For fall 2011, Preen by Thornton Bregazzi, picked up where they left off last season, chopping apart tailored menswear and attaching it to softer more feminine pieces. It sounds clunky but it wasn’t. The tops of tailored pants were stitched onto longer tulip skirts, and the backs of dresses looked like men’s blazers, pocket slits included. Justin Thornton and Thea Bregazzi added color to a mostly navy and slate palette with a multicolor geometric print that looked like Escher-meets-Spirograph (remember those?) on silk tops and cropped knits. Prints gave way to heavy beading at the end of the show that covered the fronts of dresses and blouses like mold growing in a petri dish, only, you know, in a cool fashion-y way.
Read more »Archive for February 2011
Last night John Mayer showed up at the Grammy’s channeling another famous John(ny), Johnny Depp. Who’s white on black look with sunglasses do you love more, Mayer or Depp (here at the 2007 Venice Film Festival)?
Menswear
Ervell Fall 2011: A Force to Reckon With
I’m just going to say it: Patrik Ervell should have won the CFDA/GQ New Menswear Designer of the Year. Quite simply, and I use the word “simply” intentionally here, no one is making menswear like Patrik Ervell. The refinement of his suits are unmatched, and his apparel retains an absolutely effortless sexiness and masculinity without losing even a touch of its elegance. And yet his materials are forward-thinking, without needing to get all up in your face with their avant-gardness. For my money, in terms of young, or “new” designers, he is the one to beat.
Ervell’s F/W 2011 collection began against a backdrop of white billowing parachutes, flowing with gusts of wind provided by fans. The minimal, dramatic set was a precursor for what was to come: the stage outline of the film Dogville, or those first, sparse piano notes that introduce Kanye’s Runaway.
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When I was a youngster, I attended a religious institution where the uniform required a burgundy blazer. Most of my peers and their parents scoffed at the color choice, but I always thought it was kind of chic. Tommy Hilfiger recalled my younger days with a preppy A/W 2011 collection that started with a burgundy overcoat, and brought the color back again and again, in his blocked sweaters, scarves, trousers and jackets.
Hilfiger, with some help from Simon Spurr, evoked “both boarding schools and Brooklyn clubs” with “a foundation for separates,” a movement away from his base for one of America’s kings of the suit. But the mix of prep and indie has been accomplished with great intelligence, as the moleskin blazers and Pendleton striped shirting mixed effortlessly with slim cargo and jersey knit track pants. The whole package was tied together with a focus on outerwear: motorcycle jackets, overcoats (with toggles), bonded macs and heavy bombers dominated. I would have been sent straight to detention if I’d showed up to class in one of his blazer-and-sweatpant combos, even a blazer at natty as these ones, but I like the concept.
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Reviews
DKNY Fall 2011: New York Mods
Donna Karan called her fall 2011 DKNY show “New York Mods.” It was an apt title considering the “modernists” inspired show featured sleek city looks in a palette of black, cream and navy infused with shots of color for looks that were distinctly New York: cool without trying too hard. And if you needed any confirmation that this show was for New York girls, a neon sign that read “Something New York,” blazed along the back wall.
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Reviews
Suno, Fetherston and Pamela Love Fall 2011: When Milk Boils Over – Chaos and Crowds at Saturday Night’s Shows
When we arrived on time for a trio of Saturday evening presentations at MAC & Milk, we couldn’t possibly have predicted the insanity we were in for. With the fur-coat-wearing, Blackberry-brandishing masses attempting to simultaneously check in for Suno, Erin, Pamela Love, Billy Reid, Illesteva, and Altuzarra, suffice it to say that there weren’t quite enough iPads on hand to make the process run smoothly. After over an hour of waiting in the throng, we were informed that all the eighth-floor presentations had finished. While we aren’t surprised that 450 West 15th St. is an incredibly coveted show locale (regal and historic as Lincoln Center may be, it just doesn’t carry the same edgy-cool factor as MAC & Milk) we hope that as the week progresses, the downtown venue will step up its game and be better able to handle the crowds.
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Full disclosure: we didn’t quite make it into Imitation’s show yesterday at MAC & Milk, due, once again, to the venue’s crushing methods of crowd control. After ten minutes’ worth of polite begging and pleading with the staff, who assured us that the studio’s penthouse couldn’t fit even one more person without becoming a fire hazard, we gave up hope and chose to wait for photos to pop up online.
It looks as though designer Tara Subkoff, who launched Imitation a decade ago as a concept line crafted from vintage and secondhand finds, was in a minimalist mood this season.
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Reviews
ADAM Fall 2011: Native American Inspired
Here’s a recipe for commercial success:
Start by thinking about your actual, real life customer. Add a dash of niche, specific inspiration, but don’t get too heavy handed. Split the vision up into separates. Lather, rinse, repeat.
For fall, Adam Lippes did just that, churning out yet another ADAM collection that was “wearable” in only the way that fashion people say it, as if surprised when clothes are actually accessible.
“The starting point in designing every collection is the woman who wears my clothes,” Lippes’ show notes explained. Past that, his inspiration was a recent trip to the National Museum of the American Indian. But sticking to the recipe, Lippes added just the right dash of native, not a dousing.
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As editors tapped their toes to the tunes of the incomparable Mick Jagger & Co., all-American design icon Tommy sent out a fall collection inspired by “the nonchalant style of a 1970′s rock star’s girlfriend.” You could certainly see it in the bevy of menswear looks–models sported oversized, three-piece pinstripe suits accented with pocket squares and stack-heeled loafers we suggest jumping on the waitlist for now. The silky, diaphanous foulard-print maxi dresses and pajama pants projected just the right feel of laid-back seventies luxe, but the outerwear was what really caught our eye.
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DvF headed west this season. The theme from The Good the Bad and the Ugly (mixed with the requisite fashion show thumping bass) played as models in bolero hats, gaucho pants, and cropped leather jackets (some with fringe, some in colorful patchwork) hit the runway. Of course, DvF‘s lady pioneers are super glamorous too–she mixes and matches bold prints, she isn’t afraid to wear monochrome looks in bold blues, reds and fuchsias, and when she goes out on the town she wears oversized sunnies, long fur vests, and superhero-esque (maybe a little Rainbow Bright-esque) gowns in gold, sequins and shimmering silks. There were a lot of individual pieces to covet from this collection–namely the luxe coats in bold colors, and an aqua silk tee with a thick gold and black stripe at the top–but the collection overall didn’t seem as chock-full of perfect cocktail dresses and workwear looks as we’ve come to expect from DvF. But then again, anything goes in the wild wild west.
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