Archive for February 2011

Having a good sense of humor is sexy, so it was promising that lingerie designers Maayan Zilberman and Nikki Dekker had some fun with their first presentation for their line, The Lake & Stars. The models, in looks inspired by “a 1970s American interpretation of Italian Neo-Classicism,” were guarded like works of art in a museum by a fleet of security guards. Only if you looked close enough each security guard had a tongue-in-cheek name tag like “Hugh Jass” or “Mike Hunt.” It was an idea that came to the Brooklyn-based designers in a state of “delirium” they said, but if you’re presenting a collection of lingerie, why not have some good naughty fun?

Though The Lake & Stars fall 2011 collection was more than just bras and panties–as underwear increasingly becomes more visible as outerwear (under loose oversized tanks and layered under sweaters and button down blouses)–it almost makes more sense to view The Lake & Stars as a ready-to-wear line. Zilberman and Dekker would like you to see it that way, too. Putting on a presentation, a luxury afforded them as one of Ecco Domani’s Fashion Foundation Winners, allows them to be viewed, said Dekker, “as a crossover ready-to-wear collection and more of a designer line and less of a ‘What do you wear as a bra and underwear?’”

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Finding our way to Rachel Antonoff’s prom-themed presentation was sort of like snagging a date to the dance–a bit confusing and awkward. Held on the third floor of Fiorella H. LaGuardia High School near Lincoln Center, it required some wandering through the linoleum halls, but once we heard the boppy chords of The Like drifting from the gymnasium, we knew we were in the right place.

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Nicole Miller’s latest collection was as badass as we felt at the show wedged between Richie Rich and Gabrielle Union. Leather detailing, asymmetrical cuts, and a menswear influence all served as yet another departure from the line’s girly, form-fitting, party dress image.

Miller paired a sequin sheath with an angular leather vest, and a diagonal stripe skirt over boot cut silk pants. There were foiled metal skirts, leather leggings a la Alexander Wang, and Persian lamb coats.

While we love that Miller is amping up the edge, our favorite looks were those with less bulk–a black and blue printed silk dress and a red and gray printed blouson top with a metallic pencil skirt.

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To use one of our new favorite phrases, Fashion Week is “many things.” Too many in fact, to capture in one blog post. But can we try? Day three is already here but we’re still poring over the hits and misses of day one. Here’s our take:

The Wigs at Gary Graham: We got his vision for the clothes. But the beauty notes lost us at hello. What were those wigs? No, seriously. What were they?

The Front Row at BCBG:
Yet again, just as much to look at off the runway as a laundry list of “celebs” from Kelly Rowland to Jennifer Love Hewitt perched on the front row.

Wellies at Organic by John Patrick: Rainy days just got an upgrade with these to-die-for lace up rain boots.

Swimwear at Norma Kamali:
We are too delighted that Kamali showed on the runway to complain about anything. But if we did, it would be to ask how those unforgiving cut-outs would translate on real women.

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When I was a brand-new journalist, one of my mentors gave me a priceless piece of advice: “Don’t fall in love with your research,” he said. It’s a common problem. Like actors who get into a role, when we spend time enough time investigating something, or compiling data, we find ourselves becoming attached to it. Then, when the time comes to jettison what’s unnecessary, or seemingly superfluous to an editor, we cannot bear it.

I feel like the guys from Duckie Brown are suffering from a similar problem. It seems that Steven Cox and Daniel Silver get so caught up in the novelty, history, or intricacies of their materials, they lose sight of the entire garment, or collection. While their show was a great improvement over last season’s circus parade, and ultimately a success, there were times where it felt disjointed, and off-the-mark.

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As darkness fell on the first day of New York Fashion Week, we headed west to check out some art courtesy of Vladimir Restoin-Roitfeld’s curation, and show off our faux fur at PETA’s fashion week party.

The first stop was a warehouse on the desolate Washington Street where Vladimir Restoin Roitfeld and Andy Valmorbida were hosting RETNA: The Hallelujah World Tour. The open and dim space smelled of fresh paint (there were splatters of it on the floor) and graffiti artist RETNA’s canvases filled with abstract black and white symbols lined the walls. The crowd, sipping on what we’re pretty sure was straight vodka, was as eclectic as the art itself. Fashion folk like Eddie Borgo and proud mama Carine Roitfeld mingled with a young flock of skateboarders (boards in tow), older women in hulking fur coats, and disheveled yet chic Parisian-looking men.

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The bass at Doo.Ri’s fall show was so loud it rattled my esophagus, even out-thumping the platform combat boots that clamored down the runway.

But bass and boots aside, the rest of Doo.Ri’s fall collection beat to her traditional track of quiet restraint. Doo.Ri Chung, the master of draping, jersey, and monochrome, deviated very little from her favorite formula this season. So when she did play with something new—a texture, a tweaked silhouette– it made one thing very, very clear:

The beauty of being a designer who works within fairly rigid parameters is not having to raise your voice to make your statement.

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It’s hard to dislike Costello Tagliapietra‘s easy dresses, but this season it was virtually impossibile. With blown out coifs and coral lipstick, the lady’s looked unbelievably Jackie O-like in wool crepe. The duo’s draping skills were used particularly well in a billowing white blouse paired with pegged orange pants. And the final look, a slinky yellow silk number, was elevated by a peach lining.

**Photos by Imaxtree.

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After leaving her namesake brand, Devi Kroell returns to New York Fashion Week with a brand new collection: Dax Gabler. We can’t wait to see the debut on February 16.

Over the past two years, there’s been noticeable expansion at Rag & Bone. Along with more stand-alone stores, an e-commerce site, and an increasingly prominent presence at major department stores, the name itself has gotten bigger. After Fall 2010′s perfect wintry collection, inspired by hunting gear and alpine ski slopes, the design team of David Neville and Marcus Wainwright won the CFDA award for menswear. And just-launched last week, their new advertising campaign features models snapping themselves in Rag & Bone looks. It’s plastered all over New York City.

Which brings us, one wordy paragraph later, to our point: With all this broadening, you’d except the runway collection to maybe become less focused. After all, Rag & Bone is partially-owned by Andrew Rosen, the CEO of Theory and current king of contemporary retail. Neville and Wainwright need to design clothes that not only look good, but also sell well.

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QVC’s finest hit the red carpet Friday night during the shopping network’s Fashion Week kick-off party and live-streamed runway show, co-sponsored by Vogue. And by “QVC’s finest” we mean everyone from Isaac Mizrahi to Kim Kardashian to Lori Goldstein.

The ubiquitous Kardashian sisters (just Kourtney and Kim) were on hand, to support their K-Dash for QVC line. But Kim was still stuck on her spread for Harper’s Bazaar. “Elizabeth Taylor sent over one of her gowns and I was able to belt it and wear it for the shoot,” she gushed.

Isaac Mizrahi admitted he was exhausted before he went on-air to present his latest QVC designs. His secret to putting out a zillion Mizrahi collections?

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Perhaps Marc Jacobs is to blame, but ever since the American fashion maestro’s 1970s-inspired spring collection debuted, it seems much of the industry’s been taking cues from the disco decade. Such was the case at tonight’s Cynthia Rowley show, though the looks seen here were more Seventies scholar than Studio 54. Think Marcia Brady meets Electric Lady. Cast in an era-appropriate color palette of mustard, rust, emerald green, and midnight blue, the collection was full of sparkling intarsia knits and crisp A-line skirts featuring daringly high slits. In keeping with the chosen theme, there were plenty of Op Art prints, namely a colorful cubist pattern and another in checkerboard chevron.

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