Earlier this month, New York, the veritable fashion hub of America, converted Bryant Park into a fashion arena. Top fashion editors, buyers and celebutantes descended upon the eight-acre park on 42nd and Sixth to peruse the latest offerings, cast judgment and secure their slot in the industry's hierarchy.
Though the swarm of A-list and B-list celebrities provided sufficient fodder for tabloid glossies, all eyes were on the collections: the high notes, the missteps and the revolutionary ideas that will spark great shifts. Many designers, such as current 'it' boy Zac Posen, unveiled a more mature side with demure necklines, hemlines and luxury fabrics that exuded sophistication.
Overall, the color palette was also more serious: a rainbow of grays, blacks and browns reigned on the runway. Although many designers exhibited restraint, flattering silhouettes preserved a sexy, feminine appeal that was as strong as it was graceful. From Diane von Furstenberg to Donna Karen, this season embraced "the working girl."
But fashion would not be fashion without the uber avant-garde tastemakers that opt for the road less traveled. And this season, that was Marc Jacobs, with his fanciful(albeit less street-ready) layers of leggings, pants and sweaters that created new narratives in their arrangement. Jacobs reminds us that fashion is not just a patchwork of trends; it can also be art or a prism that projects facets of our social and political environment.
Below is a sampling of Fashion Week's most notable collections.
There are most American designers, and then there is Marc Jacobs. For several decades now, he has been a few paces ahead of the rest.
With a renegade spirit, this self-styled dark horse propelled himself into the fashion scene in the early nineties as a young designer for Perry Ellis. As the vice president of Perry Ellis womenswear, Jacobs designed a controversial grunge collection that embodied the essence of Pearl Jam and other music groups of the time. Despite critical acclaim, he was subsequently fired.
Today, Jacobs enjoys the last laugh. He is at the helm of two successful labels: the youthful Marc collection and its older sister, the Marc Jacobs line.
This fall, Jacobs' collection reaffirmed his revolutionary style with a whimsical winter wonderland mix of oversized thick sweaters, fur-trims, long leather gloves, plaid flannel and unorthodox layers. Toss in a few devastatingly dramatic floor-length black gowns accented with tulle, gold leaves, and bronze sequin flecks, and you have a collection with depth, fantasy and a distinct vision.
Unlike some collections this fall that reflected the breakdown of seasonal barriers — for example, chiffon has now become perfectly acceptable for spring or winter casual attire — Jacobs truly embraced winter, reintroducing the fun art of covering up.
The collection drew from a hodgepodge of fashions from recent decades, particularly the forties, fifties and seventies. The end result of the melange was a very modern, even slightly foreign flavor. Jacobs tucked legwarmers into shoes, folded legwarmers over shoes, layered dresses over pants and paired bell shaped sweaters with gloves. In the layers and specifically in the dialogue between the layers, there was understated glamour.
In one of Jacobs' creations, a model wore a large, boxy charcoal jacket, cut like a suit but with the volume of a thick peacoat. Large side pockets gave the coat a playful charm, and sleeves with thick fur cuffs added a dollop of glamour and luxury. Perhaps the most dramatic element was the oversized hood — brooding, romantic, dark and slightly mysterious.
Jacobs matched the coat with a loose, sheer cheetah print blouse. Its high collar and frail sleeves peeping out of the jacket created a nice contrast with the thick fur cuffs. A black leather skirt that extended a little past the knees added further edge to an already rich and eclectic ensemble.
But Jacobs, unlike Vera Wang, also extended his palette far beyond somber grays and blacks, using camel notes, deep burgundy, taupe, cream, ivory, olive, champagne, splashes of cranberry and plum.
Also unique to Jacobs' collection were oversized mushroom-shaped berets and fur caps. While these warm chapeaus will likely figure big next fall, it may take longer for the world to master Jacobs' art of layering.
Tracy Reese's collection presented a mix of 1940s structure and attitude with modern materials and proportions. Her major looks included what Reese describes as "Katherine Hepburn-esque" pants — menswear-styled wide-legged and narrow cuffed trousers — as well as a shrunken vest and a jumper in subdued fall neutrals.
Reese's collection was full of trendy fine points, from dressmaker detailing on blouses and dresses to utilitarian antique brass hardware on belts, coats and chunky sweaters.
Despite her rich jewel tones, oversized knitwear and numerous belted coats, Reese's major failing in this show was to capture the feeling of autumn. While chiffon is now commonly being worn in the middle of winter and the distinctions between seasonal clothing styles are getting as thin as the runway models, this show left the impression of a spring collection, recast in some semblance of fall colors.
Tracy Reese is well known for delightful spring and summer women's wear with wonderful cropped jackets and flirty dresses — and her fall collection made it clear that she and her clothes were somewhat out of season.
Still, there are some positives in the collection. Given that the trend of "seasonless" clothing will no doubt continue in the fall, some of the collection's pieces are decidedly wearable. Two of Reese's best pieces — an organza cocktail dress and an aubergine velvet strapless dress — have sexy cuts and all the detailing that will appeal to fad-conscious shoppers come September.
And while Reese's long sweaters, belted coats and enormous belts only seem to follow the obvious trends for fall, her pieces are particularly well-cut versions of these must-haves.
Overall, however, such a predictable mélange of Katherine Hepburn workingwoman looks and often overdone feminine detailing made Reese's models look like slightly more trendy Diane von Furstenberg wannabes. If Tracy Reese is going to be the new 'working girl' of Seventh Avenue, she needs to master a fall collection that looks all her own.
At 24, Zac Posen is the prodigal son of the fashion world. Often heralded as the future face of American fashion, Posen — known for his dramatic and vibrant patterns, color schemes, angular constructions and flirty silhouettes — takes a serious, more mature turn this fall.
At Bryant Park, Posen introduced a dark, muted palette of deep chocolate, black, navy and ivory, and a more sculptured look. This collection represents Posen's first real foray into casual ready-wear. Each piece — including loose crème silk blouses and high trousers — highlighted Posen's signature flair for the dramatic, tempered by an aura of sophistication.
Posen has a distinct understanding of fabric and the way different ones cling, move away from the body and communicate with the whole. His ability to manipulate drapery transcends simple Greek toga construction and he surpasses the ethereal Grecian-goddess dresses that took center stage in last year's fall collection.
This fall, voluminous, shapely folds defined the dresses, skirts and jackets, borrowing elements from Christian Dior couture of the early-mid 20th century — not surprising, considering Posen's two-year stint as an intern at the Metropolitan Museum's Costume Institute, where he became acquainted with Dior's vintage designs. Although Posen may have borrowed from the past, his collection still felt modern and forward-thinking.
Zac Posen may have built his name on his unique prints and interesting color schemes, but the rigor he once applied to colors and patterns has reemerged as a passion for form. Each sculptured pleat, ruffle and drape is a conscientious study in harmony, creating an independent note that enhances the female form. Posen's fall 2005 sampler included flowy chiffon constructions that allowed the capricious nature of the wind and movement to dictate the shape—but now, the folds are meticulously sculpted, and every dip and bend seems intentional.
This sculptural feel was most noticeable in many of Posen's sleeves, and particularly on his fitted jackets, which featured sleeves that were raised at the ridges. Other details which seemed to run throughout the collection included cinched waists, slim high-waisted pants that traced the hips, loose blouses, high necklines and fabrics with a satin luxe sheen.
Posen, who first gained popularity among Hollywood's elite for his red carpet-friendly creations, also delivered a few pieces of characteristically stunning evening wear, including a breathtaking black dress with drapery that split and cascaded down the middle, allowing a peek-a-boo view of the legs. The folds created their own kind of fractal-esque pattern from the mid-thigh to the floor, an arrangement that seemed to flow organically and that flattered the body. The dress also featured a plunging neckline and bold broad straps for more drama.
After a bevy of dark dresses, Posen closed his show with an ivory evening gown featuring a thick, billowy construction of feathers from the mid-thigh to the floor. Paired with a metallic cream chenille coat and clutch, it was part 40s starlet, a little 20s flapper, and perhaps more subtly, some 80s glamour girl — but all Posen.
Whether dabbling in evening wear or casual wear, Posen managed to strike a breathtaking harmony in his proportions, fabric and details.
He struck a rare sour note with a short dress with a rectangular, almost potato sack-like cut. Perhaps it was the model's gait, but the silk crème number with a high, straight neckline hung awkwardly. The obtuse shape was abruptly cut at the hem by an odd arrangement of flower-like detail that gathered the dress back to the body. Another odd creation was a mid-length chocolate-colored dress. Posen placed a pleated ribbon just above the waist — a great visual center that cinched the waist and highlighted femininity. The sculpted high neckline pulled away from the model's petite body, however, and created an awkward, unflattering frame for her shoulders and face. The collection was not quite perfect but was a testament to Posen's ability to evolve and mature.
Diane Von Furstenberg, the woman who introduced the wrap dress in 1973, returns to the runway to pay tribute to the modern "Working Girl." Her fall collection celebrates the professional women who exude boldness and independence with a feminine charm and sex appeal. This is not your mother's Mary Tyler Moore.
Standard black pantsuits may be the typical uniform for today's average working girl, but von Furstenberg's new collection presents a strong case for women to edge away from the norm with sexy cuts that embrace femininity. When von Furstenberg announced that the title of her fall collection would be "Working Girl" a few months back, media outlets predicted a barrage of pant suits. But these were noticeably sparse and dresses dominated.
Von Furstenberg infused 40s and 50s-inspired dresses with bold patterns, a sharp palette and modest hemlines. She reintroduced her classic wrap dress in multiple modern incarnations and used magnified versions of traditionally male prints: houndstooth, herringbone, western inspired patterns and Scottish plaids.
The first dress to grace the runway was a collared wrap dress with large black western checks against a vivid white background. The short sleeves were rolled and a fabric belt at the waist emphasized the model's thin waist. The fabric itself was sturdy but not stiff and stopped just below the knees, creating a nice balance between modesty and female sex appeal. The fierce contrast of the pattern and the body-conscious cut set the tone for the rest of von Furstenberg's collection.
Even when loud patterns were absent, as in the case of a dark velvet wrap dress accented with slightly puffed sleeves and a hemline that grazed the top of the knees, the fit was still bold and flattering — very board room femme fatale. When she included other separates, such as pencil skirts, trousers and blouses ensembles, each piece was still wrought in the same vein.
By taking these masculine elements, destroying their conventional packaging and turning them into tailored, uniquely feminine pieces, von Furstenberg redefines the empowered female on her own terms. The androgynous nature of her show, also reflected in the use of vests and slouchy trousers, created a well-defined tension. While some shows at fashion week seemed too eclectic, von Furstenberg's had clear vision and purpose.
The show had von Furstenberg written all over it, but her designs did reflect many fashion week trends. Like many others, she kept hemlines around the knees (more demure sexy sophistication) and toyed with multiple sleeve cuts. Some dresses featured rolled short sleeves, others had more shape; some featured small slits and rested just over the elbow, others fell somewhere in between.
This was one of the designer's best showings in years, but it was not absolute perfection. Her oversized bib-like dresses (which other designers, like Alice Roi also featured in their collections) seemed unflattering in relation to her stronger, more tailored pieces. If it looks mediocre on a rail thin 5'9'' model, prospects do not look good for curvier women. Another lukewarm creation was a pair of bright pink scrunched gloves that she paired with a grey and cream polka-dot dress. The eye-popping color against the dress' more muted schemes were amusing to watch on the runway, but the resemblance to dishwasher gloves seemed strange.
Overall, von Furstenberg's careful restraint and shapely contours has an infectious appeal and the styles will resonate with many women come fall. There's little surprise that this line, which so perfectly embodies modern feminism, emerged from von Furstenberg, who has been the poster child for the forward-thinking 'working girl' since her debut in the early 1970s. She came on the scene as a rare designer of easy knit dresses and since then has ventured into home decor, a cosmetics line, a publishing house and taken a turn as a contributing editor of Vanity Fair. And of course, Diane von Furstenberg also has that perennial knack for staying ahead of the game when it comes to engineering the casual dress.
While Diane von Furstenberg and Donna Karen explored the working girl theme, Cynthia Steffe took the working girl back to prep school. As she explained in her program, the fall collection epitomized the "offhand chic of the coolest girl in prep school, personalizing her standard-issue uniform to make it her own." Like von Furstenberg, this prep school girl raided the closets of the opposite sex for inspiration. Military brass-buttoned blazers and boyish black canvas shorts mingled nicely with ivory fortuny tops, blue charmeuse and black knee highs.
The rich baroque patterns that dominated Steffe's fall 2005 collection have disappeared in favor of a more pared down, light feminine feel that is balanced and emboldened by the menswear fabrics and detailing. Like other designers, Steffe opted for a more somber color scheme. Grays, blues and deep blacks monopolized the palette but light blues, pinks and ivory also appeared.
Although skirts are usually prominent in Steffe's collections, loose belted shorts in canvas, cream cord and charcoal flannel took over. Cut a few inches above the knees, the shorts seemed to be abbreviated versions of fashion week's popular slouchy trousers. With their wide, loose cuts, the shorts performed like skirts on the runway and retained a feminine feel that was further augmented by strategic black belts that emphasized the models' silhouettes. The shorts worked best when paired with a fitted Spencer shirt and a black canvas and velvet cadet jacket. Playful and sophisticated shift, jumper and fortuny slip dresses also dominated the runway. One memorable creation, a black brigade wool jersey dress, embraced a tough girlish charm that was accentuated by six brass buttons at the bust, offset by a dramatic neckline and a baby doll cut.
The collection as a whole hung together well but some elements seemed a little tired, such as the military inspired jackets which have already been mass produced by retailers this current season. Steffe had something to say with this collection but ultimately appeared restrained and too lodged in her comfort zone. Too many ensembles merely echoed other obvious fashion week trends such as black hoisery and bell-shaped skirts.
Part Rules of the Game and part Camilla Parker Bowles, Ralph Lauren's Fall 2006 collection evoked his famously all-American style with its outdoorsy-chic women's wear. Lauren, however, transported his classic patrician cuts to the Highlands for a "modern shooting party." The collection began with a loden and olive palate, appropriate garb for the sophisticated huntress. Belted sweaters, cashmere jodhpurs and cable-knit horse blanket capes were elegantly paired with brimmed hats and oversized berets, often tipped to one side suggesting a polished coolness. Lauren seemed strongest in creating sleek, tailored pieces with feminine flair. His slim plaid pants suits and long car coats were highlights.
The collection also provided suitable wear for the inevitable after-hunt celebration, with tartan taffeta gowns, black velvet jackets and Oscar-worthy gold tulle dresses concluding the show. The black velvet pieces contrasted starkly with the woodsy sweater-and-suede ensembles, seeming especially rich in juxtaposition. A black velvet strapless dress worn with a heavy-duty brass leather belt and a feather-adorned velvet beret combined the various elements of the show stunningly. Less resonant were the velvet pieces embellished with Russian-inspired gold embroidery, which seemed a little dated after the Russia-obsessed collections of last year. Lauren's plaid gowns were a little too obvious (considering the theme of the show) and his glittery dresses a little too easy. Rather, his best evening-wear ensembles were both luxe and hunting-inspired, like the loden-suede jacket paired with a brilliant gold pleated skirt.
Bryan Bradley's Fall 2006 collection for Tuleh was divided into distinct chapters with titles like "Vassar Girls," "Suitcase Girls," "Edie Beale" and "Strangers (The Other)" — titles which suggested the collection's inspirations and references. The "Vassar Girls," with their forties-era tailored suits, were somewhat reminiscent of the Hitchcock femmes of Alexander McQueen's brilliant fall 2005 collection. This emphasis on classic cut and line continued into the "Suitcase Girls" segment, which featured belted coats with bell sleeves and enormous buttons (as well as matched suitcases). The rest of the collection, however, was less coherent. Whereas the show began with classical feminine ensembles, including floral dresses adorned with large fabric corsages, lush furs and luminous satins, the show ended with bold colors, wild boas and surreal patterns. The combination of these vastly different characters into a single collection was intriguingly schizophrenic. Could the "Vassar Girls" with their restrained elegance and the bizarre "Strangers" be two facets of the same woman?
Next fall, steer away from the Bohemiam spirit that has dominated the past two seasons. Sienna Miller, in a recent magazine interview, pleged to never do the whole Boho-chic look ever again. It's the end of an era for the Olsen twins, but let's have our two seconds of mourning and move on.
Put away those cowboy boots next fall! You have two more months to wear them without heckling. You've been warned. Those boots may have been made for walking, but that doesn't mean this trend can carry you over to the next season. If the West truly does call, opt for one of Furstenberg's flattering Western-inspired wrap dresses instead.
Take advantage of sculptured sleeves and cuts.
Wear leggings, in a plethora of dark shades, black, gray, navy, plum or colored stockings. Hue, a popular hosiery maker, has already noticed a spike in sales this year and this will only rise next fall. Leggings and stockings dominated Donna Karen's collection and other designers, such as Cynthia Steffe. These accessories, usually available for less than $15, can be very slimming for the legs and pair well with a nice wool skirt or long sweater. Avoid slipping the leggings into your Uggs from 2003 (isn't about time these faced retirement?) and try to pair them with something besides frayed denim skirts.
Continue snapping up long, thick sweaters.
Metallics are still okay but opt for muted shades, with a duller sheen.
Channel Edie Sedgwick, an Andy Warhol muse and 60's socialite, that made black stockings, short geometrical dresses and dark eye liner her signature look. Or push for the 80's glamour vibe. Or both. The fall show designers mismatched 20th century decades and created very new and inspired concoctions. Betsy Johnson's show infused 1980s and 1960s pinup glamour with a very modern edgy feel in her corsets, jackets and dresses. Oldie tunes took turns with selections from the current Top 40, complementing the designs' generational clashes.
For hemlines, follow Goldilocks' philosophy: not too short, not too long, but just right, somewhere a few inches above the knee or just a few after.
Next fall calls on women to abandon the childish wanton spirit embodied in the bohemian flair for the 'working girl' glamour. Try more androgynous elements and trends, such as vests and masculine, slouchy trousers. These have been spun into undeniably feminine and sexy packages; think 1970s Annie Hall meets Audrey Hepburn. As Diane von Furstenberg noted on her program, be sexy "every day, all day."
Luxe fabric, such as velvet and cashmere, continue to dominant fall looks.
Pick up the necklines for a more demure and sophisticated look. Many of the designers featured high straight necklines and paired these frocks with neat, gathered up-dos.
Buy signature pieces in fall's dark and muted palettes (try Posen's chocolate hue or simple navy). However, do feel free to electrify your wardrobe by meshing these more neutral shades with bold prints and splashes of rich colors (both featured large houndstooth printed coats). Think Anna Sui's fun, detailed prints or Matthew Williamson's red, blue and purple.
The 1970s collegiate look has also started to make a comeback, with designers like Michael Kors leading the pack. Kors' show featured full wool skirts that stopped just above the knees, tartan plaid prints and sweaters with large rugby stripes in bold colors. Think of 1970s starlet Ali MacGraw in "Love Story" or "The Getaway."
But above all, wear what works. Just as everyone has an optimal color palette, leggings and certain dress cuts do not suit everyone. Avoid the lemming syndrome—be independent! The ideal prototype is neither heiress nor celebutante (whose sense of style is comprised of prepackaged Rachel Zoe ensembles, the celebrity stylist responsible for Lindsay Lohan's and Nicole Richie's duds). Although a bit harsh, Yves Saint-Laurent was on point when he once said, "it pains me physically to see a woman victimized, rendered pathetic, by fashion."
Original URL: http://www.dailyprincetonian.com/2006/02/23/14597/