In the interest of full disclosure, I didn’t receive an invitation to the Supima Spring/Summer 2014 runway show. In fact, I was invited to the very first one they did a long, long time ago, and haven’t been able to see one since. So, as is our policy, I didn’t plan to write about a show I couldn’t see.
But Red Stiletto’s amazing photographer, Anton Brookes, said, “you have to write something about Supima. Just look at the photos, they need to be seen.” And I couldn’t disagree. The colors popped, the designs were impeccable and incredibly creative. Besides, I’m a big fan of cotton. It’s soft, it’s comfortable, it’s versatile, and Supima cotton adds a level of luxury to a basically workhorse of a fabric.
No, I can’t write about the show as someone who was there, but when you see designs (and photos) this beautiful, they do, indeed, deserve to be seen. I’ll just let the pictures tell the story.
What is it about Desigual that just makes me happy? I can’t pass one of the Barcelona-based fashion house’s New York shops without stopping in, and, once in, I can’t keep from smiling. At once, you’re surrounded by wild patterns, serious design with crazy twists and color, color, color. Maybe it’s the inescapable desire to carry some of that fun home in a bag, but I buy something every time I’m there, and I own far more Desigual than I probably should.
Perhaps that is why I was so excited to see Desigual showing at Mercedes-Benz Fashion Week. I knew what I would see, and I knew I’d leave smiling. That attitude hasn’t escaped Managing Director Manel Jadraque, who told me backstage, before the show, “fashion should be about fun. Bright colors make people feel happy, and that’s how we want them to feel.”
The show’s theme, not surprisingly, was “For Everybody, Fun, Sex and Love.” Models strutted, danced, waved and winked their way down the runway, a preview of the way our lives should be when we’re decked out in Desigual. Fun was black and white and mod, all over, a mix of graphic prints and giant flowers in perfect summer dresses, coats, skirts, big floppy hats and totes.
Moving from Mod to Hippie, the “Love” portion of the show featured big, wide-legged pants, skirts, shorts and tops in a cacophony of color and patterns. I would say they’re not for the faint of heart, but you can’t see this much ready-to-wear joy without wearing it. Remember girls in their summer dresses? Well, they’re back, and they’ll be buying them from Desigual.
What’s left? Oh, yes, sex. That came in the form of sheer blacks, beaded and sequined, just right for a hot summer night.
There was menswear, in Desigual’s classic blazers and bright colored shirts, conservative in design, pure party in patterns and hues.
When you’re frozen and covered in wet, nasty snow, and you begin to doubt whether summer will ever come, just take a look at these photos and remember: it will be back, and Desigual is ready.
And we’re off. Just as you feel the warm summer beginning to wane, up pops Mercedes-Benz Spring/Summer 2014 Fashion Week, and you’re reminded that, somewhere, in the distance, as a reward for enduring the coming trials of winter, summer will be back. And we’re all going to need clothes.
For me, Fashion Week began with Richard Chai and his light and airy, geometrically-inspired “Love” collection, matched with his much more masculine menswear.
The “Love” began with a pure white blouse topping white-with-red horizontal-striped pants and a white pencil skirt. What followed was a summer celebration in red and white: cool dresses in wavy prints, the brightest red pantsuit with wide, wide legs, even a few pops of poppies under the softest leather biker jacket or a flowing red top.
The patterns were wild, but not blindingly so. They played up the angular theme perfectly with lines and spaces, circles and squares. The red turned to a vivid blue, then black and white and even a bright green tartan, nearly all of it anchored in crisp summer white.
His menswear line was also basic white, a clean look that took you back to a different era with pops of blue and bright orange. His partnership with Andrew Marc leathers meant a heavy focus on the fabric, a little unusual in a spring collection. But, mixed with the lightness of his other materials, and the beautiful mix of textures, he really pulled it off.
For those who are a bit color-phobic, there was a generous selection of blacks for both men and women: skirts, tops, suits and slacks. That carried through his party wear, sequined and sparkly for fun summer nights on the town.
Chic and fun and young, Richard Chai set the perfect tone for the week to come, and the summer that will be back a mere nine months from now.
I believe that to truly appreciate Libertine, you must first know designer Johnson Hartig. What you will discover is a serious designer with the heart of a precocious young boy, full of fun and an innate and undeniable talent.
Every look that came down the runway at Café Rouge for Fall/Winter 2013 was a joy to behold. It sparkled and shined with colorful embellishments from beads to sequins. But if you took away all the color and sparkle, you would see the serious designs underneath. And that is what Johnson does best, start with the base of a serious suit or dress or cardigan, then dress it up in a way only he can, in stunning, eye-catching color.
His joy at each collection is palpable. This season, he told me, “I just love our clothes, and would want to wear all of them, and I think that’s a really great position to be in, in regards to the work that one does. I feel fantastic.” And he makes everyone around him feel fantastic. It’s no wonder the same people, from stylists to makeup artists to Michelle, his model and muse, come back to work with him season after season.
Michelle (and one day I will discover her last name), the woman who leads every Libertine collection down the catwalk, said, “I know I say this every season, but this one is my new, new favorite collection that he’s done. The way that he did everything, and the color palette is so fresh and fun. I didn’t think it could get more fun and fabulous and then it did.”
It was fabulous in every aspect: women’s day wear and evening wear, beautifully tailored jackets, fun and flirty skirts. And his menswear showed the same level of cheeky fun.
His girl this season is glamorous as always, but a little bit dirty. She’s been partying all night, and now she’s making that long walk home. Hair, by Tamaribuchi, set just the right tone. She described it backstage as, “textural, but also very natural at the same time.” She told me, “the look is very embellished and very glamorous and the look in the eye is patent leather, very strong, and so with that we wanted to create a kind of juxtaposition: natural, a little bit of grit, a little softer and a sort of more undone lipid quality rather than a complete glamour girl.”
But one of the most amazing things about the runway look was the nails, by Butter London, a backstage staple and soon to be a brand you’ll see everywhere. It was a perfect match for the collection, a gold created to match the clothes, then covered with the very beads and colors that embellished the clothes.
Katie Hughes told me, “we had to go big or go home with this collection. We decided to do every color from the looks. The look was inspired from his collection which is so amazing and art-inspired and collage-like and beautiful and embellished and crazy. It reminds me a lot of London, which I love, and being “Butter London” is important to me. It’s really cool.”
Cool and as exhilarating as the collection itself. Red Stiletto has covered Libertine for a couple of years now, and every season it’s surprising and joyous. I hear he’s traveling in South America at the moment. I can’t wait to see what he comes back with for next season.
Long before Michelle Obama rocked her sleeveless, fit-and-flare looks, Tracy Reese was a massively, popular, hugely successful designer whose shows everyone in New York fought to see during Mercedes-Benz Fashion Week. Fabulous, feminine fashion created with beautiful patterns on the finest textiles was her trademark, and the NY girls loved her. We still do.
This season, she’s taken her inspiration from those very same New York City girls she designed for back in the late 80’s, when the city was a far freer and, arguably, far more fun town.
That famous fit is still there, as are the patterns, but this season the models rocked the runway with a decided punk feel. Embossed leathers and metallics added an edge to the looks, making them more “rock chick” than “girly girl.”
Mix-and-match plaids and stripes, florals and paisleys, sequined tops and dresses and a plethora of animal prints made this collection in turn fun, sexy and feminine in a way very few designers could pull off.
As it’s fall, outwear featured prominently in the collection, gorgeous coats in sleek wools and, in one case, that fun animal print.
But Reese purists, don’t dismay. There were enough of her signature looks, including a beautiful black lace overlay dress, to keep us all happy. It was just nice to see the other side of Tracy Reese, the club-kid that was, pay homage to the city that is her home, and the girls who live here and continue to evolve, as she has.
Ken Kaufman and Isaac Franco made what you can definitely call an intriguing debut at Mercedes-Benz Fashion Week. The designing duo, which launched KaufmanFranco in 2004, chose spies as their inspiration. And there isn’t a look I couldn’t imagine on a Bond Girl. That is to say, it was sexy, right down to the over-the-knee, peep-toe boots.
Day wear was basically black, and it hit all the high notes for a hot and sultry collection: lots of leather (in skirts, trousers and outerwear), simple embellishments and just enough sparkle. Pops of color came in the tans of a leather jacket, three-quarter wool coat and the most amazing leather dress, gunmetal in super-tight leather pants, a long, sleek, simple gown, a leather skirt and jacket combo and some amazingly soft cashmere pieces. And there was a metallic bronze that really shined.
Evening wear is where the colors came through in muted greens and rich blues. It looked easy and comfortable, with just the right amount of glam. Short, shiny covered in sequins and strip glimmered as the models walked.
But leather is where the pair really excelled. Subtle embossing and mixed textures made each piece stand out.
KaufmanFranco is a favorite of some celebs. I can see that list growing in bounds after this simple but beautiful collection. I hope we’ll see the pair again, I’d love to see what they offer for spring.
When you think Reem Acra, you thing pure glamour, elegance and weddings. But each season, it seems Acra is growing her ready-to-wear collection (alongside her to-die-for red carpet stunners), and she does it without losing a touch of that dazzling aesthetic that makes her such a celebrity favorite.
This season, Acra was inspired by a trip to Japan. It showed in the beautiful, bright red embroidery on a black satin dress and a long, flowing tunic embellished with a bird print. It showed, also, in the high necklines in so many of her looks.
She played beautifully with texture and pattern, from the loose fit of a cozy, asymmetrical wrap coats to the sleek lines of a perfectly crafted leather dress. She moved effortlessly from the softest silks to thick wool checks. A red and black embossed leather shift dress was a particular standout. But there was little variation in color, with the only departures from black being grey, and a couple of pops of vibrant red.
We also saw a resurgence of fishnet, filling the cutouts on some looks, turned into gloves for evening wear, and, of course, barely covering legs, raising the reputation of the once-trashy accessory.
But it is in evening wear that Acra shines, season after season, and this season is no exception. Shimmering, glimmering gowns were just breathtaking, covered in bugle beads, shining in silver, or seemingly see-through. One whispy black dress looked like it was draped in strips of gleaming black gauze. The cut and style of each and every gown was magnificent, of course, from fishtails to flowing ball gowns.
Each one was more beautiful than the last, almost indescribably so. A fitted white gown was embossed with black flowers. A lacy black dress was embellished with bugle beads. But the final look was the most amazing, incorporating every bit of her inspiration: a black ball gown with a fishnet top, falling into a voluminous layered skirt, all of it decorated with delicate, but bright, red flowers.
Rare looks were particularly revealing, with high necklines and some kind of sleeves. But it was the most dead sexy collection I think I’ve ever seen. Oh, to have a red carpet to wear it down.
Pamella Roland is one of those great American designers who knows her audience, knows her aesthetic, and isn’t afraid to take her vision all the way. For Fall/Winter 2013, she took it all the way to pure opulence.
This Russian Palace-inspired collection left nothing out: rich, buttery leathers, glimmering brocades, thick, lush wools, soft velvets, intricate lace, big ruffles and beautiful beading.
Brocade shorts were topped with a long, luxe cape. Patterned cigarette pants peeked out under a long, black coat. A beaded bodice gave way to a flowing party dress with a ruffled hem. Outerwear was fitted and snug.
For the most part, the collection was dark, based in black. And the majority of the colors were deep jewel tones: rich purple, deep green. But it lightened up with the occasional pop of red, or a sky-blue with a woodland print that was just spectacular.
Evening wear is where Roland really shines, and it is no wonder her popularity on the red carpet is growing. Her gowns emit absolute glamour, in a way reminiscent of a far more elegant time, but still very, very modern. Each one was perfectly fitted, designed to show off the body of the woman who wears it in the best possible way.
Pamella Roland is one of those designers whose job it is to remind us that glamour is always in style, and it’s up to us to be bold enough to embrace it.
You expect to be blown away every time you sit down to watch Joanna Mastroianni’s runway show. And, somehow, you always are. For Fall/Winter 2013, she found her inspiration in strong women. I know, it seems just about everyone designed for “strong women” this season, but this is a different kind of strength.
It’s not surprising to see Iris Apfel grace her front row nearly every season, for she represents the kind of strength that inspires Mastroianna, strength in endurance, experience and longevity. That said, this is not a collection designed for “women of a certain age.” It is, as always, young and sexy, a series of fantasy looks.
She started with shining metallics, in short party dresses, long red-carpet looks and even a dressy two-piece. She then moved on to softer fabrics, playing with texture and embellishment. Rosettes lined the necklines, and every piece sparkled. Rich jewel tones turned sexy with see-through panels, and everything sparkled.
Mastroianni is famous for her fabulous fit, and every one of her pieces moved beautifully with each step. The most amazing thing about the collection is the laborious hand beading that embellished her most glamorous looks, including the final gown, glimmering, backless and red-hot. It brought together all that made this whole collection special, right down to the rosettes that lined the bottom.
This is a designer who truly understands the woman who buys her clothes and knows what she wants: pure elegance.
PACKING POLITICS AND POP CULTURE INTO ONE STYLISH RUNWAY
There’s a lot going on, politically speaking. That didn’t go un-noticed by Vivienne Tam. Inspired by all the amazing things making news and making statements, she put them all together in her styles and fabrics for Fall/Winter 2013.
President Obama, sporting sunglasses, appeared in a jacket with black leather sleeves and straight shift dresses. There were bar-code prints and there was a letter from Chairman Mao. Red (it was Chinese New Year, after all), black and white were the colors of the collection and her mixing of textures seemed to bring it all to life. Silks and failles were matched with quilted leathers or houndstooth wools. A leather turtleneck was sleek and exotic. Single-sleeved, off the shoulder tops were new and fresh.
Tam never forgets her Asian roots, so Chinese lettering appears in many of the pieces. But so did an almost Chinese Army-like utilitarian look. Still, the more feminine looks, like a black dress with a red leather bandeau-like top and Chinese lettering, and a red silk gown with black leather details, were stunning.
The runway was lined with red. In fact, the whole room seemed to light up in red. It was beautiful, mysterious, and, I hope, lucky.
It’s not easy to make a collection like this, filled with statement patterns and political references, without making it look almost cartoonish. But Tam made it interesting, wearable, and, as ever, elegant.
In the interest of full disclosure, I didn’t receive an invitation to the Supima Spring/Summer 2014 runway show. In fact, I was invited to the very first one they did a long, long time ago, and haven’t been able to see one since. So, as is our policy, I didn’t plan to write about a show I couldn’t see.
But Red Stiletto’s amazing photographer, Anton Brookes, said, “you have to write something about Supima. Just look at the photos, they need to be seen.” And I couldn’t disagree. The colors popped, the designs were impeccable and incredibly creative. Besides, I’m a big fan of cotton. It’s soft, it’s comfortable, it’s versatile, and Supima cotton adds a level of luxury to a basically workhorse of a fabric.
Red Stiletto Media
Red Stiletto Media 