overly forced- which is no small feat. Oh, and did I leave out the part about the easy on the pocketbook price tags? That cannot be underestimated these days. Like his first show back in September, he used a lineup of 25 male and female models instead of a traditional runway show, highlights of which included jewel trimmed sweaters, faux fur muffs, stoles, and vests (that surprisingly resembled looked like the real thing), distinctively patterned houndstooth and tweed coats, and one pretty fabulous shrunken zip front leather bomber jacket paired with pencil skirt. Almost everything was accessorized with narrow rhinestone belts and sparkly vintage pins, and nude legs with pointy-toed Sabrina heeled pumps finished it off perfectly.
Behnaz Sarafpour also seemed to be under the 50's vintage/eclectic spell. The young designer who is a darling within the fashion cognoscenti and gaining a large fan base, did a complete about face from her spring 2004 collection, which was short, tight, and fitted, and this season, she exhibited a more subtle, demure, and personal side. Best looks were her simple takes on the ribbon trimmed fitted cardigan worn with slim trouser or pleated skirt; her perfectly tailored charcoal flannel trenchcoat worn over sunburst pleated floral skirt; the brown tweed cape and matching skirt; and a very 'Audrey' boat neck full skirted tweed dress that was divinely simple. She ended with a group of long satin dresses- the finale, with cowl neck and fitted torso was quite beautiful.
And then of course, there is the 'Camilla Factor':
Back in October, I happened upon "Mad About You" a colorful and memorable 16- page fashion spread in Vogue Magazine shot by Steven Meisel and conceived by Sittings Editor at Large- Camilla Nickerson. It struck a personal cord, since it was very much in sync with my own style aesthetic (as one who loves color, the eclectic mixing of patterns, the creative use of gloves as an arresting accessory and gesture, and offbeat, unexpected combinations). Though it seemed to have been more than vaguely inspired by Miuccia Prada's work, it was thoroughly original and inspiring.
I was so taken by this, I was moved to write a Letter To the Editor, which stated that I hoped and assumed this layout would serve as inspiration for both customers and designers alike. The letter was subsequently published in the Vogue's January issue.
Boy, was I right on the money! Fast forward to the Tuesday prior to the first day of fashion shows, The New York Times's Ruth La Ferla devoted her entire column, "The Moment in Fashion: Eccentric" to that Vogue pictorial, spotlighting Camilla Nickerson- the editor who masterminded it, and quoting fashion designers who admitted to having been influenced by the mood and tone of the portfolio- to the point of tearing out the pages and pinning them on the walls of their studios (Narciso Rodriguez, Derek Lam, Proenza Schouler amongst them). Ms. La Ferla noted, "Interviews with these designers indicate that the mood of the layout- its sense of eccentricity, of clothing plucked from a madwoman's closet- will resurface during Fashion Week." And resurface it did (ad infinitim).
For example, the young designer Peter Som even named his collection, 'Great Beauties gone Mad'. Claiming to have been inspired by the "tragically elegant" heroines of 'Suddenly, Last Summer' and 'Gray Gardens', he worked diligently to get that feeling of "reckless glamour" and to impart a decidedly off center couture feeling through his interesting fabric and textures mixes and juxtapositions. It was all about the pairing of silk, cashmere knitwear, donegal tweed, panne velvet, the addition of lurex threads throughout, and of course, mink and chinchilla shrugs and stoles worn with almost everything.
The team of Proenza Shouler (comprised of 25 year olds Lazaro Hernandez and Jack McCullough) have already won fans like Marisa Tomei, Kristin Davis, and French Vogue's Carine Roitfeld, as well as the coveted Perry Ellis Award for New Talent. This season, they continued on with their by now signature 'corsets' which are highly intricate and worked in a variety of fabrics (often quilted) and paired with everything from tweed pencil skirts to cropped skinny pants that are sportily padded, laced, and tucked into boots.
Though they cited the tremendous influence of Camilla Nickerson in their work, it was not a literal translation of what she set forth. For example, there was very little strong color (other than a touch of red) and there was nothing really decorative in a vintage sense). But that said, the clothes were imbued with a feeling that was based on offbeat mixes and high contrasts in volume, color, and in texture. As they put it, "Extreme luxury is pared down and the everyday is elevated": in other words- 'hi-lo'. And there was a definite change in the air this time around. Whereas last season was much more ladylike and refined, owing to a touch of vintage and Chanel, their women this time is much more hard edged, mean and lean if you will. Even their aggressive silhouettes had many fashion pros recalling the work of 80's icons Thierry Mugler and Claude Montana. Well, okay- so it didn't all work, but many of their wool felt jackets were fantastic with the accompanying emphasis on the shoulder and waistline, and their daringly innovative and modern approach in a season of retro, looked very appealing.
Loco For Coco:
Needless to say, 7th avenue's love affair with Coco Chanel shows no signs of abating- and quite frankly, why should it? She is arguably one of the most influential and modern thinkers of the 20th century, and the fact that her tweed jackets, suits, quilted bags with chain handles, pin on flowers, and masses of pearls are being adapted by a whole new generation is testament to her enduring power. Not only were members of the audience decked out in Chanel (or Chanel inspirations) but many of the runways continued to pay homage to her timeless style.
Among those who channeled Coco throughout their collections (but of course, each in his/her own inimitable way), was Oscar de la Renta, who has traditionally worked in this couture like oeuvre, and has seemingly mastered the art of contemporary elegance. Each season, he hones his skills and perfects his craft, making it all look rich, fresh, appealing, and completely modern. And his show, which incidentally started almost one half hour earlier than most- a true indication of just how professional the man is- was also one of the most beautifully rendered and a true crowd pleaser.
This time, he continued his love affair with all things tweed, (they stole the show quite frankly- even overshadowing his evening dresses). Anna Wintour who made the decision to wear Oscar's fitted fur trimmed glittery tweed suit from this current line, to his fall show, exemplified this. She stood out heads and tails over everyone in the front row. He is brilliant at the way in which he uses luxurious touches to transform the seemingly simplest and basic of 'staples'. For example, he used sable lavishly yet sportily, (his large sable hobo bag with cabochon straps is almost literally to die for), and he added guinea hen feathers to the edges of a dusty blue denim- colored shearling coat. He also continued his love affair with Chinoiserie and embroidery, accessorizing a fabulous coat with matching boots, and corroborated with Fred Leighton for their rare collectibles jewels, which added the finishing touches.
Anna Sui admits to finding inspiration in the illustrations of Christian Berard for a color palette that was comprised of antiqued brights in bold combinations- with fuchsia as her signature shade. Anna's take on Coco had a very 70's Bloomsbury vibe- in other words, it was 'vintage' Anna with her repertoire of colorful, eclectic and over the top mixes on display. There were floral beaded cardigan jackets, ribbon and floral beaded tops, and tweed coats and jackets galore, all put together in a fun, exaggerated manner with faux leopard belts and piled on accessories meant to mimic the classic and traditional Chanel icons. I especially loved her colorful quilted velvet handbags with oversized gold chain handles.
Bryan Bradley for Tuleh made a name for himself with his socialite friendly (they were all front row center) eccentric, feminine mixes. This season he even admitted, "More is More." (No kidding!) This was evident throughout his colorful and eclectic 7- minute runway romp- perhaps the shortest show in history. But no matter- what was on view (tweeds, oversized houndstooth patterns, metallic coats trimmed with leopard trim, and the unexpected mixing of patterns, colors, and textures) had loads of optimistic of spirit, energy, and pizzazz. His homage to Coco was apparent through his interpretation of her classically derived shapes (like the shrunken tweed jackets and contrast piped cardigan suits) and his emphasized the point with oversized plastic pin on camellias.
Liberally Conservative: Do politics and fashion make strange bedfellows?
We are after all ensconced in an election year: the Democratic primaries were running concurrently with Fashion Week, and the Presidential race is undeniably heating up. So it's hard not to draw some analogies between the political scene and the scene unfolding inside and outside the Bryant Park tents. What is interesting to note is that while one assumes fashion designers are a fairly liberal bunch, (more than a few are politically outspoken and politically active) many of their designs are certainly speaking to an opposite aesthetic.
I don't profess to know what the outcome of the November elections will be, but suffice it to say that if the tone and mood of the clothing presented during New York's Olympus Fashion Week serves as a barometer of how the country will vote, I would say the Conservatives have more than a slight edge.
This new modesty and sobriety seems to be the obvious and natural reaction to a world obsessed with sex and completely numbed and bored by the preponderance of over the top gratuitous displays of flesh, Simply stated, there is no shock value in this anymore. Been there- done that!
Of course, skin in the overtly titillating sexual sense may be out of favor on the runways here in New York, but skins of the exotic kind- alligator, crocodile, leopard, and furs of every variety- were ubiquitous both on and off the runways. Anna Wintour personified this by showing off her enviable wardrobe of furs and fur trimmed coats and jackets - and on one particular day, she even paired Prada's spring snakeskin trenchcoat with a fur collar as if to heighten the effect.
Therefore, this was an extremely opportune moment for Gilles Mendel to stage his very first formal runway show (inspired by Tolstoy's Anna Karenina) for the J. Mendel collection in conjunction with Fashion Week. It was all about "a deconstructed aristocrat, reconstructed into something more edgy" as he put it, and to that end, Cartier jewelry was used in order to illustrate the feeling of unexpected luxury. This third generation furrier's great grandfather was furrier to the Czars, and his motto is "Fur is Fabric", which was omnipresent on the runway- it was one of the prettiest shows of the week and displayed fur with a new, modern, and youthful attitude.
Getting back to the subject at hand, the reality of fashion's new conservative side was even awarded front page status in the New York Times 'Style' section on the Sunday following the end of Fashion Week, "Sex Doesn't Sell: Miss Prim is In" by Ruth La Ferla. As David Wolfe, the creative director of the Doneger Group (who forecasts fashion trends) observed, "In fashion these days, to be uptight is to be edgy." This scenario is even playing out in advertising- in both print and on television, as noted in an article in WWD that also dealt with the same matter. Yes, we are in conservative times as far as fashion goes.
Many show-goers and members of the press were citing political names like Eleanor Roosevelt and Mamie Eisenhower in their efforts to describe much of what was being offered on the runways, and I for one, kept seeing vestiges of Pat Nixon and that "proper Republican cloth coat" with all those great looking wool, tweed, and cashmere coats being offered. And yes, there was a lot of Jackie Kennedy in the air as well.
Speaking of political names- First Lady Laura Bush showed up to greet Oscar de la Renta immediately following his show at the Bryant Park Tents. Believed to be the first 'First Lady' to attend New York Fashion Week, she was dressed in 'Nancy Regan Red' (it was actually a fitted red suit designed by the designer himself) to promote national awareness for women's heart problems. And the Bush nieces- the President's daughter Barbara, and her model cousin- Lauren- were front row center at Zac Posen (and wearing his designs) as he presented his well thought out and executed 'Blixen' collection.
And the designers themselves were not exactly silent about whom served as their political muses. Marc Jacobs cited none other than a "sexy Margaret Thatcher"- the Conservative British Prime Minister in the 80's- I kid you not- as the inspiration for his typically retro themed fall collection that evoked the 70's. Though much of it looked a bit dowdy- the high points were his usually stellar line up of coats (including some wonderful takes on tweed), a narrow ivory leather jacket trimmed with pale mink, noteworthy belted knitwear, a timeless cashmere jersey wrap dress which featured a graceful skirt, jaunty cuffed menswear trousers shown with a fitted cardigan and printed bow blouse that evoked the feeling of YSL, and a much more grown up and sophisticated evening vibe than had been seen in the past. He introduced bi color jersey long goddess gowns and paired a fox chubby tied with a black satin bow over a beautiful floor length evening dress.
But don't be fooled into thinking that he himself is politically on the 'right' side. According to WWD, the week following his show, Democratic Senator Hillary Rodham Clinton paid a visit to the Bleecker Street Marc by Marc Jacobs shop in order to "personally thank" the staff for raising money for 'Friends of Hillary' via a special $65 t-shirt Jacobs designed with her likeness. And this is only the beginning of Marc's political involvement. Reportedly, next season's après show bash will be a Democratic Fund Raiser.
Even the team of Badgley Mishcka - normally associated with outfitting glamorous stars for their visits to the Red Carpet- went the way of the 'Waspy' dowager this season with its emphasis on the oh so civilized cocktail hour (their program notes alluded to "a sleeping princess in Camp Wonundra on Lake Saranac in the vast Adirondack wilderness who is given to piling on mismatched clothes that seem made only for her and who picnics on a lake and has cocktails at 6 in the Great Room where everyone dresses.")
The runway was filled with the mix of crystal embellished minks juxtaposed against gusty tweeds, herringbones, and houndstooths, the bare, long graceful evening dress they're known for took second fiddle to knee length skirts and separates, and they made a case for vintagey- jewel emblazoned sweaters worn with dusty satin pleated and gored skirts.
Signature Moments: Fashion's Individualists
Well, I suppose since I'm talking in political terms, I can also refer to this group as Fashion's Independents. One of the most notable and welcome features of any Fashion Week is its sheer diversity. Even though at times it may seem as if the same few trends, looks, ideas are being played out on the runways (ad infinitum), that is thankfully never the case. And while this season a decidedly ladylike, retro, vintage theme is running its course and pervading the shows, there were plenty of designers offering their own take, proposing different views, and sticking to their guns. The good news is that this translated into options and choices for all of us- there is truly something for everyone.
Narciso Rodriguez was arguably one of the week's true high points and highlights, and he proved yet again why he is so well respected, beloved, and well, almost deified. His breathtaking collection was a complete evolution and affirmation of his philosophy, perfectly played out and thoughtfully conceived. At the core were all the signatures we have come to identify with the man- his flattering and pleasing neutral color palette (black, ivory, tan), the athletically inspired zip front jackets, corseted tops, molded to the body architectural shapes, and of course, dreamy evening gowns. However, this time around- he surprised and delighted with the welcome addition of pleasing pastels such as pale pink, blue, and mint (if anybody can make pastels look chic, it is Narciso), and the welcome addition of fullness by adding tiers and ruffles to his skirts, coats, jackets, and dresses. But since it's Narciso, the ruffles still remained architectural and somehow elegant and restrained. No small feat.
Ralph Rucci is unquestionably one of the most consistent designers working today- in New York or anywhere. His beautifully thought out collection which as always, included no retro influences, nor was it filled with 'trends du jour' even prompted veteran fashion editor Edie Raymond Locke to remark- "Thank God for Ralph Rucci" upon the show's finale.
Mr. Rucci's attention to cut, seaming, and detail, and his insistence on using only the most luxurious fabrics in the world, adds up to perfection. And while past collections may have seemed a big weighted down by an intellectual "heaviness", this time, he seemed to have lightened up- cutting a belted coat from a lively tiger printed velvet, using an over scaled plaid for a topper, fashioning black Russian broadtail into perfectly cut narrow trousers and matching tunic. Interestingly, the day portion was as notable and stellar was the evening part- and his group of black jersey dresses- some lean and knee length, others- molded on top with more fullness on the bottom, were deceivingly simply. Fur was used abundantly- in the form of tall, jaunty hats, fur trims, and fur muffs- and alligator gloves and tall boots completed the look.
The program notes said it was all about "confident, feminine luxury" and it was pure signature Ralph Lauren, down to the slight nod to the great American Southwest. This took the form of amazing vintage silver and turquoise Navajo jewelry (necklaces, earrings, and belts), which were used to accessorize the clothing. Devoid of references (except perhaps to those from his past collection) and clichés, this was not a costume party but a collection filled with wearable yet highly collectible pieces. The smart urbane lineup was built around a classic palette of camel, browns, red, and of course, black and was completely focused on shape, cut, and silhouette- achieved by the pairing of impeccably fitted jackets in a range of textural tweeds, or close to the body cashmere sweaters- with a fuller skirt. 'Day for Night' and 'Night for Day' was evidenced in beaded wool pinstripes and one sparkly wool boucle trenchcoat that was a knockout. A group of beautiful long evening gowns was highlighted by one in particular that seemed to have been suspended from a large piece of turquoise on a silver chain.
Donna Karan's Friday afternoon show, which officially ended Fashion Week, was a love poem to New York. It was dubbed "Urban Decadence" and was all about "a love of the city with an obsession with nature." It also marked her 20th anniversary in business, and because the bodysuit started it all, Donna began the show with the bodysuit- accessorizing it with the season's signature fur shrug and wrapped neck scarf (and then went on to show them in dizzying combinations throughout.)
Jersey was wrapped, molded and draped, and many dresses were accessorized with William Morris hand blown glass spheres. The almost shoulder length black jersey gloves fit like second skins. It was a runway filled with plays on texture- from rough and ready leathers (slightly distressed) to tweeds and plaids and burn out velvets. Donna used iridescent feathers to form the basis for a long evening dress, and ended with gold sequined number that would be perfect for the Red Carpet. While at times it looked a bit self conscious, studied and tricky, it was fiercely feminine, tactile, and moody.
Catherine Malandrino is French to the bone, but she is completely in love with her new adopted city- New York, which inspired the collection, called "Oiseau Rare" (Rare Bird). Actually, according to the designer, what really inspired her was "Central Park in the middle of Manhatttan. Poetry in the Inner City. Heavy tweed on bare legs. Contrast". The idea of contrast was apparent in the play of volume
and proportion, and Catherine's most standout pieces were the really sensational knits that were either chunky and gutsy or delicate and spider- weby. Her outwear was also quite notable- from nubby tweeds to distressed shearling, and including a magnificent champagne wide wale corduroy trench coat. Almost everything was paired with bare legs and sandals (which tended to look a little artificial and tricky after awhile) and oversized Finn Raccoon fur trapper's hats courtesy milliner Kokin.
The finale was comprised of the designer's Limited Edition pieces - most satisfying were the pink or black kidassia cropped fur vests, a mixed distressed tweed blouson jacket, a shell mohair bubble knit short sleeved sweater and an equally feminine and charming aquamarine mohair bubble knit capelet.
The avant- garde quartet, As Four (Adi, Ange, Gabi and Kai) dubbed their collection "Ageless" and used a silver stage in a Tribeca loft to offset their all black 13 piece collection. "Black is the new lame" they claim, and it certainly was a complete about face from this past spring/summer 2004- which was completely rendered in variations on gold. As it turns out, black is the perfect shade for showing off their innovative circular cuts and artistic takes on 'le smoking'. Always full of offbeat surprises, they ended the rather somber show by launching their deliciously colorful and whimsical new children's collection "As Children". It was joyous and uplifting and imparted a welcome and fitting contrast.
Who else stuck to their guns, resisting the urge to purge vintage and thrift shops, never looking derivative? Michael Kors, whose upbeat, energetic, optimistic, and colorful collection exuded a sporty, casual, all- American glamour that was refreshingly real (he was one of the few designers to actually present his couture like coats and jackets with well worn jeans- it's the way we all love to dress after all, isn't it?)?
The program notes specifically cited, 'Galella Glamour' as inspiration, or to put it more concisely, "the eclectic indulgent way chic couples dress when you see them at the airports" - oh, you know, Carly and James, Warren and Julie, Brad and Jennifer, Kate and Chris. It was all about 'the mix'- offbeat and unexpected pairings of high and low, soft and tailored, rustic and refined, which really defines Michael's aesthetic and is at the heart of modern dressing. Fringe and fur were used with abandon, the classic and chic color palette (camel, chocolate, loden) was spiced with hits of appealing pastels like lavender, lilac, cloud, and coral. Shimmery tones of bronze, gold, and platinum were introduced for evening. Stellar coats and jackets, great cashmere sweaters, and sporty takes on fur (how does a camel sueded backed Swakara balmacan sound?) were thrown into the menu and the entire production- down to the high voltage rock and roll soundtrack exuded attitude with a capital 'A'. Of course accessories like oversized hobo bags, long scarves, and enormous shades didn't hurt.
Certainly, one can't fault Francisco Costa for attempting to put his stamp on the house of Calvin Klein. In his second season as head of design for this major American label, he cited Lauren Hutton of the 70's as his major inspiration, and there were some beautiful washed silk shirtdresses, languidly tailored jackets and pants, belted wool felt coats, shearling vests and jackets, as well as beautiful tulle, satin, and charmeuse nightgown inspired evening dresses. And the collection, rendered in chic neutrals, which had a modern and edgy vibe, really resembled nothing else shown during Fashion Week- a nice change of pace after all. Well, okay- so there were many pieces that recalled to mind Gucci- since Costa had been head of design for the house of Gucci in Milan, working under Tom Ford, I suppose that shouldn't be too surprising.
But that said, too much of what was shown (with its long hemlines, plunging necklines, and see thru tops) proved difficult to wear- even on his line- up of young, tall, skinny models. If it doesn't look good on them- how does he expect the rest of us mortals to wear it? And what was he thinking with all that sheerness for the fall season? In his launch last September for the spring 2004 season, Costa received mixed reviews for what many considered to be far too much sheerness, so it's puzzling that he would continue along those lines in such an exaggerated way for the fall. Stay tuned!
Win Some, Lose Some
In his 5th season, Zac Posen arguably delivered his most widely acclaimed and successful show to date with the 'Blixen' collection- named after Karen Blixen, the author of 'Out of Africa'. To hit home the theme ("the wilderness, animal prints, leaves, and frozen lakes") Zac, who admittedly loves to stage a show as much as he loves to design the clothes, covered the runway of The Tent at Bryant Park with black Astroturf, and added fake birch trees to impart the look of a sculptural forest. The 25 year old, who graduated from St. Martins in London, and clocked in some hours at the Metropolitan Museum of Art's Costume Institute, was going for the look of "Urban Chic" for the new millennium, and to that end, sent out a satisfying romp that was comprised of more sportswear pieces than in the past, and included many of his signatures (the plunging necklines, the feminine hourglass shape, the geometric patterns, color, and shine). There were some wonderful jersey dresses, exceptional knitwear, sporty reindeer patterned fur hats and vests, metallic knickers, stretch leather cropped pants, and of course- great evening wear (both long and short). Standouts were his teal satin and peach chiffon floor length 'nightgown' with a teal wool coat thrown over the shoulders, a perfectly 'simple' metallic gray satin and chiffon long gown, and the finale- a grayish blue frothy confection that boasted a fitted shirred top and a very full floor length skirt.
Unfortunately, Michael Vollbracht's second collection designing for Bill Blass was not an improvement over his debut- last September- which was met with some disappointing reviews. I really like Michael, he is undeniably a talented guy (and a great illustrator), and I would love him to succeed. But for spring 2004, he repeated many of the same 'mistakes': the 77 piece show, which seemed to go on forever, was for the most part filled with items that could have been literally taken from the archives of Mr. Blass- and not even the exceptional, stand out pieces. While there were some perfectly nice suits, coats, evening dresses, (and takes on the 'Day for Night' theme that Bill always stood for) far too many outfits were either uninspired, lackluster, or overdone- and worse- it all seemed to have been frozen in time.
This was not helped by Michael's insistence on using the same group of star models from the 80's that marked his debut (whom WWD jokingly referred to as "The Models of Yore Club"). Don't get me wrong- these gals still look amazing, and they can still do their thing on the runway- there is no question about that. But, repeating the same thing was overkill and a big mistake. Plus, Pat Cleveland's overly theatric runway gyrations, which may have been novel, fun and entertaining the first time around, became grating and annoying, and I just wanted to say, "enough already". Most importantly, it certainly didn't do anything to help the clothes on the runway.
Mr. Vollbracht, who worked directly with Bill Blass, and had been a close personal friend, claims to have been "inspired by animal skins like cheetah, leopard, and sable" and used the fur muff in dark and golden sable throughout. Certainly, these items have long been part and parcel of Bill's signature designs. But in a season that is really all about fur and luscious animal patterns, Michael's interpretations just fell flat. And when you consider the high price of this collection, it was not infused with an overwhelming sense of rich luxury. Better luck next time!
'Good Sports'
Using active wear and athletic clothing as a reference point and inspiration for fashion design is nothing new- the idea of form and function is an omnipresent fact of life. And certainly, nothing is a relevant for the lives we now live.
Carolina Herrera admitted she was "inspired by winter sports at luxury resorts (Gstaad and St. Moritz) in the 1930's. Skiing, ice-skating, and sledding in Switzerland and the warmth of the lodge après-ski." Her signature color was plum used in combination with black, oatmeal, 'peacoat' (navy) and 'limoges' (ivory). Luxurious fabrics such as cashmere, alpaca, and butter soft leather were juxtaposed again furs (mink, ermine, fox). In general, the silhouette was lean, owing to legging like narrow pants often tucked sportily into leather boots that laced up, and knee length skirts that were fitted through the torso but flared at the hem.
Unfortunately, things got a bit tricky and dowdy with too many long side slit skirts for day (I doubt her uptown ladies will be inspired to try those out while navigating Madison Avenue), but she did hit some high notes with her youthful multi striped fitted cashmere sweaters shown with matching mufflers (by the way, the designer feels very strongly for the luxurious cashmere scarf this season, which she feels "one should own in every color"), horizontally worked, close to the body, abbreviated mink jackets that had just the right amount of athletic and modern appeal in their simplistic designs, and her sporty takes on evening- a bugle beaded 'alpine' sweater and several quilted satin sleeveless vests worn with long skirts.
The highly anticipated signature collection designed by Roberto Menichetti was also very sportswear oriented in its modern and minimal approach. Not surprising when you consider that he spent 5 years as head of design at Jil Sander prior to which he honed his formidable skills at Burberry- where he launched their ready to wear line. His belief that "Less is More" was apparent in the very pared down presentation and in the very pared down silhouettes. A group of male and female models stood around informally showing off the streetwise designs that relied on a basically neutral palette of black, white, khaki, navy- and some pink- and rendered in the most luxurious Italian fabrics, just to remind us this wasn't exactly the Gap. While it was a little disappointing after all the advanced publicity (well, I mean, you would have thought we were going to witness the 'Second Coming') there were some wonderfully collectible items if you're looking for expensive versions of good old 'basics.'
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