Prove The Importance Of My Clothes, Of My Pose, I Suppose

Saturday at NYFW kicked off with the runway return of Johnson Hartig and his Libertine label, and though his partner in crime, Cindy Greene, was not to be found by his side, there was no shortage of support, with the sisters Rodarte and Thom Browne all in attendance. As for the clothes, against all the odds, Libertine Fall 2011 exceeded expectations. Combining 60s silhouettes a la Jackie O with all those pretty colours you might remember from that time when you experimented with LSD, Hartig didn't hesitate to bring back the fucked-with-vintage feel of the label, but updated it with the electric palette. Screen printed graphics were of course a must, but also present were metallic brocade and sequins to amp up the sparkle. Though not for the faint of heart, this collection will win Libertine at least a few new fans, and mayhap peak the interest of old critics. I hope you're proud of yourself Johnson Hartig. I most certainly am.

Edun is becoming a bit of a favorite for me lately, and Sharon Wauchob held my attention with her Fall 2011 collection. As we've seen with collections from Rachel Zoe and Rebecca Minkoff most strongly so far this season, street style is very popular (not that we need a reminder, what with the popularity of blogs like Stockholm and Copenhagen Street Style, The Sartorialist, and Models Off Duty). There seems a rush to capitalize on this fascination with what people are donning on the concrete runway, and Wauchob has succeeded in doing so here, by creating a collection of pieces that actually look ready to wear. Oh, and that trench coat that opened the show? I'm seriously considering including it as an alternative to one of my leather jackets next season. You know I'm smitten when.

A presentation at Binetti transported viewers to the lap of luxury in the Middle East, whether that be the wonders of Ancient Egypt, or the modern extravagance of the UAB (I'm thinking Abu Dhabi, in particular). Jill Stuart continued the overriding 70s trends (that we are surely becoming very accustomed to by now), but added some shine to her collection with metallic colours on various pieces. Biggest thing for me here was the literal take on "animal print". Top points for thinking outside the box. Meanwhile, menswear was the inspiration at United Bamboo, with outerwear being particularly strong from Miho Aoki and Thuy Pham. Despite the strong masculine influence on the collection though, the designers kept it feminine by being creative with cuts and draping.


When Karlie Kloss stepped out to open the Prabal Gurung show, I thought to myself "Well hello raw sex appeal, how kind of you to return. I've surprisingly missed you." But in all honesty. Where has all the sexiness gone? I'm being terribly hypocritical right now being more one for understated sexy than the knock-you-out-with-my-double-Ds, make-you-swoon-over-the-generous-amount-of-junk-in-my-trunk type of sexy. But if there's one thing I can say, it's more difficult to appreciate one without the other. So Karlie Kloss comes swaying down the runway with her hair all a muss, and her dress looking very Catherine Zeta-Jones circa Zorro, and I'm feeling like fashion week finally got a dose of precisely what it's been missing. Sure, I've lost track of how many times I've said "70s glamour," but nothing thus far has been so blatantly harlequin romance novel as this. I'm pleased to say that the Gurung included several other of these shoulder-baring, cleavage-revealing looks, even if they were distinctly outnumbered by more modest ones. It was about time we brought sexy back. 

At Philosophy, Alberta Ferretti elected to dispense with the EXPLOSION OF COLOUR that was her Spring 2011 collection in favour of a calmer palette of pastels. All I could think was that she felt the retinas exposed to the seizure-inducing hues of last season needed a refractory period. 

Elsewhere, ADAM overcame the inconvenient arson of the knit elements of his collection a few weeks ago to unveil his designs on Fall (knitwear included, courtesy of some last minute favours from fairy godmothers). Lippes drew inspiration from the aboriginal peoples of North America this season, which provided an interesting cohesion with his usual aesthetic.

Mandy Coon drew the focus away from her crazed creativity and directed it instead at her talent and appreciation of line. Vivianne Tam went back to her roots and worked things from the angle of the Chinese opera, while Kaelen looked instead to the west - the one that's wild, that is - for inspiration. Presenting at the Pace Gallery, Kimberly Ovitz continued to grow into her own, providing several sweater-dressing options, and reminded us of just how well she drapes fabrics. Hexa by Kuho had a clever little trick to start off, and proceeded with a collection that was significantly less structured than in the label's last two seasons (indeed, one might describe Fall 2011 as nigh structureless). I admit to being a little disappointed with the result after being quite enamoured with Fall 2010 and Spring 2011. Better luck next season, I suppose?

I was not to remain in this state for long though, because Alexander Wang was set to show next. And as seems to be his habit, the coolest kid in New York came up with the goods. I say habit, but I suppose that if we take into consideration his last two collections, they were not received too favourably in all circles. But I reckon the appeal of Fall 2011 cannot be denied. Setting out with the intent of taking the mickey out of indulgence, Wang's collection consisted of all those vices we allow ourselves in the world of fashion, but interpreted in such a way that forced the thought "This is ridiculous." The important thing though? That thought is followed by "... but totally awesome." 

I mean, a boyfriend blazer fashioned of fur? Sounds fucked up, but it actually works. No doubt, we'll see Frida Gustavsson trekking about with it next fashion week, Jac Jagaciak and a Chloe bag on either arm. The potentially overlong silky tendrils trailing from those two and others are probably going to be hazardous for anyone on an escalator (or just walking, in general), but you know they're going to look mythic as they catch in the breeze of passing cars. Capes and ponchos were rendered rockified in black leather, and that coveted Chanel quilting was also added as an after thought.

The point is that Alexander Wang took the shit we want, turned it into something uncool, and then revamped it into something we can't wait to get our dainty, opal and diamond-clad talons on come autumn. The technical term for that is reinvention, if I'm not mistaken. But feel free to use your own descriptors for this. Totes brill? Yeah, I thought so.  

Charlotte Ronson continued with her 90s theme from last season, but kept things cozy with cardis and oversized jumpers. She's also the first person to use olive green with the military look this season. What else was she first for? Booking my bff Irina Lazareanu for a Fall 2011 show. Well, in womenswear, anyway. Glad to see that lady back on runways, I've missed her quirks. Not to mention, the Penguin Situation is likely spiralling out of control with no news stations asking those three all-important questions.

At Band of Outsiders, Scott Sternberg brought us contrasting aesthetics of his Boy and Girl collections, with the former being along the lines of preppy-meets-camper and the latter being (predictably) more feminine. Jane Ibrahim at Maisonette 1977 brought an urban rocker sensibility to the fold, but what was most fascinating about her collection wear the shoes... Anyone know how comfy those beauteous things are? Erin Fetherston proved that it is folly to judge fashion by it's price tag, transitioning from her high priced original line to a more affordable (but not less chic) option. Harem pants sort of swung out of fashion when people realized the only person who could really pull them off was Sienna Miller, but that didn't stop Pierre Morisset from bringing them back in leather and denim at G-Star.  

Parkas and combat boots-turned-heels were popular at Altuzarra this season, as the designer sought to meld feminine with utilitarian ideals. And let's be honest, parkas and combat boots are most useful in autumn and winter. The stilettos and silky gowns? Not so much, but we've got to fit the fair lady in there somewhere. It was really the outerwear that held the collection together, and you got the sense that the models were on their way to various events (e.g., the office, school, the Arctic Academy Awards) and had thrown their biggest, coziest coat over whatever they were wearing while they were in transit. Our Oscar nominees were worried that they wouldn't have the time to change out of their boots before hitting the red carpet, so they decided to go with their fluffy bejeweled heels instead. The point, I suppose, was that in winter, there is nothing for it: sometimes, it's just too cold to wear the sleekest wool coat (though, some of these were included as well). Sometimes, you just need to sacrifice that silhouette for a puffier one. Suck it up and take the parka, you'll at least be saved from threats of the hypothermic variety. It's almost as though the parka was assumed to be uncool, but useful. In Altuzarra's capable hands though, the parka is a wonder to behold. In particular, I've got my eyes fixed on the white ones given a walk by Caroline and Kasia. L O L O L O V E. 

Daryl Kerrigan made her much anticipated return to the runway with a collection sure to impress fans and critics alike. The Irish designer took inspiration from the forest, which appeared in the colouration of her pieces, most literally in the tree-print that pervaded a number of covetable items, particularly the cape in her opening look. But before you complain about looking like a little woodland faerie (Though, on second thought, wouldn't we all love to join Sasha, Vlada, and Gemma in that exclusive category?) note that there's a city street look to the collection, with the inclusion of leather and suede leggings in black and tan, respectively. It was another instance of those designers who is a master in the field of street styling, though with a more natural pallet than those chosen by Minkoff and Zoe. Really loving the cropped shearling vest and the Rick Owens-esque draped leather jacket in olive. Welcome back to a label that has been missed!

In the final show of the day at Toni Francesc, the inspiration of nature took a mythical turn, with the designer specifically envisioning the life of a phoenix from death in ashes to resurrection. This was especially to be noted in the story told by the colours, which progressed from stony browns and grays to orange and gold. 

Peace, love, and floating,

Gill Ford

Photos courtesy of style.com,

I'm Back, Back In The New York Groove

Friday was an excellent day from my point of view, particularly because of shows at Rag & Bone, Ruffian, Jason Wu, and Doo.Ri. I will be getting to each of those in good time, but let us start chronologically as I have done thus far...


We began the day at Ruffian, where the clothes are ever more smooth and elegant than the brand's name implies. This season, Morais and Wolk dispensed with their naval military/world traveller theme from the spring and opted instead for a return to menswear-inspired pieces, specifically, the tuxedo. Appearing in various reincarnations, from a cropped interpretation to a classic tailcoat, their renditions carried added luxe in being fashioned out of patent leather and velvet, respectively. Waistcoats and bib shirts were also present in all their suaveness, as were ruff collars in varying sizes. But if "wearing the pants" isn't your thing, never fear: the boys also have an eye for the more "feminine" customer, as it were. Echoes of the lace trend appeared on posh cocktail dresses, and Agnete Hegelund flaunted an exceedingly ruffly overcoat. Full length gowns in sequins and lace made the point that one can be sensuous by leaving much to the imagination, and one tutu captured a hint of the fashion phenomenon brought on by Darren Aronofsky's Black Swan. All in all, it was a sumptuous collection that managed to harness glamour and issue it in a stately and creative fashion that we don't hesitate to associate with the dearly departed Yves Saint Laurent. Well done, laddies.

Tess Giberson continued to grow as a designer, presenting a myriad of layered textures and some eye-popping orange pieces that are sure to draw investors. Peter Som, in an effort to create "real clothes for real women" churned out a collection of retro-inspired clothes, with fur panelling (and sleeves) on blazers, parkas, and peacoats; sequins and sparkles. Favoured colours included cherry red, blue, and golden yellow. I was also pleased to see Debora Muller finally making an appearance in New York, having spent all the previous day curious over her absence.


Meanwhile, Jeremy Laing produced an astronomical collection, featuring prints of the surface of the moon, and Farah Angsana set her sights on the wallets of red carpet walkers (particularly Blake Lively, it seems) with gowns and cocktails evocative of 70s glamour. At NAHM, Ally Hilfiger and Nary Manivong debuted their line with a twenty-look collection of shirt dresses. It will be interesting to see how Hilfiger's career evolves over time. You know, being the daughter of the eminent Tommy.


Jason Wu was one whom many were looking forward to one the day, and I have the best of news: he didn't disappoint. Though we know him for his often prim and proper tailored aesthetic (I mean seriously, the guy shot to fame because Michelle Obama wore one of his dresses. A certain amount of modesty is to be expected.), things were changed a little this season. Infusing a baroque influence into his collection added an association with a more elaborately artistic time period than we are used to from Wu, and with the accompaniment of lace shrouds over the eyes of several models, the combined effect was one of sensual mystery that I felt added a new facet to the Wu woman. He allegedly drew inspiration from photographs of the restoration of the palace of Versailles, as shot by Canadian photographer, Robert Polidori for his 1991 book Versailles. I wonder if he also had a looksie at snaps from Vogue Paris' 90th Anniversary Ball. Black was predominant (as is expected for the season), but again there was the recurrence of blue, red, and yellow as has been seen in a number of shows already. The lace was also a trending factor. 


I have made no secret of my love for the baroque and roll of Balmain Fall 2010, but I must say, I'm not disillusioned by the understated use of a similar influence here. It's not overly extravagant, but if it had been, Wu would have had to abandon the style in which he has been creating for his entire career. Like any good designer, he has tailored the inspiration to his needs, not allowing it to overpower his own aesthetic, but instead to inform it subtly. Excellent execution by a designer who is having little difficulty justifying his recent rise to fame.

As we continue on with the day, Norman Ambrose featured a mixture of 70s glamour (Yet again, I know. I hope you all enjoyed that decade, because it seems everyone in fashion did.) and 20s indulgence, while Jeffery and Robert at Costello Tagliapietra instead informed the same period with influences from the 90s using a palette of pastel colours usually most at home in the spring. Rebecca Taylor showed us how to recycle and reuse with a collection of her usual silhouettes, occasioned by patchworks of fabrics employed in previous seasons by the designer.


Rebecca Minkoff is proving to be quite the little street stylist. Last season we saw her present a twenty-five-look collection (including shoes, for the first time) that had her numerous celebrity clients squealing with joy, and for Fall 2011, she ups the anti with a slightly larger scale runway show. Oh, she also had a live band (Sean Lennon and his girlfriend, Charlotte Kemp Muhl, if you were wondering. The latter is Minkoff's muse for the season, turns out.). No doubt, the collection is going to be a success with her plethora of fans, encapsulating all the savvy charm we've come to expect from the San Diego-born designer. Like her contemporary, Rachel Zoe (who you may remember presented earlier in the week), Minkoff's show is very much about the way in which outfits are styled. That said, many of her pieces are perfectly functional on their own, and any aspiring fashionista could coordinate a multitude of looks by dis- and reassembling, wherein lies the secret to her success. Rebecca Minkoff knows her customers through and through because in designing the sorts of things that she would want to wear as a fashion-forward, cool girl, she has the ability to (quite literally) put herself in her customer's shoes. Well, this is what I can assume, anyway. She clearly incorporated elements from this blogger's shopping list.

You know what? Despite the fact that she's simple and monochromatic in her designing, I really love Doo-Ri Chung's collections. And even though several of the coats and dresses in her Fall 2011 line were long enough to still be trailing on the ground when donned by 5'10 models in heels, I don't mind, because aesthetically speaking, the clothing looked gorgeous on the runway on Friday. It was graceful and flowing, as we often see from Chung, who is, if nothing else, a true master of drapery. Excepting one sweater (that was a little to frumpy for my taste), the collection was pervaded by several flattering silhouettes that were made even more so by her superior construction with light jersey fabrics. Outerwear incorporated furs and choice draping and puckering, while dimple dresses were made exceedingly sensual by the application of macrame cutouts.

We next went to Rag & Bone, a constant favorite of yours truly, and my liking for Neville and Wainwright's Midas' touch was by no means diminished by their Fall 2011 display. Drawing again upon their British roots, the collection apparently sought to meld classic tartans and traditional Inuit garb with a more futuristic aesthetic akin to that eponymous with Balenciaga. That said, Rag & Bone has been looking increasingly to the future for inspiration as the brand evolves, so this is not something that has me overly surprised, let alone displeased. I admit to being a little disappointed when I found out that Freja Beha would not be walking in New York (in my mind, she is to Rag & Bone what Daria Werbowy is to Balmain), but this proved to be short-lived: my priorities were set back in their proper places from the moment the show was opened by Valerija Kelava. 

Colourblocking was particularly strong, with a marvelous attention-grabbing blue being especially appetizing, and rusty orange and red also being stand outs. Where inspiration was being drawn from the far north, furs and parkas were essential elements, and boots were thigh-high, to the advantage of Gaga/Ke$ha fans when visiting polar bears. (In my northern home, I can guarantee you that I shan't be donning shorts any more often next winter than I do now, but hey, practicality isn't always fashion's strong suit. And Rag & Bone has the outwear bit pretty down pat, so I'm willing to make allowances here.) If it's possible, I'm even more in love with the brand than I was prior to the show. 

Vivid blue and orange was also a la mode at Nicole Miller, where futurism was explored strongly. Asymmetrical cuts were featured heavily, with colourblocking also serving to provide a feeling of jagged edges and conflict in a resulting collection that I would describe as being 'smooth as broken glass'. Miller played with textures as well, with wool, silk, and sequins all accorded their proper place in her science fiction fantasy world. 

Joy Cioci presented a collection inspired by light and freedom, with colours rarely straying from a neutral palette. In keeping with the theme, capes and dresses were constructed in such a way as to offer as little inhibition as possible. Cynthia Rowley focused on combining geometric patterns with luxurious feminine fabrics like silks and velvets (Seriously guys, stop trying to make velvet happen. It's never going to happen. Well, not to the extent it's being used here, anyway.). Yellow, burned orange, and blue are clearly the colours you want for winter on top of your usual blacks, by the way. (So really, you can just recycle your spring wardrobe and add a furry parka.) Elsewhere, Sally LaPointe brought the space age back in a collection that is sure to catch the eye of the Rihannas and former-Stefani Germanottas of the world.

Threeasfour churned out a conceptual collection revolving around stringed musical instruments. Sometimes this appeared literally, with violins and tiny harps acting as accessories; at others, the theme was explored in a more cerebral manner, with the strings forming Spirograph prints on garments, or forming the necklines on halter dresses. It was a creative venture (as Threeasfour often is), but the designers managed to piss a number of people off by only giving those present glimpses and snatches of the clothes through change flashes of light in the dark presentation room. For which I offer them my applause. 

The day was ended with an enormous sixty-nine-look show at extravaganza house Venexiana. Indeed, I'd venture to say the collection lacked cohesion, often a downfall of producing such a quantity of looks. Quality's the key folks; quantity, at the end of the day, will only ever be a number. 

Peace, love, and floating,

Gill Ford

Photos courtesy of style.com