We're still recovering from the quiet control at Erin Fetherston's show yesterday. Her clothes were sharp, unexpectedly simple, and lacking the usual drop-waist-and-ruffle routine that we've loved and hated this whole time. In fact, on Sunday, we tried on an Erin Fetherston dress - the pink, tiered, tulle, frilly kind - in Henri Bendel. We were so thrilled to find it, and to fit into it, and when we stepped back in the dressing room - wow did we look awful. It was sad. Probably the biggest thing to know about this collection is that - if you've got the cash - you can actually wear it. Erin told us backstage that she was still obsessed with "eccentric glamour" and "kookiness," but this time, that happened in her prints - seashells, flapping birds, clouds - than anything in the silhouette. Now we've got trench coats, we've got gray dresses demure enough to wear to a rich grandmother's house, and we've got possibilities that extend beyond just the fashion crowd. But now we've also got some things to discuss. 1. If Erin starts making pretty. twirly dresses more important than her pretty, twirly lifestyle, will she be more or less special to the industry? 2. What was Patrick Robinson, the new head designer of Gap, doing in the front row? As Natalie whispered, "He's making some really sour, upset faces!" Hm. They both worked in Paris, they both have a Target collection, and other than that, we're just dying to know. Note to self: Quiz Sally Singer at first opportunity. PS: The whole show is here.
We're still recovering from the quiet control at Erin Fetherston's show yesterday. Her clothes were sharp, unexpectedly simple, and lacking the usual