just a hemline.
While some designers have shrugged off feminist readings of their collections, and others appeared to deliberately court controversy, Nicolas Ghesquière embraced the moment with his lineup of retro-futuristic clothes, shown in a maze of neon-lit tunnels set up in the courtyard of the Louvre Museum after dark.
“This is not a narrative collection. This is about my obsession to empower women,” he said after the show. “There were so many discussions the last months about the place of women, and I thought that this is really an intuition to want to give power when you are a designer.”
He did that by tapping into a few of his other obsessions: sci-fi imagery and exaggerated volumes. Dominican model Ambar Cristal Zarzuela, making her Paris debut, opened the show in an oversized blouson with mille feuille sleeves featuring photo prints of candy-colored artificial landscapes.
The sleeves were the connective tissue between his eclectic band of intergalactic explorers.
Ukrainian designer Anton Belinskiy’s first fashion show had religious airs. Incense burned on the steps inside the Palais de Tokyo, while some models sported wimples.
Belinskiy explored the concept of belief, whether religious or just as a way of giving meaning to life. He relied on the imagery of the Orthodox Church, in reference to his mother’s faith and his own trips to the local church in Kiev. Religious nods were given a pop-culture spin: tiny icons were printed on simple cotton T-shirts, while a rainbow-hued circular icon was depicted on a pink beaded crop top.
Models, both male and female, carried big sports bags. “When people retreat into religion, they pack up all their belongings and disappear,” explained the designer, who founded his brand in 2009. Film stills from “Adam and Eve” were printed on leggings, skirts and trousers. Some models wore seashell necklaces, other carried ceramic donation baskets.
The show was fast-paced and youthful, but the looks were a bit all over the place. An orange shiny jumpsuit was followed by a denim leotard worn with colorful leggings, then a Hawaiian shirt, finally a black deconstructed bustier dress. Despite this, the whole offering was energetic and exciting. The finalist for the
Canadian designer Vejas Kruszewski, who won the LVMH Prix Spécial prize in 2016, chose to put his namesake brand on hold to focus on a new project. Now in its second season, Pihakapi, a brand developed in partnership with Italian leather manufacturer Pellemoda, blends high-quality leather with the 21-year-old-designer’s radical vision.
“Because the brand is leather-focused, I like to build the collection around the outerwear,” said Kruszewski at the presentation of his spring collection (the first offering was shown during men’s fashion week, Pihakapi being a unisex brand.)
A black leather trenchcoat featured details from this season’s key inspirations: mini leather horns recalling the anatomy of the stag beetle on the sleeves and a flame shaped cowboy collar. The same details were reworked on denim and jersey, as well as on a side-slit black slipdress, a welcome update to the wardrobe staple.
“I was really interested in reworking Western wear,” said the designer, gesturing to a white linen skirt with a black leather holster detail. He also created a pair of “refined chaps,” playing on the dichotomy between leather and fabric. The chocolate-colored leather added texture and serious flair to a pair of well-cut black trousers. Throwing in a couple of Grecian draped
The collection, presented in a salon at the Ritz Paris, was strangely wrinkled. Not to worry — it was all part of Inès de la Fressange’s vision of Parisian chic. “People are scared of linen and see it as a difficult fabric,” said the designer. “But I wanted to show that things needn’t be perfectly ironed. It gives the feeling that you’re still on holiday.”
Nevertheless the effect was scruffy, and diverted the attention from the stronger points of the collection. There was a pair of “new denim” straight leg trousers in dark blue linen, created in reaction to the Parisian heat wave; a cowboy style red shirt — “because you can look Parisian wearing a shirt from Texas” — and an elegant two-piece beige checked suit, that de la Fressange herself was wearing.
Masculine-inspired tailoring was as efficient as always, but the designer seemed tired of churning out the same old “Parisienne” ideal. “People always think that chic has to be conventional, when there isn’t necessarily a link between the two things,” she said. “I’m bored with conventionalism.”
In reaction to that, the collection went full Seventies, with colorful printed silk shirts and flared trousers. The whole offering seemed to miss the
A campaign video filmed in Hollywood and a tacky karaoke bar on the outskirts of Tokyo served as the perfect backdrop for this fun, crafty collection, with the models sped up and slowed down.
The signature inventiveness of Junichi Abe, an experienced patternmaker, was in fine form with offbeat touches like an accumulation of fabric textures on a skirt, the haphazard embroidery on lace collars of sweaters, and lines of tape used to join layers to garments — including a red tulle layer on a black T-shirt — or rework volumes, giving a DIY spin.
A series of triple-layered hi-tech anoraks mixing colors and materials to create depth were terrific. More cute in mood were the colored marled knits with contrast lace accents.
The designer also revisited traditional checks in polyester on neo-geek shirts, with oversized shapes used throughout the collection.
Johannes Boehl Cronau showed his spring collection on the ground floor of Lafayette Anticipations, where models mingled on a floor strewn with pink slips of paper, wearing opened-toed mules. He continued to expose midriffs, using thinly knit bra tops this time, which he paired with cycling shorts in the same material.
The designer has a sharp focus, training his efforts on a select assortment of silhouettes that emphasize his eye for detail; he said he hoped the collection would mark a “really good start for what we’re trying to do.”
Drawing influences from carpentry from his childhood in Germany, he made a luxurious version of a tool belt, one in shiny black leather, another one in gray, which he used to complete an all-gray look. The trousers were both refined and easy, with two short zippers running vertically on the front, matched with a knit bra top.
Black nylon trousers with zips and a few flaps turned out to be an opened-up boiler suit, which was worn with a lightly knit tank top. He used the same knit for an elongated dress that had loops hanging off of the bottom, like mini arm straps.
He slightly enlarged fisherman’s hats, which came in somber hues
Wang Chen Tsai-Hsia continued to strip years off her brand in this fresh, sporty, youthful collection, with tracksuit tops spliced with lace bands and sneakers finishing off all the looks.
Lengths were mainly short, with the designer moving between clean cotton silhouettes and her signature lingerie styles, including frilly slips, sheer tulle petticoats and a pretty sheer black top mixing in polka dots.
The set, with its path of colored blocks printed with symbols from a Chinese game, lent a vague “Alice in Wonderland” mood, underscored by the innocent attitude of the collection, with some looks embroidered with animals.
Rabbits climbed across a silk bomber cut slightly longer at the back, while ducks in flight animated a more minimalist pairing of a white shirt with a T-shirt shape and a black zipped skirt. A black coat teamed with beasties. The designer also sent out pared-down takes on traditional dress with illustrated landscape scenes depicting bridges and storks.
It never tipped into kitsch territory, though, with Tsai-Hsia using discreet placements and tone-on-tone embroidery. It was charming, adding personality to the collection, and space to dream.
Masha Ma kicked off her spring lineup with a shirtdress, which she described as “clinical, clean and sharp.” It was also very feminine, confirming this was an exercise in slate-cleaning. What followed marked a turn into a softer, more fluid and luxurious place with a collection that felt self assured.
She turned her back on the club scenes but her interests continue to lie in a strange, futuristic universe — and she referenced the film “Annihilation” for this season.
The color palette had less black and electric blue, but a lot of bright emerald green, yellow and safari hues. Outerwear remained an obsession, with ongoing support from sponsor Kolon Sport; highlights included a long, pale yellow rain coat with fin-like flaps jetting up off the back, a shiny emerald green bomber with oversize arms and a short tan rain jacket with a hood.
“I want my woman to be protected in my clothes but at the same time not restricted,” she said backstage before the show. She also noted the label has taken on casting director Barbara Nicoli, known for her work with Gucci, and that under new operating rules, aims for a beautiful and intellectual look.
“I want them to look intellectual, not
Transporting her audience, as always, Hyun Mi Nielsen took to a darker place this season. Wearing strange wooden clogs with pointy toes and covered in studs — a collaboration with shoe designer Zoe Lee — models moved briskly around the room, the clip-clopping accompanied by the gentle clinking of swaying metal embellishments. Underneath the profusion of hardware, black leather, piercings and chokers — in motion, all of it — sat a compelling lineup of fresh silhouettes that conveyed beauty of an uncommon sort.
“I have this thing about light and dark,” she said, pointing to her childhood in Denmark where the winters are very dark and the summers are very light.
Still focused on her magpie collector, who can’t resist a shiny object that catches her eye, she obsessed over rivets. They decorated the clothing, gravitating to different parts of the body, covering an entire cape in one case and even stuck onto bare skin, broadening her territory.
Lightness came in the form of billowing silk, recalling her last haute couture collection — she now prefers to show her collections on the ready-to-wear calendar to better connect with clients. It came in a sparsely colored tie-dye with shades of brown and a light
Lutz Huelle pounced on some classics and roped them into his game. He was hankering after more elegance this season and turned to bourgeois motifs like roses, polka dots and an alligator skin print, and eager to push these couture elements out into the street.
For a dressy coat — it was beautiful — he picked a red rose print set against a dark background that added vibrancy to the colors. Puffed up shoulders from last season pushed outwards a smidgen; sleeves were wide, stopping near the elbow; the waist was cinched.
“How would she wear it?” Huelle asked. “With a sweatshirt underneath to go shopping!”
The designer also thought about mothers and daughters raiding each other’s closets — not to mention the father’s wardrobe.
“This whole notion of old and new is completely gone, in a way, because a beautiful garment is a beautiful garment…there’s no rule about how people dress these days,” the designer observed backstage before the show.
Taking full advantage of this welcome state of affairs, he offered a lineup of deconstructed jean jackets, bombers with ruffles or drawn tight to the waist with a Fifties New Look flair, and, what he claimed to be his first jacquard cocktail dress. This,
“Dress good to look good. Look good to feel good. And feel good to run fast!”
That quote from Olympic champion Florence Griffith Joyner holds particular resonance for Virgil Abloh, who after his collaboration with Nike and Serena Williams teamed up again with the sportswear giant for his spring Off-White ready-to-wear show. This time, he turned his attention to track and field, a theme that ran through his seasonal statement, from the racing bibs sent out as invitations to the stadium-themed set and the models themselves. The designer tapped eight female star athletes to walk in his show at the Garage Amelot in Paris.
Bella Hadid and Kendall Jenner opened the show in crisp white shirts and short skirts. Kaia Gerber was close behind, in a shirtdress with a tank top pieced together from Nike socks. With their metronomic clips, the models easily outpaced the athletes, overtaking some as they wound their way around the track, while a jumbotron flashed their names and countries of origin.
Some of the sports stars blended in effortlessly. Vashti Cunningham, a U.S. high jumper and the daughter of former NFL quarterback Randall Cunningham, flexed her 6-foot, 1-inch frame in a tiered cream tent dress, paired with white
For the most part, Richard René stuck to his palette, black and white, as announced in the show notes. These came in the form of a handwritten note signed by Guy Laroche observing the dark shadows and overly bright lights of a Parisian nightclub in the Eighties, at 6 a.m. Something was scribbled about a broken vase, adding to the mystery and setting imaginations on a spin.
The lineup turned out to be a curious exercise in contrasts. Large, angular patches of black and white were transposed or stuck together in odd and surprising ways. A simple white sleeveless dress had a black sleeve pinned to one side while a suit jacket was black on the left and white on the right. There was an impeccably tailored trenchcoat, all white — no wait, it was entirely black in the back. And so it went, startling at times, but also prompting gasps of wonderment at one point.
Heading into dressier territory, René continues to experiment as he seeks the right register for a brand that has befuddled a succession of designers in recent years. Recognizing the challenge, he sent down one piece with a message on the back: “Work in progress.”
At a time when the United Nations is meeting in New York, discord between nations has rarely appeared so high. Christelle Kocher has other ideas.
Her spring collection was an ode to unity, under the guise of a celebration of women worldwide. That could be a soignée Parisienne, strutting down Avenue Montaigne in a fuchsia blazer, or a young girl in Indonesia going out with friends in a sequined top and matching headscarf, paired with pleated track pants.
“It’s an homage to diversity, a rallying call in which fashion can be a good vector of unification,” Kocher said backstage after the show, held at the French Communist Party headquarters in Paris, a saucer-shaped building designed by Oscar Niemeyer in the Sixties.
Kocher has always connected with a more nuanced vision of Paris than most people who live here experience — the result of shuttling between her job as artistic director of Maison Lemarié, part of Chanel’s stable of specialty ateliers, and her own studio in the multiethnic neighborhood of Belleville in the northeast of Paris.
This season, she broadened that vision to places she has visited, and those she dreams of discovering. A black bodysuit was embroidered with silver sequins in geometric motifs inspired
Alexis Mabille ventured into new territory this season — tiptoed, rather — offering a few pieces in black.
“I usually work with midnight blue, but this time I felt like adding black — but always with bold colors,” he was quick to note. The black clothing served as an accent to the collection, he suggested, pointing to a few items tucked in front of a ground-sweeping dress in bright yellow.
One of the rare black pieces was an off-the-shoulder shirtdress, cinched at the waist, in an airy satin organza, its puffed out sleeves an elegant nod to his couture roots.
It is becoming a tradition for Mabille to present his ready-to-wear collection in an intimate, by-appointment setting — part of his project of refocusing the collections around high-end daywear while pre-collections move further into dressier, evening territory.
Ever playful, Mabille tooled around with materials, making two vastly different dresses using the same pattern. Here was a light, airy day dress in striped blue cotton poplin; suddenly, in a silky satin in midnight blue with back lace trim, it took on a sultry tone for evening. There were quite a few of these silky, lacy numbers, peeking out from the more regal, sculptured pieces.
Like many designers and brands this season, Winonah de Jong gave in to her wanderlust, and took a trip — a safari to be precise. She sent out a glamorous — and travel-friendly — collection that was full of easy, classic pieces including cotton blouses, jumpsuits and safari jackets. De Jong put her personal spin on the trench, slipping a belt on the inside so that the coat could be cinched and still remain drapey at the front. A cinnamon cotton safari suit came with an elastic nipped waist and a midi skirt, while a jumpsuit in a similar shade was belted at the waist.
A camouflage print crept over long and languid trousers, a jumpsuit and a skinny minidress with long sleeves and built-up shoulders — a Winonah signature. Other summer-ready looks included a pink cotton dress with ruffle sleeves that gathered at the elbow, and a similar style done in white with embroidered black animal shapes hand-drawn by de Jong. Those black-on-white, naif drawings were a highlight of the collection, with a menagerie of African beasts striding across pieces including a ruffle-front skirt, high-waist trousers and a blouse with puff sleeves.
Color is the news at Herno, said Claudio Marenzi, chief executive officer of the Italian outerwear company. A range of reds, from crimson to burgundy; plus fuchsia, periwinkle and kiwi green added a vibrant edge to big parkas and capes.
As usual, Herno invested in research and materials, with a new waterproof parka made in cotton with a polyurethane coating. Inside, rainbow-striped, thermo-taped seams completed the look. A drawstring with gold metal details added a feminine touch to the functional garment. An oversize bomber was updated in a new nylon sailcloth that reversed to a taffeta voile. A number of light down vests presented an intriguing watercolor pattern of people silhouetted on a white background.
Marenzi was also upbeat about the performance of the new Herno flagship opened in mid-August and officially unveiled with an event during Milan Fashion Week. “With a space on Via Montenapoleone that is five times our former unit in Via Sant’Andrea, there is a lot more traffic and visibility,” he said. A new flagship will open in Paris on rue Saint-Honoré in October, he added.
According to the show notes, Act N°1, making its debut at Milan Fashion Week, the brand wanted to raise awareness of the child marriage issue affecting Georgia, the native country of Galib Gassanoff, who designs the brand with Luca Lin. The mission was absolutely noble yet it was difficult to understand how they translated their condemnation into the clothes.
The designers used tulle and several fabrics inspired by wedding dresses, and street versions of white wedding gowns were presented on the catwalk. However, the collection was more about manipulated silk slipdresses and wrap tulle styles featuring broken chains, inserts and draping details, distressed denim pants and shirts crafted in bizarre silhouettes. The grungy collection was more suitable for rebellious city girls, rather than for taking a stand on social issues.
It was movie night in Milan, with Moncler Genius screening a series of films to showcase a second round of collections from its guest designers and brands on Wednesday night, including Simone Rocha, Craig Green and Noir.
The short videos were projected onto screens or walls in the stylishly rough industrial space across from Fondazione Prada — and the mood was arty and fun. Rocha’s film featured a cast of models, hats wrapped in veils, wearing her techno-Victorian designs and frolicking in the grass or tilling the soil wearing her flower-embellished dresses and apron styles.
The video had a “Picnic at Hanging Rock” feel and was directed by Tyler Mitchell. Rocha said during the event that she wanted the video to have a “dystopian” feel and to show the two different sides to the collection, which featured natural and man-made fabrics such as lightweight nylon, cotton poplin, vinyl and plastic.
“I also wanted to show the models at work and at play, tending and pruning the garden on one screen, and having fun on the other,” Rocha said during the cocktail party in the courtyard of the venue.
Green brought his childlike tent-cum-kite constructions, which appeared in his fall 2018 runway show earlier this
Annakiki may not be a household name, but Chinese designer Anna Yang clearly has the ear of the creative set.
Having dressed Beyoncé’s daughter Blue Ivy in a metallic ruffled dress for the Wearable Art Gala earlier this year, Yang has found another fan in British singer Ebony Bones, who attended the label’s spring show in Milan.
“It’s really nice to support female designers, and I think it’s intriguing that she’s done so well in Europe and she’s not European. It’s definitely a juxtaposition of different cultures: East meets West, and very fun as well,” said Bones, who wore Annakiki on the cover of her critically acclaimed recent album “Nephilim.”
The inspiration flows both ways. Yang’s spring collection, titled “Fashion Glitch,” channeled her love of electronic music with club-kid gear in shiny fabrics and fluo shades.
This was fashion for the Instagram age: think an acid green liquid-effect biker jacket with ruffled mariachi sleeves, or a holographic vinyl windbreaker and matching Bermuda shorts. The designer used studs and crystal beads to bedazzle everything from cut-off denim shorts to cropped jackets and roomy coats.
The Vegas vibe extended to an oversized black suit with rows of rhinestones in lieu of pinstripes. It made for an irreverent
Huishan Zhang’s brand of refined femininity has always given a nod to bygone eras or paid homage to stylized movies by auteurs. His sense of romance imbues a sense of dreaminess even when interpreting its darker tones. This season, Zhang looked to the future and took the Reuleaux triangle as his starting point.
“They used this triangular form for space travel a lot and the colors draw from the light that’s coming through,” the designer said.
The Reuleaux triangle is formed when three circles intersect and the shape was seen throughout the collection as cutouts on the backs of dresses, delicately pleated on the neckline, and quilted into feathered shift dresses.
“The silhouette is very Nineties and minimal but we injected it with really exciting colors,” he explained.
The collection opened with a series of fresh pastels in mint, yellow and periwinkle separates overlaid with tulle, followed by darker navy and black suits in satin and hand-embellished with pearl detailing. Zhang closed the show with a series of blush-toned satin gowns featuring exaggerated peplums and fluid ruffles that cascaded down the body.
Several of the pieces were cut on one piece of fabric. Zhang and his atelier in China draped one piece of square fabric
London’s designers were in an extravagant mood for spring; Halpern, Matty Bovan and Mary Katrantzou were among those who accented their collections with sparkly, high-shine sequins, added crafty fringes on the hems of skirts and accessorized their looks with dramatic tulle veils. There was also a focus on revisiting and reworking classics, such as the Eighties power suit — as seen on Chalayan’s deconstructed take on blazers — and the quintessentially British trench. And speaking of British traditions: designers didn’t lose their sense of humor printing provocative slogans on T-shirts and sweatshirts in true punk fashion. Riccardo Tisci, who made his much-awaited debut at Burberry this season, embellished the brand’s signature trenches with silky scarves while also poking fun at his famous Givenchy Bambi print.
Creative Director Zac Posen delivered a garden party brimming with a youthful take on corporate attire inspired in part by images of Jacqueline de Ribes in the garden.
He introduced a cheeky cherry print, which was cut into a playful pleated skirt and embroidered onto a little T, and undercut the collection with a fresh vintage ease. Pink tweed suiting was enlivened with fluorescent orange specks, while a prim-cut blazer came in a sweet pastel orange. A floral jacquard jacket-and-skirt set harked to the fashion sensibility that could be seen in his namesake secondary line.
The storied brand has been able to draw in younger customers with updates to wardrobe staples that have a modern, easy approach to sophistication. Shirt dressing has been key, and was cut this season with a navy porcelain print and an orange style with a playful wrap belt. No item balanced modish feminine flair with a transitional day-to-evening quality more than a flirty color-blocked dress in blush, ivory and lime.
Posen made sure to offer loyal customers approachable elegance with classic seersucker in driftwood brown, suiting styled with casual striped Ts and stretchy graphic jacquards. For the new professional woman, look no further for a blend of leisure,
Henry Holland vapes. And his favorite flavor is mint — which explains all the minty neon colors and the unexpected accessories he introduced.
“I just thought it’d be interesting to create some cool vaping accessories”, he said when asked about the e-cigs that poked out of body harnesses and neck pouches.
The first look, a bright orange power suit, had Holland’s front-row celebs nodding in approval — or maybe they were just head bopping to the up tempo soundtrack.
“I wanted to capture the increasing pace of life and this collection is about the woman who just got out of the shower and has to get to work, the gym, the office, or wherever,” he said.
While attention-grabbing cord-laced neon sandals were shown, there was not much newness to be seen elsewhere. His usual ripstop nylon sportswear pieces, track pants and parachute parkas made their rounds. Maybe Holland too, was in a rush?
“I wanted to create a strong holiday feeling with this collection because to be honest, everyone around me had a holiday in August and I’m quite jealous! I missed mine,” the designer Xiao Li told WWD after the show.
For Li’s holiday wardrobe, stripes reigned supreme, as well as delicate ginghams, bold oversized holographic hats and whisper-weight silk pieces embellished with ice blue crystals.
Wide summer stripes in baby blue, pink and yellow opened the show on a series of boxy jackets with ruff detailing and matching skirts, followed by macs paired with tulle socks and white platform sandals, and pullovers worn over hooded swimsuits. Delicate drop-waisted gingham dresses were subverted with belted leather harnesses featuring structured ruffles that sat atop shoulders, while sleeveless iridescent macs were nipped with contrasting belts with exaggerated buckles.
This season, Li developed a fabric inspired by bubble wrap made using silk that was cleverly transformed into full-cut trousers, delicate fishermen’s vests teamed with flouncy skirts, and a lustrous tiered hem dress that closed the show.
Yigal Azrouël calls New York home, but he grew up on the beach and has a lifelong obsession with surfing. When he can, he gets off the grid to surf in Costa Rica, but he surfs locally out on Long Beach, which is where he found inspiration for spring.
There were nods to the beach throughout his textured and effortless pieces. For example, thick nautical rope ties used to gather the neck on gauzy silk dresses, the ribbing of a shell he found ending up as a print on a knit pant and tunic, a seersucker fabric was treated to give it shape and new proportion creating a billowing trenchcoat, a coated cotton blue and white shirtdress played with the eye as it wasn’t a shirt, but a jacket.
His modern laid-back collection doesn’t have hanger appeal, instead his pieces need to be experienced, and putting them on illuminates his deft way with subtle details like one-sided cutouts just below the arm to expose the body, subtle and not too sexy. It’s these understated details — interestingly placed hardware, mixing of textures and knit gauges — that make his clothing come to life. It makes for a collection that is unique to
“We are all from the same place,” said designer Abrima Erwiah while previewing her energetic spring collection. “When you buy one of our pieces you immediately activate the supply chain all the way back to the first people, which is the farmers.”
The brand, a collective work between Erwiah and actress Rosario Dawson, has cause to celebrate, having just won the CFDA + Lexus Fashion Initiative for sustainability. The two aim to build a “fairer fashion,” with a brand that brings attention to artisans, women’s empowerment and poverty in West Africa. Sourcing the textiles, an arduous process that involves New York and Ghana, West Africa, takes about six months.
The result was a lineup of vividly colored and patterned frocks for men and women that felt vibrant and energized. The clean silhouettes at times boarded on androgynous with kimono tops, caftans and generous suiting that had movement when they came down the runway.
Rounding out the collection were waist packs and tote bags constructed of dried grass and pineapple leather styled with glass beaded jewelry to complete looks that were bright and cheerful — and have a purpose.
Vaquera’s spring show was like a fun little pop quiz that the whole class already knew all the answers to — no head-scratchers here. Patric DiCaprio, Bryn Taubensee and Claire Sully showed at P.S. 42 Benjamin Altman on Manhattan’s Lower East Side, the runway winding through cafeteria tables littered with bubblegum, spilled Coke cans and wadded-up loose leaf paper. The “Harry Potter” theme song set up a procession of high-school stereotypes — jocks, sluts, cheerleaders, goths — that twisted through the Vaquera looking glass so that freaks and geeks ruled the school. Is subversion still subversive when the concept has gone so mainstream?
The prom king wore pumps with a literal sweatsuit, a tux made from gray fleece. The cheerleader looked like she had spent the night at a rager in her bra top and tattered mini dress. Football pads were reimagined as a cute denim harness; your little brother’s sports bedsheets were transformed into a voluminous gown, and those finicky Scantrons became a print on a pair of pants.
A footnote on Vaquera’s shownotes defined the label as “a unisex clothing line that redefines luxury fashion through narrative-based collections.” The story they were telling was clear, though it stands to note
“It’s all about strong women,” said Maria Cornejo backstage at her spring runway show. Her inspiration was epitomized in the collection by a print reproducing a work by Chilean artist Gracia Barrios, an abstract pattern consisting of sketched faces of extraordinary international female personalities. The motif was printed, for example, on a fresh cotton top worn with a draped skirt crafted from organic denim, as well as on a maxishirt paired with relaxed cropped pants.
In keeping with her quintessentially chic aesthetic, the designer delivered a beautiful collection where an unfussy urban mood was warmed up by Cornejo’s Latin sensibility, expressed particularly in the color palette of earthy, neutral tones juxtaposed with bright shades of coral red and vivid blue.
By choosing an inclusive casting of women of different ages, Cornejo wanted to highlight the timeless spirit of the collection, one designed to transcend seasonal trends and provide longevity and continuity among generations. While the oversized striped suit that opened the show and a sharp-cut denim jacket worn with matching pants looked more rigorous and infused with a certain mannish feel, the frocks and tops with plunging necks and the satin long dresses and revisited pajama sets revealed the very feminine side
A feast for the eyes and an injection of good vibes for the spirit: On Sunday night, Prabal Gurung celebrated the joyful and positive side of fashion with a runway show that was pure energy.
Colorblocking, bold tones, fluid and relaxed silhouettes were the main ingredients of a group of flamboyant outfits opening the show. Joan Smalls sported a yellow ribbed bodysuit tucked into a transparent neon green skirt trimmed in fuchsia satin; Gigi Hadid wore a cropped white T-shirt paired with a draped skirt in a bright color combination. Bella Hadid took the catwalk in a pair of pink cargo pants and a triangle bikini top and sporty colorful windbreaker. The athletic attitude also informed the feminine frocks and skirts enriched with drawstring details and elastic waistbands, while an extravagant touch was introduced via the traffic-stopping feathers embroidered on cropped denim pants and a covetable black T-shirt dress. Artisanal craftsmanship is an iconic element of Gurung’s design aesthetic. This season it was beautifully shown on beaded and sequined frocks revealing degradé effects and sarong skirts trimmed with tiny, precious fringe.
Unveiling men’s wear for the first time, the designer created a charming dialogue between the two lineups, which looked totally coherent.
It was a Moment. Not just a fashion moment — though it was certainly that. It was a cultural moment, which, in context of the larger, ugly cultural moment we live in, highlighted one man’s lifelong belief, well and beautifully registered in his megabrand’s identity, that civility is not only aspirational but possible, that it just takes open minds and effort. Oprah spoke of Ralph Lauren’s integrity, which is “a word we need more of.” A litany of famous guests came to pay tribute (and enjoy a glam night in Central Park): from Hillary to Kanye to the other two-thirds of American fashion’s ever-linked, transformational triumvirate, Calvin and Donna. The evening majesty of Bethesda Terrace, its arcade now set with velvet-covered benches atop a pastiche of a Persian rug, offered a sliver of New York at its idealized, romantic best. Then there’s the American Dream storyline, one of possibility realized and then some.
Given those threads, it may seem trite to focus too minutely on the clothes: Let’s celebrate the man and his unprecedented accomplishments now; plenty of time later to talk merch. But this was a fashion show, that essential seasonal statement of the clothes Ralph Lauren the man and the
John Elliott brought a healthy dose of California to New York City for his spring show, taking over a skate park on the Hudson River to drive home the inspiration for the season: Los Angeles. With the 90-plus-degree heat and blazing sun, it was L.A. at its most extreme.
The designer did his best to make attendees comfortable on their colorful milk-crate seats by providing cold water or juice and portable fans. But most faces were shiny with sweat by the time his celebrity guests arrived: LeBron James and Justin Bieber, the latter arriving hand-in-hand with fiancée Hailey Baldwin and grooving to the soundtrack.
Elliott considered his hometown “the most authoritative story” he could tell this season. “Not the stereotypical, glitzy, Hollywood L.A.,” he noted, “but the real neighborhoods — that’s my truth.”
It shone through in its casual vibe and the seamless blend of streetwear and athletic references. Elliott also showed a new maturity by offering up a blend of technical materials and varying silhouettes that took inspiration from different eras to create a never-ending youthful vibe.
His L.A. inspiration was obvious in the slightly oversize shorts and jackets that he emblazoned with a colorful bougainvillea print — a bit out of character
Markarian designer Alexandra O’Neill made her New York Fashion Week debut with a “Jane-Austen-meets-Laura-Ashley” themed spring collection. Her ethereal party dresses with custom floral embroideries channeled Austen, while matching accessories, a new category for the brand, mimicked Ashley. One standout was a white cotton poplin dress with custom red and gold embroidered flowers worn with a matching belt, miniature top-handle box bag and sandals. Beautiful gowns were aplenty, like a peach sequined corset bias dress with grosgrain trim; a light yellow, floral jacquard number and the brand’s best-selling corset dress that was updated with velvet bow details on the shoulders. For spring, O’Neill expanded into daywear with playful suiting separates with rhinestone trim, printed minidresses and skirts, playful tops and cotton-blend jackets to match the dresses.
“Business has been great,” reported O’Neill, who launched her line in spring 2017. “There definitely was a little gap in the market for these really good, easy party dresses with an easy fit — something that was still whimsical and fun that didn’t take itself too seriously.“ Aside from her impressive 35-look spring collection, O’Neill has an even bigger future goal: The first Markarian bridal collection is in the works for October. Additionally, the line, which
Like lots of designers, Zac Posen wears many hats. In fact, he says it shakes out to 16 collections a year. He designs for Brooks Brothers; recently updated the uniforms at Delta Air Lines; released a cookbook; judges on “Project Runway,” and released a documentary. But it was his namesake label that started it all.
To present that collection for spring 2019, Posen is once again forgoing a traditional runway show — something he has done for several seasons — in favor of images and a film. The difference this season is that the film has a more narrative- and character-driven feeling. Gia Coppola shot the piece, with Maya Thurman Hawke as muse. To Posen, Hawke was more than just a subject — both she and Coppola are close personal friends, and Hawke, who was looped in and confirmed while he was still designing the collection, helped to influence his designs for the season. So spring 2019 was a family affair.
“The original Zac girl is a creative free spirit. When I think of my early muses, this collection has almost come full circle to that idea. It’s not grande dame, or overt glamour, there is a new side to it,” he
Leave it to Parke & Ronen to transport tired, hot New Yorkers to a beach in Malibu on a Tuesday afternoon in July.
“It’s all about L.A., baby,” said codesigner Parke Lutter backstage before the show.
He and Ronen Jehezkel trotted out a lovely array of pastel colors, floral prints and retro graphic stripes on swimwear, coverups and short-sleeve sweaters.
“We threw in a little Eighties vibe — we were listening to the Go-Go’s,” Lutter said, adding that the silhouette this season was classic but modernized with a little higher waist and more of a boxy feel.
The sheer shirts and pajama sets spoke of the leisurely lifestyle while the sleeveless hooded sweatshirts pushed a more athletic vibe.
With a soundtrack that included Lady Gaga’s “Boys, Boys, Boys” and Rod Stewart’s “Do You Think I’m Sexy,” Parke & Ronen proved that even after 21 years, they can still get a crowd energized while building on a successful business.
What is smokewear? According to Dae Lim, who designs Sundae School, it’s a category of clothing that’s not confined to weed smokers but supportive of recreational weed smoking in subtle and overt ways.
Lim grew up in Seoul, where marijuana usage is still illegal, but came to the U.S. 11 years ago and was introduced to it as a teen. After studying math at Harvard, he joined McKinsey & Co. as a consultant but decided that wasn’t the environment for him and got a job at VFiles as the head of growth. He used his resources there to create Sundae School, which is a year old and started out with mostly graphic T-shirts and dad hats emblazoned with stoner puns. But for his spring 2019 collection, he expanded on his original proposition with a proper apparel collection that’s titled Ddul-Sunbi — ddul is a slang term teens in Korea use for weed and sunbi means scholar.
He imagined a world where scholars explored weed and collaborated with South Korean illustrator Yeonbun on a graphic depicting that scenario. He also looked to hanbok, traditional Korean dress, to present a neutral lineup of casual but refined clothing. Models wore mostly leisure suits that consisted of lightweight poly jackets with tie
In its third season, Robert Geller’s Gustav von Aschenbach seems to be finally developing its own identity.
Although a younger and more fun offshoot of the designer’s main line, the collection still has Geller’s signature, with its traditional boxy silhouettes, washed cotton fabrics and saturated tones.
But G.V.A., as the line is now being called, has more of a streetwear edge. The use of logos, slogans and appliquéd photographs spoke to Geller’s love of Swiss graphic design and typography — as evidenced by the word Basel used on garments throughout.
“The G.V.A. kid is evolving into a young artist, who expresses himself through individualistic, self-confident clothes,” Geller said.
Some of this artistic expression shone through in a creative casting mix of models and New York street dancers that added a jolt of energy and fun to the show.
Among the highlights was an array of light outerwear, from trenchcoats and cropped field jackets to utility varsities. Embellished with the graphic details, these became one-of-a-kind pieces.
Geller’s ability to create a younger alter-ego allows him to channel trendier and more of-the-now pieces. But coupled with his more romantic and mature Robert Geller collection, these two sides of his personality seem perfectly aligned.
Nick Graham’s space odyssey continued for spring with a collection titled “1969.” He called it “one of the most transformational years in our history, a year that had both the first landing on the moon by Apollo 11 and also Woodstock, both of which were pretty transformative events in our culture.”
A rocket-shaped 1959 Cadillac Cyclone concept car — the only one made and dispatched from the company’s archives in Detroit — was parked on the runway and served as the perfect backdrop for the zesty show.
It opened with a troupe of boys dancing in “Martian in Training” T-shirts, followed by a parade of traditional sartorial clothing that was super fitted to the body with cropped blazers and tapered pants. Metallic bomber jackets with NASA logos set the tone for an array of intergalactic references that included alien faces printed on shirts and atomic symbols on the breast pockets of suit jackets.
In addition to the suits— which were offered in colorful, shiny solids and exaggerated men’s wear classic patterns — Graham introduced a lot more casualwear, including logo hoodies and sweat pants.
Although Graham’s obsession with space travel is nothing new, it continues to provide a fun story line and an uplifting
In his New York show, Neil Grotzinger of Nihl, the LVMH Prize finalist, broke traditional rules of masculinity with a collection that centered around bending the rules of those in authority.
He took police officers, football players and Wall Street brokers and turned their wardrobes on their head by “exploring the qualities of borderline ephemerality and downright queerness,” according to the liner notes.
A clear example was a pair of football pants made from fine white silk he paired with a handmade chain mail tank top. An authentic crinkled painter’s tarp — black on one side, green on the other with drawstrings included — was reinterpreted as pants and a top.
Grotzinger’s use of elaborate embroidery techniques appeared as embellishments on several pieces, including the sleeves of sheer tops and a sliced-open basketball short.
The use of revealing cutouts and jock straps throughout the collection added a level of eroticism while enhancing the masculinity of the offering.
“The concepts of masculinity can be very restrictive and I like to break the conformity of that,” Grotzinger said.
In this debut, Grotzinger gained a lot of attention by breaking the rules — in the right way.
Maria Jahnkoy, whose real name is Maria Kazakova, is Siberian and studied at Central Saint Martins and Parsons, has received a lot of support from the industry with her brand narrative, which is centered on preserving traditional craftsmanship and reworking it for a new generation.
She was shortlisted for the 2017 LVMH Prize and has found fans in consultant Julie Gilhart and Bruce Pask, the men’s fashion director at Bergdorf Goodman and Neiman Marcus. Kazakova also has the support of Puma, Swarovski and the CFDA’s Elaine Gold Launch Pad program.
Her goal has always been to connect larger companies with local artisans, but with the extra help she’s been able to expand on that and bring more makers from Brooklyn and India into the mix. The show, which was more like a theatrical art project, was a collective effort as well. Titled “Deceived: No More,” the performance explored how the fashion industry impacts cultural identity. The presentation, which was choreographed by Nathan Trice, was broken up into three parts: chaos, unification and order. Much like her previous presentations, she made the runway mimic a chaotic city street that was dotted with orange cones and caution signs — one read “Separation is No
This season, the N. Hoolywood designer Daisuke Obana delivered a lineup inspired by Native American artist T.C. Cannon, whose work he discovered during a recent trip to Arizona.
“The lines and the bold colors in the artist’s paintings were what drew me to them,” he said backstage, pointing to an array of blanket-like pieces, often paired with matching oversize shorts. This graphic inspiration was seen in everything from cropped bomber jackets and knitwear with fringe across the chest to oversize pants.
An added surprise was Obana’s collaboration with sportswear brand Umbro. It spanned logo T-shirts, long-sleeved soccer jerseys and elongated coats adorned with oversize Umbro logos done up in bright colors with vertical lines that tied back to Cannon’s paintings.
With their mix of deconstruction and surprising proportions, Obana’s Japanese silhouettes seamlessly blended the worlds of artisanal and active sport.
In their sophomore showing during New York Fashion Week: Men’s, Abdul Abasi and Greg Rosborough explored a desert phantom theme that referenced a variety of vanishing cultures and tribes.
The design duo paraded a diverse range, from kimono-inspired jackets and coats and fitted cargo pants to Navajo-printed parkas. The color palette included deep burgundies and burnt orange that brought an Eastern sensibility to the forefront, while a flowing white section telegraphed the desert inspiration. “We even looked at ‘Lawrence of Arabia,’” Rosborough noted.
A wrinkled cotton hybrid poncho with matching head scarf and an ethereal topcoat in the same fabric also drove the desert theme home. Likewise, a Tencel linen that was frayed to look old — employed for bomber jackets and coats — reinforced that worn-in traveler vibe.
With this effort, Abasi Rosborough continues to make its mark in men’s fashion. “We’ve seen an exodus of big designers this week, but we look at it as an opportunity for new designers to step forward,” Rosborough said.
For his first runway show, Nigerian-born designer Taofeek Abijako, took inspiration from Afrofuturism and paraded a lineup with a distinct Seventies feel.
Cue an array of high-waisted cropped and flared pants, fitted sweatshirts and message T-shirts.
The standouts were the flared pants, worn with matching boots, which gave it a New York Seventies vibe.
Head of State is now part of Groupe, a distribution umbrella formed by James and Gwendolyn Jurney of Seize sur Vingt, which manages and nurtures independent designers and brands. Abijako was the first brand chosen, allowing him to focus strictly on creating the collection while Groupe provides the funding for samples and production.
Aaron Aujla, owner of Green River Project, a furniture and interiors firm, was Emily Bode’s primary reference point this season. She met Aujla in New York and they’ve previously worked together on other projects. (He’s created all of the furniture for Bode’s presentations.)
For her collection, Bode drew from Aujla’s lineage. His family is from India, but he grew up in British Columbia. Bode has always outsourced her embroidery and embellishment work in India, but this season she worked with more Indian textiles that had historical significance. She made suits from Khadi towels, an Indian fabric and developed another suit from India’s government subsidized mill prints.
Bode said the Khadi fabric has a connection to Mahatma Gandhi’s self-reliance movement, which urged Indians to bring weaving back into the home as opposed to buying these goods from other countries.
Highlights included a white fringed button-up shirt made of chenille, a pair of floral print high-waisted pants constructed from curtain fabric, and a bright yellow matching set printed with a village motif that consisted of a crepe de chine shirt and duchesse-satin pants.
The furniture was influenced by Indian filmmaker Satyajit Ray’s 1966 “Nayak,” which was filmed on a train, and each of the pieces were
The 50th anniversary of the Mexico City Olympics served as the jumping off point for Ricardo Seco’s spring men’s collection.
The designer used stripes and optical illusions along with the late Sixties font and Olympics rings to pay homage to the 1968 Games. These graphics showed up in bombers, T-shirts and track pants that Seco reimagined in bright colors or vibrant black and white.
More contemporary visual elements such as cell phones and skates were used as accents inside jackets while the current immigration crisis was referenced by large DACA lettering on T-shirts and socks. Seco also went back to the beginning of the Black Power movement by using the now-famous fist symbol on tops.
The overall vibe of the collection felt upbeat despite the political references.
Reconstruct Collective, consisting of five female designers, began out of necessity. After learning that the Willem de Kooning Academy wasn’t able to put on a fashion show for its graduating class, students banded together to organize their own show. And in order to raise money for the show, they needed to form a business with the chamber of commerce. Because they worked so well together, Laura Aanen, Alyssa Groeneveld, Kim Kivits, Michelle Lievaart and Sanne Verkleij decided to start a collective shortly after graduating. Now three collections in, the Amsterdam-based company opted to show in New York, which Groeneveld said made sense for the brand, which caters to the youth.
For spring the unisex line was based on a fictional place called Planet Re-4 and the fictional characters that live there. The lineup, which Groeneveld said falls between streetwear and couture, was made up of reconstructions of sporty pieces. They presented cropped bubble vests and matching miniskirts, wide-leg nylon pants decorated with multiple drawstrings or reflective material, cropped tank tops with the Re-4 logo and jackets made from strips of fabric. The waistbands displayed a graphic Reconstruct logo. They also reconfigured Converse tracksuits and pieces from The New Originals, an Amsterdam-based
Call it Public School part two.
On the final night of New York Fashion Week: Men’s, the streetwear-skewed brand held a party and presentation at a space on Howard Street in Chinatown with its theme kept under wraps until the doors opened.
“This is our space,” said Dao-Yi Chow, who designs the label with Maxwell Osborne. “This will be our first retail store and this is a soft launch of the space.”
Throughout the location were mannequins dressed in the new collection — although Chow said the description “needs an asterisk by ‘new.’ Everything is recycled, upcycled or dead stock,” he said, and is intended to represent our new philosophy.”
While the philosophy may be new, the lineup revisited the duo’s greatest hits.
They revisited collaborations with like-minded brands including Eileen Fisher, whose dead-stock silks became striped pajama-inspired ensembles; Levi’s, whose vintage denim was reworked into cropped trucker jackets, and Alpha Industries military fabrics made into sleek outerwear.
“It’s very much the foundation and our past and then looking into the future,” Osborne added.
The collection reflected that with a clear example being a supersharp black suit with built-in cargo pockets and statement zippers. A short-sleeve jumpsuit — also part of their DNA — was so elegant
Todd Snyder closed New York Fashion Week: Men’s on a high note, sending out a feel-good collection full of bright colors and a youthful attitude that he titled “The American Tourist.”
“I played a lot with a mix of sartorial and campy references,” he said backstage before the show, where truffle popcorn and beer was served.
The opening look set the tone for the collection: a yellow T-shirt with a photo of a Waffle House that was taken by folk rocker Gerry Beckley of the group America. A series, all shot by the musician, are to make their debut for spring.
Snyder, the king of collaborations, unveiled other partnerships at the show including a line of terry-cloth bucket hats with Kangol, high-top tie-dye sneakers with Novesta, and perhaps the most striking, archival Hawaiian prints from Reyn Spooner that he used most successfully on an updated suit. “It’s the modern leisure suit,” he said.
His longtime partnership with Champion was also on display in bomber jackets, paneled sweatshirts and underwear. It even appeared as a side stripe on a plaid patterned suit.
Another play on the Americana theme came with the introduction of a new logo — “Snyder’s” in retro block letters — that he used
Romeo Hunte didn’t make any friends in his men’s runway debut in New York. His choice of a site away from the other venues and the complete chaos in the lobby of the Dream Downtown Hotel with hundreds of people attempting to access elevators to get to the rooftop site was bad enough. The fact that his team couldn’t get its act together to start his show until nearly an hour after it was planned had everyone eyeing the exits before the first look came out.
Once the show finally started, it was clear that Hunte had an underwater sports adventure as his overriding theme. He used neoprene from diving wetsuits that he reimagined as performance vests in bright colors and cropped jackets with exaggerated necklines.
Camo prints in cargo pants and bombers and the use of safety orange enhanced the streetwear flair. But while the line showed some promise, there were several missteps, including poorly executed tailoring and some unfortunate sequined embellished sweatshirts. But apart from that, the collection was youthful and carefree.
Summertime was the prevailing theme for William Watson and Vincent Oshin, the duo behind Death to Tennis. The designers, who are both British, were feeling nostalgic and a bit homesick so they looked to old beachside photographs to inform their lineup, which they said is one of their most colorful collections to date.
They leaned into the old and new, utilizing a color palette consisting of royal blue, purple, yellow, olive red and navy that brought to mind Ralph Lauren and Cross Colours from the Nineties.
These colors lent new life to core items such as graphic T-shirts, hoodies and the McCarthy jacket, which Justin Bieber popularized. They showed these signatures alongside cargo pants with minimal pockets, boxy button-up shirts, cotton parkas and shirt jackets. A long, hooded, colorblocked parka that grazed the ground was a standout.
The suit or matching set was another primary component. Models wore tracksuits, relaxed cotton suits and boxy shirts styled with slightly baggy pants. It was a nice take on tailored pieces that felt hip but not too trendy.
Death to Tennis is known for its original prints and this season it presented a camo pattern, a polo motif and a paint-splattered print.
Last season, the brand put on a
It’s a new day for Eidos.
The “younger cousin” of Italian luxury brand Isaia showcased its first full spring collection designed by Simon Spurr, who named creative director of the line last November, at an event at its Madison Square office Tuesday night. The lineup was called — appropriately — Contrast, which spoke to Spurr’s seamless integration of the company’s Neapolitan tailoring roots with what he described as “undertones of British punk.”
The English-born Spurr said, “Each season there will be a tailoring spine and then I’ll wrap something around the tailoring.”
This time around, that translated into Hawaiian-printed short-sleeve shirts, pink fringed suede jackets, indigo tie-dye jean jackets and Breton striped linen sweaters. Even the windowpane patterned suits were modernized. “We’ve done them in a younger way, printed them, they’re a little more graphic,” he said. Ditto for the silhouette, which was slim and youthful.
Isaia launched Eidos as a stand-alone brand in 2013, but Spurr’s addition has managed to elevate the label with an international point of view.
Well-known for his take on creating timeless wardrobe pieces with a cool minimalistic twist, Theory’s Martin Andersson’s spring collection keeps building on the same principles it has for the few past seasons: mobility and innovation.
“We asked ourselves, who is the Theory guy, and concluded that he’s into travel,” Andersson said at the brand’s spring presentation.
A capsule collection focusing on the idea of mobility and travel — packable seam-sealed blazers, travel Mac coats, water-resistant shirts and even a tracksuit — were all designed to be worn from the office straight to the airport.
Andersson has a knack for giving wardrobe staples a cool, minimalist élan via color and cut. His spring palette spanned forest greens, navy, khaki and bright pops of electric yellow and pink that were inspired from Dan Flavin’s light installations at Dia: Beacon.
A standout were the khaki pieces, such as khaki chinos with a contrast waistband paired with a bright pink sweater — a perfect blend of casual and sporty.
Kenneth Nicholson pulls from a varied bag of interests. The Houston native is as motivated by 18th-century dress as he is by outfits from “Soul Train” and military uniforms — after attending the Academy of Art in San Francisco, Nicholson spent a one-year stint in the Navy before he was honorably discharged. But his overall interest is in expanding the boundaries of men’s wear.
“Historically, men haven’t been restricted to just a shirt and pants. They’ve had more options,” Nicholson said. “I like to edify people and shake things up.”
He divided his collection into three chapters. The first chapter was a stark white, which Nicholson said was void of color to express sadness. Models wore cotton and linen long-sleeved shirtdresses with subtle swing hems, white lace shirts paired with cream high-waisted pants, and a brocade jacket with an exaggerated lapel coupled with a matching skirt. References to royalty were sprinkled throughout the lineup. Some models wore sashes, others wore crowns and a couple of the more structured, beaded looks with mock necks, nipped waists and peplums, which were highlights from the collection, brought to mind regalness.
The second chapter, which signaled better memories and featured more color, was the strongest. Nicholson doubled
These hot little minxes were getting ready for their Xmas party when the guys finally showed up. These dudes give these tight and tiny teens exactly what they want – dick in a box! The girls never saw it coming – but boy were they happy with their gifts! They sucked, stroked and fucked these holiday cocks with all the Yuletide spirit they could muster and in the end both of these slutty little elves got their mouths and faces covered in spunk! Happy Holidays from all of us!
These sexy babes were hacking away when they’re discovered by their biggest rivals! The guys were ready to fuck some shit up – but instead settled on fucking some pussy instead. There was a nerd orgy going on as two chicks were getting plowed on a table! The guys inserted their hard drives deep into some free slots and made sure the girls never tried hacking again. In the end, their faces were soaked with spunk and these chicks were more than happy to lick it up!
One of our overseas studs met up with these 3 Euro teens in the Czech Republic. Who knew that these Prague girls came stacked with such big asses? While driving they spotted a guy and got him in the van. Right away, Alexis ripped his pants off and went to town on his lovestick with her pigtailed homegirl! This lucky hitchhiker fucked Alexis’ pussy while her friend came in and took over with her mouth until he finally came all over Alexis’ face and her friend’s mouth!
Cassidy and her friends were busy making a special treat for some special dudes on Valentine’s day. They soon discovered they had the same Valentine! As payback, they blindfold him and had him taste test their muffins and cake! They each suck his cock, before Cassidy jumped on the counter looking to get fucked by that fat cock! Her homegirl got in on the action too! In the end, Cassidy and her friends made sure to get all the frosting out of his tube!
Creative director James Long is taking the Iceberg show on the road, with London being his first stop outside Italy and future plans for New York and Tokyo. His London show, which popped and fizzed with colors inspired by energy drinks, cartoon strips and seaside clubbers in Nineties Rimini, unfolded on the eve of London Fashion Week Men’s, which starts Saturday and runs through Monday.
Long set London men’s on the right path with his high-energy brand of Italian street luxe for a new generation. He parked Snoopy, Woodstock, Charlie Brown and the Pink Panther — all the faces that originally made Iceberg’s name in the Eighties — on knits, hoodies and turtlenecks in punchy shades of cobalt blue, bubble gum and fluorescent mint green.
Languid tracksuits, tops, boxy shirts and trousers came in a mix of techno fabrics, triple-printed denim and 3-D knits, and were covered in iterations of the brand’s logo, while zip-front sweaters flashed with checkerboard motor racing patterns. Long showed part of his women’s spring 2019 pre-collection, too: It was similar, but with more flesh on show and a slick of sequins on leather jackets, tank tops and hoodies.
It’s clear that Long, who took over as sole creative director in 2016,
With warmer weather (allegedly) right around the corner, there’s no better time than, well, right now to stock up on the things you’ll need for spring. Which is why it’s pretty awesome that Nordstrom is having a significant sale on some of the coolest clothes a guy can get his hands on. From a sharp waterproof jacket that you might hand down to your son someday to a pair of on-trend dad jeans, here are the coolest men’s spring essentials on sale right now.
Spring has long been celebrated as a time of renewal. Itâs also more recently been celebrated as a time when some of us have a little more money in our pockets thanks to our friends at the IRS. So if you find yourself newly flush and want to spend that coin on some new gear, East Dane has an awesome selection of stylish stuff to choose from.
Every guy has a year-round go-to scent, but thereâs no better season than spring to start fresh. Now is the time to stow any spicy, overly woody colognes that envelop you during the colder, dreary monthsâand replace them with something uplifting (and floral, and citrusy).
Spring is a time of transition, which means you need to be ready for anything. Whether youâre walking in rain or sunshine, on the sidewalk or up a mountain, arming yourself with a handful of trusted boots is a smart way to stay prepped and look stylish. Lucky for you thereâs a whole spectrum of options that you can wear all year longâand on more occasions than you might think, if theyâre styled correctly. Scroll down and strap up: weâve assembled a list of the best boots you can wear in the springtime and beyond.
Best spring break ever! Heidi Klum took her four kids on the trip of a lifetime, exploring Tokyo, Beijing, Hong Kong and the Great Wall of China. The crew admired stunning nature, cityscapes, and historic landmarks like Tiananmen Square and the Forbidden City – while also exploring local cuisine, of course. After making memories on a dream getaway like this, Heidi has set a whole new standard for #vacationgoals!
Johnny Manziel’s Comeback SZN is just days from hitting the football field … so naturally, the ex-Cleveland Browns QB stocked his clothing website with some fresh, new Spring League merch!! FYI — Johnny Football’s been selling clothes on his website…
As Maxime Simoëns prepared his second collection for Azzaro, he had more time to dive into the house archives to better understand its codes. What emerged is not so much references in styles or silhouettes as techniques like a knit crochet threaded with chains, a house signature developed in the Seventies.
Loris Azzaro left behind a legacy of cocktail and evening choices, jersey and flou work. The incumbent designer is looking to expand on that by grafting more contemporary pieces, which dovetails nicely with his own DNA and the “couture-à-porter” idea.
The collection featured plenty of looks that walked that line with aplomb. From its past came the glittering, effortless glamour, but it was checked off with a contemporary spin: chain-threaded minidresses; a lush and shimmering velvet jumpsuit; second skin trousers with a pussy-bow blouse, and a tweed jacket. Skewing more toward couture were “monkey hair” jackets that were actually fluffy feathers clustered together to resemble fur.
Twelve men’s silhouettes were mixed in, a capsule with a heavy emphasis on couture techniques presented ahead of a full luxury men’s wear launch. Here were showcased further textile manipulations, from rethreaded brocade that had a fade effect to more sedate devoré velvets.
If the end result
Some women really know how to throw a party! Forget the 4th of July fireworks. These girls want this cock to explode. 4 girls in a laundromat has never been so fun! J used his new camera to spy on his stepsister and her friends and wound up fucking them all. Teasing and playing in a limo on New Year’s Eve heats everyone up and leads to lots of fucking to bring in the New Year.
For spring, retailers are playing up the dreamy, free spirit of the Seventies; the glamour and glitz of the Eighties, and the streetwear influences of the Nineties, all topped off with a large dose of logomania.
It’s hard to pinpoint which decade will be getting the most play come spring, but those three recent decades loom large.
That’s the opinion of the fashion directors at Neiman Marcus, Saks Fifth Avenue, Bergdorf Goodman, Net-a-porter, Harrods, Galeries Lafayette, Barneys New York, Bloomingdale’s, Net-a-porter and Macy’s. They were asked which decade their customers most relate to and why, which decade is most influential right now and what items are customers requesting from the various decades.
Here’s what they had to say:
Ken Downing, senior vice president, fashion director at Neiman Marcus:
“The Seventies is always a popular decade with our customers because of the free-spirited, wanderlust, the wistful idea of a maxiskirt and a maxidress, the dreamy romanticism of a ruffle and a flounce, and the crafted quality of so many of the clothes, be it fringe, embroidery, crochet or lace. With the Seventies, not only do you get that great, hippie, free-spirited bohemian girl, you also get that touch of Victoriana, which was an important influence in
For her third see-now-buy-now men’s collection, Stella McCartney took Ibiza as her muse, dressing her man in loose-fitting trousers and breezy knits, hippie fringes and parrot prints.
“It’s a celebration of summer with lightness and unexpected colors — and there’s a hippy-trippy side, too,” said the designer who whipped up a pastel lilac suit with loose, pooling trousers. Based on one of her father Paul McCartney’s suits it has a tighter fit with buttons that are set closer together.
Other standout pieces included a chunky cardigan with deep patch pockets and sun setting on the back, an oversize faux suede jacket with fringes, and lineup of boxy cotton shirts, some with the Stella McCartney logo, others done in fluorescent green and others still covered in parrots.
In keeping with her sustainability efforts, cashmere sweaters were made from recycled bits that would otherwise have ended up on the cutting room floor, while the fringed jacket was made from Alter Suede, which McCartney also uses for her women’s collections.
The collection wasn’t all sea, sand and Seventies sunsets, though. McCartney also drew inspiration from the artwork of Pater Sato, the Japanese airbrush artist. His bright colors and otherworldly ladies appeared on shirts or the linings of
Prints! Colors! Supermodels! Versace’s ad campaign for spring seems to call for exclamation marks.
Segueing from the strong collection Donatella Versace designed for spring as a tribute to her late brother Gianni on the 20th anniversary of his death, the campaign emphasizes the newly revisited archival prints. The fashion show in September ended with five of Gianni Versace’s favorite models — Cindy Crawford, Naomi Campbell, Carla Bruni, Helena Christensen and Claudia Schiffer — posing in a tableaux vivant and walking the length of the runway with artistic director Donatella Versace, which made for the social media moment of Milan Fashion Week.
The ad campaign due to bow on Dec. 18 is yet another tribute to supermodel-dom as the images by Steven Meisel are fronted by Campbell; Christy Turlington; Gisele Bündchen; Natalia Vodianova; Raquel Zimmermann; Irina Shayk; Gigi Hadid; Kaia Gerber; Vittoria Ceretti; Cara Taylor; Birgit Kos; Grace Elizabeth, and Noah Luis Brown. “Naomi had to be by my side for this very special campaign celebrating Gianni….She is family to me,” Versace said.
“It has been amazing shooting this campaign surrounded by all of my friends and some of Gianni’s to whom this collection is a tribute,” she continued. “I felt so many different emotions at the same time, but
NEXT STOP, MILAN: After staging TommyNow fashion shows in New York, Los Angeles and London, Tommy Hilfiger will take his next show to Milan. The company, a division of PVH Corp., will close Milan Fashion Week with the spring 2018 TommyNow experiential runway event. The show will take place on Feb. 25 at 8 p.m. CET.
The show reflects Hilfiger’s ongoing commitment to bring TommyNow to new cities and audiences globally, following productions with “Tommy Pier” in New York for fall 2016, “Tommyland” in Los Angeles for spring 2017 and “RockCircus” for fall 2017 at London’s Roundhouse concert venue. The Milan venue hasn’t been selected yet.
Hilfiger continues to show in the see-now-buy-now format, which has been successful for the firm, generating huge spikes in traffic and billions of social media impressions.
“My vision for TommyNow was to create a global platform that we could take on tour to bring our show experience to new audiences around the world,” Hilfiger said. “It’s about the fusion of fashion, entertainment and pop culture and experiences, performances and inspiring interactions that are designed around our consumers. As one of the fashion capitals of the world, Milan is the perfect place to celebrate our next TommyNow show.”
Elegant, modern and minimalist, Yukiko Ode and Hideaki Yoshihara’s spring collection showed a polish and professionalism that can only be gained through experience. They showed largely monotone looks in neutral shades of khaki, brown, black and white, with some snakeskin print thrown in for contrast. Long, pleated organza skirts were worn over slim pants with slits at the back of the ankles, and jackets were layered over calf-length dresses. A collaboration with The North Face produced outdoorsy anorak jackets in extralong or ultracropped lengths, providing the perfect contrast to the contemporary urban aesthetic of the other pieces.
Both the show notes and the runway, with its garden-like installation at the end, made Sue’s inspiration for spring clear: flowers and nature. He used a literal interpretation, turning out loose chiffon dresses, ruffled blouses and oversized shirts in a variety of botanical prints. He mixed these with black satin bomber jackets and trousers that snapped down the side like track pants. A series of monotone ensembles in dusty rose felt out of place, and the show closed with a grouping of tulle dresses with long trains and lots of gathering. In all black or all white, some of these were reminiscent of wedding dresses, and also distracted from the rest of the collection.
AG’s team of designers was inspired by Joan Didion for spring — everything from her personal style and writing, down to certain descriptive words she used in interviews. Didion’s balance of vulnerable writing against a fearlessness in speaking her mind translated into silhouettes that balanced masculine and feminine design, as in a boxy utilitarian jacket, men’s-inspired shirting and rigid denim with raw hems, paint splatter and embroidery. The subdued color palette of washed-down blues, desert tones and green further referenced her writings on nature.
Akiko Koba aims to support Japanese craftsmanship by using traditional woven silk fabrics in her collections. For her first presentation during Tokyo Fashion Week, she showed tailored suits and preppy cuffed shorts and polo shirts for men, and short suits, tweed jackets, and swing dresses for women. While the silhouettes have been seen countless times before, the textiles were beautiful.
Masakazu Takeguchi’s first show for Tokyo Fashion Week had a rock concert vibe, with the entire audience standing, the closest members just inches from the raised, narrow runway. The clothes followed a similar vein, with long fringe hanging from tank tops, skirts, trousers and shorts. All-black looks included jeans splattered in white paint, an open-knit sweater and dresses with uneven hems. While overall the look was very street, a variety of blazers and tailored separates added polish.
Mikio Sakabe has long been one of Japan’s favorite avant-garde brands, and the spring offering was no exception. Now designed by the founder and his wife, Shueh Jen-Fang, its latest collection featured quirky takes on colorful Eighties power suits. V-neck buttoned dresses were layered over ruffled blouses, and skirts and jacket sleeves were voluminous to the max. The looks were complemented by extreme platform shoes, causing the models to step gingerly down the runway. The show closed with a coat and suit jacket in a dainty floral print, each with padded, three-dimensional protrusions in the shape of hearts or stars.
Overt military references permeated Ronald Chew’s latest streetwear offering. A large portion of the collection was turned out in a geometric camouflage print in either green or gray, and some looks were accessorized with a flag, combat helmet or police hat. A workman-style jumpsuit for men and a women’s ensemble consisting of a black velour T-shirt and wide-leg pants provided a small dose of variety, but overall the cargo pants and parkas felt repetitive.
Naoshi Sawayanagi formerly ran his own eponymous label, but now he has teamed with Hikari, niece of Japanese fashion designer Junko Koshino, on this new brand. It showed a mix of ath-leisure and preppy looks, nearly all in stark white, that would all have looked right at home in a country club. But the cropped racer-back tanks, tennis dresses, jogger pants, sports shorts and blazers quickly became repetitive and failed to provide excitement.
Tatsuya Kimura and Sanae Yoshida went grungy for spring, layering hooded sweatshirts, coats and loose-fitting pants in mixed plaids, denim, tie-dye and patchwork. Interspersed were a few more elegant looks of tailored black pants and jackets with flame motifs embroidered above the hems. And — likely due to the brand winning last season’s DHL Designer Award — there were also DHL branded T-shirts and bandages worn over nose bridges, which felt forced and over the top.
Men’s wear brand Original Penguin has tapped New York-based indie band AJR for its spring campaign, to be released in February of next year. Brothers Adam, Jack and Ryan Met were in Los Angeles this week to shoot the campaign as well as the music video for their single “Come Hang Out,” off their new album “The Click,” a version of which will also serve as the video campaign for OP’s spring collection.
Adam, Jack and Ryan Met of AJR.
“The shoot is some performance and some facial expressions, sort of like acting,” said Jack Met, explaining the concept of the video. “We are at a crazy party, but we are so busy performing that we don’t really notice the party going on around us,” he said.
Adam Met explained that it’s their first time linking with a fashion brand. “Original Penguin has great style, great simplicity and a throwback vibe that mirrors our style as a band. I also like the juxtapositions in the line, like a Seventies print shirt with Nineties pants. It’s sort of our like our music, a post-modern mix.”
The band of brothers, who have been playing together for 12 years, got their start as street performers in
Many of the textiles selected by Ayumi Sekiguchi and Yusuke Muramatsu for their spring collection seemed to come from interior design elements, including curtains, upholstery and cushion covers. There was lots of lace, ruffles and scalloped trim on girly dresses and long skirts, while a bathrobe so closely resembled curtains that it even had a rope belt with tasseled ends. The designers also used botanical motifs, with floral accents embroidered onto the sleeves of jackets or the fronts of blouses.
For her debut collection, Risa Aizawa drew inspiration from the neighborhood of Akihabara in Tokyo, which is known as a center of anime, manga and video game culture. She showed both innocent, Lolita-like looks, such as a quilted white dress with flounce sleeves and a bloomers-and-bib combo with a chiffon cape over the top, and darker, edgier pieces like skin-baring black HotPants and crop tops and body-con dresses covered in attached teddy bears. There was even a maid’s outfit, a nod to the fetishized “maid cafes” that are famous in Akihabara.
Tory Burch’s Sport line is not for the girl who wants to blend in with the legions of fitness fiends clad in black leggings, black sports bras and black tanks with a white swoop here or there. Her line goes big with happy color, for spring, inspired by David Hicks, as was her main line. Burch brought Hick’s florals and bold, graphic color into sport with printed navy and scarlet bomber, an orange and blue sports bra and leggings, and a floral-printed Neoprene zip-up one-piece swimsuit.
It wasn’t just cute. Burch takes the performance aspect of the collection seriously, pushing her staff to infuse technical development into everything, whether it’s Coolmax cashmere sweatpants, a ruffled tennis sweater or golf vest. “I said, ‘Let’s make functionality a given, not a design detail,’” said Burch during a preview. In addition to working with fabrics with wicking, cooling and anti-microbial properties, golf skirts come with under-shorts and pockets big enough for scorecards and a yellow and navy jacket is fully reversible to a waterproof rain slicker. As for the Little Grumps frowny-faced tennis balls that have become a charming brand logo and graced a fresh white oversize sweater, pastel sweatshirts and Ts, well, that
This brand, designed anonymously, put on a presentation that was part fashion show and part street performance, all set in an old Noh theater. Bikers popped wheelies in branded satin parkas, and skateboarders did laps in hooded sweatshirts, baggy shorts and oversize coats. Athletic influences were seen in track skirts and sweatpants, but the most common denominator were the logos, which were printed prominently on nearly every piece.
Cowabunga, dudes! Yukihiro Teshima said he wanted to realize one of his childhood dreams with his spring show, and so he got Teenage Mutant Ninja Turtles to join in the fun. Cheerleaders jumped around shaking gold pom-poms and threw each other into the air, creating a fun, festivallike atmosphere. The clothes were less exciting, with lots of simple shapes like work-inspired shirts, pants and coveralls, as well as outdoorsy shorts and rain ponchos. Teshima did his best to spice things up with color and quirky prints, including turtles, tiles, pizza and tie-dye.
Staged in a sun-filled studio set with loads of green plants and wicker chairs on which the models lounged, it was easy to infer an organic, clean California aesthetic from J Brand’s spring collection. The collection’s jeans — many cropped with high waists, wide or straight legs in powdery pink, natural off-white and traditional blue indigo — will pair well with the pottery-loving, gluten- and dairy-free cool girl’s lifestyle. From jean jackets to white Ts to a black leather miniskirt, the shapes were mostly clean and classic with little to no whiskering and the only distressing a raw hem or two. For the first time, men’s was included in the presentation, with the guys playing perfect counterpart to the girls in skinny jeans and relaxed jackets in shades of white, gray and faded blue.
For his first show during Tokyo fashion week, Takahiro Miyashita turned out an impactful collection of hard-edged black-and-white streetwear complemented by tailoring and outdoor influences. Models — many of their faces almost completely obscured by masks — wore layers of graffiti printed sheer T-shirts, studded shirts, and suits with embroidered sleeves and pant legs. Miyashita designs for men, but his clothes have a unisex appeal to them, as evidenced by the females who shared the runway.
When he was asked to show his BYO handbags in a runway show a few seasons ago, Jakarta-based accessories designer Tommy Ambiyo jumped at the chance, but he was disappointed to see the accessories taking a backseat to the clothes they were shown with. So he decided to create his own wearable pieces that would showcase, not eclipse, his bags.
The result was eye-catching, if not completely wearable, tops made from the same woven plastic and latex as his handbags. The materials were woven together to create clutches and totes, some simple, and some embellished with plastic paillettes and pieces resembling feathers.
In this case, the tops were a colorful complement to the bags, and Ambiyo kept the rest of the styling minimal, sending out models in the same navy skirts and black pumps, with slicked-back hair and no-makeup makeup.
Ambiyo has found success in is home country, selling more than 6,000 bags in the two years since he relaunched his label. He said the vibrant colors were inspired by the solar eclipse, noting, “During an eclipse you see the craziest colors in the sky.”
The crisp awning stripes of Positano merged with the rustic coastal flavor of Trancoso, Brazil in Stephanie von Watzdorf’s spring Figue collection. She kept her signature perennially vacation-ready, bohemian staples fresh with new languid kimonos, the coolest one done in pieces of many vibrant prints and voluminous cotton shirts — some striped, some solid, some a mix of prints — that cutaway almost to a dress length. The kimonos and shirts looked great over printed pajama pants and beachy cotton styles jazzed up with tassels but would work just as well with jeans. For accessories, she introduced a fully beaded moccasin sneaker and slip-on sneakers with decorated with fluffy pom-poms.
For the second Parisian presentation of their brand Leal Daccarett, Colombian designers Karen Daccarett and Francisco Leal offered a flirtatiously Latin collection that steered clear of clichés while tapping into its home country and its layered, dance-filled heritage.
Established in 2008, the brand helmed by the married duo became a fast favorite of the current First Lady of Colombia, María Clemencia De Santos, who was spotted wearing their designs on state visits, most notably to Spain and the U.K.
La Fantástica, their summer line, ranged from bathing suits to floor-length dresses — whether these were exuberant daywear or low-key evening fare was left up to the wearer. With just enough froth to make it fun, the collection had denims adorned with charming character patches or coral pieces; a blue denim set of a long jacket and wide trousers embellished with raw-edged ruffles; tiered dresses in a navy and white palm print, and long caftans. Cottons, silk and denim came together in a palette of blues and whites.
“It’s a proud moment to be Colombian, and we’re showing who we are and how comfortable we are with that,” Leal said during a showroom appointment.
Johanna Ortiz chose silk as her primary material for spring, designing the flowery motifs in pinks and reds. The tropics were inspiration, which explained the fanciful golden bugs adorning her dresses.
“It’s Asia, Africa and America coming together,” she said, animated by a rush of excitement from showing her collection at the Colombian Ambassador’s residence in Paris.
She also used embroidery to embellish the formal dresses, many with tiers of ruffles.
It was cocktail hour at teatime; the macarons and truffles sat in the next room, next to a bowl of plantain chips as mint was ground for fresh mojitos. The clothes were appropriate for the stately setting, but perhaps better suited for the evening.
“I love fabrics that feel nice on your skin, I try on all the pieces,” said Ortiz, noting she has to use a stool for the long dresses because she is petite. She was wearing one of her black-and-white silk tunics over jeans, with platform heels for height.
Trenchcoats were another inspiration, evident by the flaps on the front of a polka-dot dress with a ruffled bottom.
The setting for her collection was humbling, Ortiz offered readily, looking up at the painting above her: a fat blue vase of white and
Thom Browne designed to his Paris moment. “When I thought of doing my first show here, I wanted to celebrate what, in my mind, Paris fashion is all about — the craftsmanship of couture,” he said during a preview.
Browne called his vision of couture “almost childlike,” one represented for spring in a single word: tulle. He thus devised a personal creative challenge: to taking the classic American fabrics he loves – madras, seersucker, checks – and re-create them in a collection made almost entirely of tulle. “Especially for the first show, I wanted a real celebration of the culture of fashion in Paris,” he said. “But then, to make sure that people saw the true connection to what I’ve been doing.”
What this man did with tulle was staggering. In paying homage to couture, he created couture — a collection that would have shown as brilliantly in July as it did on Tuesday at the Hotel de Ville. The mastery of these clothes was beyond, the fabric development remarkable. Imagine a trim madras jacket that looks like real thing, but woven with painstaking precision from strips of tulle. Or a cricket jacket, its half-“exploded,” half-shaved tulle configuration mocking the conservatism of the real thing. Or
A fashion editor exiting the Valentino show needed a moment; rapture recovery takes time. When she got enough of a grip to regain verbal capacity, she offered, “I want to live on that planet.” The vibe in the courtyard of the Lycée Carnot, where Pierpaolo Piccioli presented his spring collection, suggested she wouldn’t be lonely.
For years now, Piccioli has produced some of fashion’s most extraordinary work, first in partnership with Maria Grazia Chiuri and now, on his own. Piccioli’s spring collection was out-of-this world magnificent.
At the risk of prolonging the planetary motif, the editor’s reference was more salient than she realized; featured on Piccioli’s mood board this season, along with pictures of the glamorous teenaged Brooke Shields and depictions of “The Frenzy of Orlando,” was a photograph taken by astronaut William Alison Anders during the Apollo 8 mission, the first to reach and orbit the moon. (OK, you Galileos out there, the moon’s not a planet. But it is up there — fashion license.)
During a preview, Piccioli talked about the moon as a physical place, but also “where you can find what’s lost in the heart, this romantic idea of the moon, the moon as a second chance.” Schmaltz? Maybe. But what’s “schmaltz”
Now the cool boys in Isabel Marant’s entourage can rest easy: The French designer has finally come through with men’s wear, and it’s here to stay. “I gave in to popular demand,” she admitted backstage, saying the campaign had been going on since her popular H&M hookup four years ago. The guys were offered thick gauge knits that poured over their shoulders like treacle, Windbreakers and toothsome trackpants, with rope flip-flops or slides on the feet.
But back to the girls. The show started with crisp white: frilled shirts; ingénue broderie anglaise minidresses; denim with circular patterns piercing the legs; a double-breasted jacket tucked into trousers that were loose on the thigh and tight at the ankle. Sporty details started to crop up.
By midway point, the collection hit its stride, brash colors and metallic materials bringing a sporty-glam mien: boiler suits rolled down to reveal swimwear; trackpants were cut from shimmery florals and paired with voluminous tops; lightweight blousons could pass for shirtdresses, and high-cut briefs had the aplomb of daring shorts. Whenever she went too high on the leg and too voluminous on the sleeve, it didn’t quite work, like wearing stilettos to the beach. Performance water sports details —
Serving as the spearhead of Hong Kong’s designer outreach in Paris, HKFG, the event formerly known as “Fashion Guerrilla,” presented its fourth runway show with brands Id, Cynthia & Xiao and Kenaxlung.
Summer fabrics and a lighter palette did not serve Julio Ng & Cyrus Wong of Id well. Filmy jackets, a burgundy greatcoat in coated canvas that showed its satin lining at the waist and shoulder, and denim spray-painted in acid colors didn’t coalesce into a fully coherent ensemble, but stood out. They also were those in which the deconstruction was done with the lightest touch.
Cynthia & Xiao’s Cynthia Mak and Xiao Xiao continued to mine the designers’ proclivity for knitwear while playing with youthful shapes. The best were a skirt in highly worked crochet and technical mesh tops adorned with thick thread embroidery. The rest was saccharine enough to hit the spot but did not make for a memorable treat.
A passing glance at Kenaxlung offered tropes seen elsewhere, such as louche thigh-high footwear, odd denim confections, jolie laide dress-over-trouser combinations and ill-fitting workwear. Designer Leung Ka Kin nonetheless gave a distinctive touch to his denim, suiting and workwear chop-shop that made the line-up look of-the-moment and personal.
Continuing last season’s appeal to a younger customer, Cacharel plowed familiar fields with its simple shapes and abundance of tweaked floral prints – sometimes at the risk of oversimplification. Stretch silk, cotton voile and canvas were cut in bomber jackets, drop-waist dresses and off-the-shoulder tops. Standouts included a striped suit with ankle-grazer trousers, egg-shaped coats in bright blue or white, printed pleated dresses, and a Bardot dress with buttons running down the sides that hit an innocent-yet-flirty Sixties note. Approachable and easy to read, those will do well on the label’s e-commerce site, launched in early September.
The sophisticated outdoor lifestyle portrayed by Karen Blixen in “Out of Africa” inspired Margherita Cardelli and Gerardo Cavaliere’s second collection for their Giuliva Heritage Collection brand. Classic safari jackets, handcrafted in Naples, were shown in exclusive fabrics, including a lightweight, fluid Solaro linen in chic hues such as mint and tobacco. A Twenties-inspired waisted hunting jacket, featuring a sculpted silhouette, was crafted from vintage linens showing mannish checked and striped patterns, while a versatile coat, which can be also worn as a dress, was lined with a polka dot shirting fabric. Another double-breasted style, available in hopsack and in herringbone linen, featured a shawl-like lapel. Even though outerwear continues to be at the core of the label, Giuliva Heritage Collection also introduced safari dresses, which looked as comfortable and functional as they were elegant. With its quality constructions, refined color palette and fine details, inspired by men’s Neapolitan tailoring, Giuliva Heritage Collection is a brand to watch for those who want to stay chic without indulging in seasonal trends.
Inspired by an untitled poem by 17th–century’s British author Robert Herrick who celebrated imperfect beauty, Albino Teodoro played with proportions and unfinished details to convey a hyper elegant aesthetic injected with edgy touches. The first look, a feminine voluminous draped skirt matched with a sharp cut cotton shirt, set the tone for the lineup, which played with contrasts. For example, a sartorial vest, layered over a white T-shirt, was paired with an asymmetric skirt worked in a chic jacquard fabric showing an Asian-inspired floral pattern. A workwear jumpsuit revealed a sensual ruffled off-the-shoulder neckline, while a beige trenchcoat featured the front and the sleeves embroidered with a cascade of black and gold sequins. Teodoro took a couture-like approach to constructions. He twisted and draped natural high-end fabrics to create elegant, voluminous skirts and frocks, coming both in solid versions and in rich jacquard options. The whole lineup exuded a sense of unconventional luxury, which looked refreshing and charming.
Gabriele Colangelo is a pro at manipulating fabrics to create new textures, and at mixing the tailored with the fluid. This season was no exception, although some of his trials worked better than others.
Colangelo twisted, dyed and pleated his way around this collection using Japanese techniques such as nui shibori. “I wanted a strong, artsy feel and I wanted to work with masculine shapes and feminine fabrics – my woman is strict, but gentle,” he said backstage.
Among the strongest looks were pleated knit dresses gathered at the front and back with little leather belts, a powder blue-and-white checked seersucker dress, and tie-dyed flower prints for slim, spare dresses and sparkly tops.
One dress had strips of crinkly tie-dyed flower fabric interspersed with sheer panels, giving it an artsy, paper mache effect, while a long and flowing flower print sash added a Far Eastern flair to an olive trench coat.
It’s safe to say that “Victor/Victoria” styles such as the half pantsuit/half pleated dress won’t work for most women – unless they really can’t make up their minds at 7:00 on a weekday morning.
All those long, dangling utility straps won’t work either. While they may suit a fashion shoot, they won’t look as cool caught
Blazé brought an exotic flavor to its offering of luxury tailored jackets this season, with a collection inspired by Loulou de la Falaise’s Moroccan jaunts with Yves Saint Laurent.
The spring looks melded warm sand tones with jewel colors, in a nod to the French muse’s bohemian-chic accessory designs. The brand has expanded its offering to 11 styles, including powder-toned linen blazers with contrast piping on the lapels and a hammered silk blazer dress with Lurex fringe.
“We always like the blazers to be very boxy and masculine so they’re very masculine in the fit, but we make them very sexy and feminine with the choice of fabrics,” noted Corrada Rodriguez D’Acri, who cofounded the brand with fellow former fashion editors Delfina Pinardi and Sole Torlonia.
Soigné details included precious stone buttons and silk linings printed with desert flowers.
The Harlem Renaissance, the movement was the inspiration behind Emilia Wickstead’s spring collection. She explored the clothes worn at legendary Jazz Age hot spot The Cotton Club by the likes of jazz singer Cab Calloway (who had a fondness for bow ties) and a young Billie Holliday. “It was a glamorous place,” said Wickstead. “People really dressed up.”
She also looked to the Deep South, which informed a few wide sun hats that tied under the chin, calling to mind those worn in the fields by cotton pickers to keep the sun off, as well as demure silhouettes and occasional dropped waistline.
Plenty of Wickstead’s signatures were at play — the high-waisted trousers, the nipped waists, the blousy sleeves — but with new touches in volume and texture.
The opening look — a white silk shirt with a long black bow tied at the neck and sleeves that crisscrossed with the same black ties, worn with white trousers in a more relaxed fit — was followed by three looks that played with transparency, the seams marked out in black, giving them a cartoonish aspect.
Among the other standouts were a little white camisole dress with bows down the front; a blue dress with swathes
The idea of despair twinned with entitlement — which Hussein Chalayan believes is fostered by the digital age — was the designer’s starting point for this collection. “I feel like it’s this peculiar situation that I see a lot. I teach in Vienna — I’m the head of the fashion department there, and I see it…in young people,” said Chalayan after the show. “They’re desperate but they’re really entitled as well. So I really wanted to create an aura of that.”
But this being Chalayan, he worked those ideas in oblique, rather than obvious, ways. Interpreting the idea of “framing the body,” there were jackets with nipped-in waists — some of which were cut to reveal the back, bringing a subtle femininity to those masculine shapes — paired with loosely tailored pants. Also intriguing was a series of body-skimming column dresses and tops in shades of black and red, whose structured, peaked shoulders lent a subversion to their ostensibly glamorous silhouettes.
Some of the models wore sheer headscarves and sunglasses over their faces, which the designer said nodded to a “chic yet peculiar” mood.
Perhaps the most direct reference to Chalayan’s theme was the finale of rectangular frames that shimmered with organic-looking Swarovski
Henry Holland doesn’t shy away from a print or two. For spring, the designer was in an experimental mood. He knew he wanted to do something with pirates, but didn’t want to go overboard with the theme, searching instead for an easy-breezy high-summer way out.
He eventually settled for a wavy geometric pattern that permeated the collection in myriad ways. It started as a print on a volley of deliciously lightweight cotton voile skirts and dresses — “something you just throw over a bikini on your way to the bar,” he offered, post-show. It continued in the shape of a hemline on a bouncy bustier number, which he styled worn boyishly over an athletic long-sleeve shirt, and lent itself as a pattern for a hand-crocheted dress and hooded jumper. Holland said it took 12 different hand-stitches to get the visuals right.
Meanwhile, his background in denim inspired a pair of bell bottoms, among other items, which he elaborately embroidered with sea-life motifs, feeding into the season’s dreamy, somewhat psychedelic aesthetic.
Throughout, the designer steered clear of girly clichés. His “beach babes” had tomboy written all over. Cue trashy sandals and white sport socks as this season’s top accessories. In the end, pirates only
Calvin Luo may be young, but his work shows a sophistication beyond his years.
The recent Parsons School of Design graduate was the youngest designer to present in the official New York Fashion Week calendar when he unveiled his collection three seasons ago; for his fourth outing, Luo continued to refine what had created buzz in the past.
Before the official runway show began, Luo presented male and female models in super lightweight pajamalike outfits made from a temperature-sensing heating fabric Luo created that changes color when heated.
But the real draw was his distinct take on what he described as a “skater-girl-turned-whimsy-woman.” The story started with some sporty references such as hoodies, tanks, cropped tops and skirts with drawstring details and finished with elaborate knit dresses and a strapless blue metallic evening gown.
The line continued to showcase his propensity for deconstruction, especially as it applied to sleeves.
Although his past collections have explored more gender-fluid looks, this season showed more delineation between the sexes, at least as far as the women’s looks were concerned.
Dresses were flirty and feminine with ruching and ruffles and tulle insets on pencil skirts. But the guys’ looks were more “asexual,” Luo said, such as tan shorts with smocking
Americana meets Japonica pretty much sums up Adam Lippes’ assertive spring collection. “I just moved to Brooklyn, I have an amazing view of the water. It’s very inspiring, although it’s a construction site right now, so I brought my home here,” he explained at his showroom presentation, where he installed some of his furniture to set the mood. “I have a lot of Japanese influences in my home and that’s how my mind works — I get inspired by what surrounds me.” The lineup married both influences with subtlety and grace. For instance, classic Adam Lippes staples — the white shirt, the boyfriend trousers — featured sashiko, a Japanese stitchwork technique; the tailored jackets that he is so well-known for sported beautiful antique Japanese enamel buttons.
Sashiko was a recurring element throughout, shown most notably on a great circle skirt and matching top and a black kimono jacket. Elsewhere on pencil skirts, Lippes used indigo shibori dyed recycled blankets for an elevated sportswear vibe. Evening took a more minimal turn, via slinky silk jersey dresses. And because there always has to be a showstopper, a long silk kimono took it home.
SUI STEPS UP: Anna Sui has partnered with Bed|Stü footwear to produce a seven-piece, limited-edition collection that will include sandals, boots and handbags. The collection will be unveiled at Sui’s show tonight at Skylight Clarkson Sq.
The collection retails from $ 325 to $ 1,195 and will be available for purchase on bedstu.com, as well as the Bed|Stü flagship in Malibu and the Anna Sui store in New York, beginning in February. Additional locations will be revealed in the coming months.
The collection, inspired by the late Sixties, embodies a new bohemian aesthetic with rustic elements and hand-tooled leathers that are vegetable tanned and free from harmful metals such as chrome and formaldehydes.
Roger Orozco, founder and creative director of Bed|Stü, said, “We couldn’t be more excited to be doing our first collaboration with Anna Sui, who is such a leader in the fashion industry. Working with her was a great experience, and it was so exciting to see the accessories from the collaboration paired with the looks on the runway.”
Sui added, “They approached me. I’ve always admired their commitment to craft and use of pre-industrial artisanal techniques — using sustainable vegetable tanned leathers (from organic materials; plants, bark, leaves) — everything is individually cut,