Sunday, September 30, 2012

Moschino Spring-Summer 2013 RTW review

"Let's just have a good time; we got it comin'." In these days of dire downturn, you can imagine Italians clinging to the sentiments of that song from the soundtrack of today's Moschino show. Rossella Jardini joined her Milanese peers in patriotically taking up the cudgels for optimism with a collection that was as upbeat and energetic as a youthquake's shake, rattle, and roll.

She actually referenced the original 1960s watershed in her new designs, courtesy of the inspiration she took from the cult classic Two for the Road, in which Audrey Hepburn's wardrobe borrowed from Mary Quant, Paco Rabanne, and Ken Scott. Jardini said she liked the slightly shrunken, doll-like proportions of Hepburn's clothes, and she certainly duplicated them in the neat, short little dresses that dominated today's show. And there, as well, were Quant's daisies, and Rabanne's metal-disc-covered shift, and Scott's florals precisely duplicated in sequined appliqués. Oh, what a wonderful magpie fashion is.

Still, Jardini's collection definitely had an optimistic kick. And why shouldn't the label be feeling good when It popstrels such as Gaga, Kylie, Adele, Beyoncé, and Lana Del Rey have been papped in Moschino recently? There was, however, a fly-in-the-ointment whiff of the brand's primogenitor, Franco Moschino himself, in hair and makeup that evoked Ginger Rothstein, Sharon Stone's doomed character in Casino. That's the third time Ginger has been referenced this season. She has now officially trended.
via: style
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Zac Posen Spring-Summer 2013 RTW

“The show is about glamour, elegance, and craft,” Zac Posen said right before he presented his spring 2013 collection at Avery Fisher Hall Sunday evening. 

Another word that comes to mind: restraint. Posen’s hand has become lighter and lighter over the past two or three seasons; though there were a few instances when he could have chosen just one trick (either an off-the-shoulder fold or a corset on a duchesse satin evening dress, but maybe not both), he generally wasn’t trying to show too many of his skills—pleating, pin tucking, embroidery—all on one look. And the result was soft and pretty.

But back to the glamour. Posen’s inspirations this season were American swans of yesteryear—C. Z. Guest, Grace Kelly, Brenda Frazier. Meanwhile, the swans, if that’s the proper word, of today were occupying his front row: Alexa Chung, Margherita Maccapani Missoni, Lily Kwong. (He also looked to the designers who have dressed them, then and now, like Norman Norell, James Galanos, Charles James, and Oscar de la Renta.)

Posen’s theory is that these women are getting ever more dressed up for events, so he’s taken it upon himself to keep them in entry-making looks. For spring, you’ll see a corseted tulle “futuristic Degas” cocktail dress, a jade-hued satin-bodiced tulle ball dress, and a floral showstopper with a chiffon-over-organza-over-taffeta skirt (that’s the craft Posen was talking about). And Coco Rocha appeared last in the show wearing a tiered white ball dress (calling all society brides). But day wasn’t neglected. He also made several flare-skirted chiffon looks. Posen’s women, he says, “find joy and power in dressing.” Here they’ll surely find a bit of both.
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Vera Wang Spring-Summer 2013 RTW

“Does anyone even remember Jawaharlal Nehru?” Vera Wang calls out backstage minutes before her show, then answers herself in the next breath because the half-bare models and hectic dressers are otherwise engaged. “He was the prime minister of India.” For the better part of the twentieth century, to be exact, not that you’d really need to recall the political figure (let alone be able to spell his name) to appreciate what Wang was getting at with her stunning spring collection.

Yes, the starting point was India, but Wang’s interpretation was loose. (Anything more literal, she said, “wouldn’t really be me.”) She seems to have, for the moment anyway, put aside her athletic-inspired tendencies and chosen instead to focus on the kind of sophisticated, embellished sportswear that is inarguably her sweet spot—and exactly the kind of real options for day that are what women want from her. It started with gorgeous white cotton looks that appeared clean but were far from minimal.

Sleeveless tops
were heavily embroidered and swishy skirts (cut short or below the knee) were made with almost 20 yards of canvas each. From there, things got slightly dressier in dazzling colors: vibrant turquoise, emerald green, bright purple. Wang handles jewel tones better than anyone, and it was nothing short of exciting to see her play with them again after seasons of acerbic neons and muted shades. This was especially true when she used them for short, silk faille cocktail dresses that looked as if they were seductively falling off the shoulders and ladylike Chantilly lace sheaths with crystals at the waist and neck.

Then came the
gold: a gorgeous gold lace sheath with an embroidered back, a cool hammered bullion tank with an almost-racer back, and a deep V-cut evening dress that would work as effortlessly on the red carpet as it would at a summer wedding.

So the collection overall could be described as Indian in its opulence and rich palette, but that’s where the line is drawn. “It’s not a sari, it’s not a sarong, and it’s not Bollywood,” Wang said. No, it’s Vera—and it was spectacular.

via: vogue 
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Tory Burch Spring-Summer 2013 RTW

Should you have been following the various developments of the look of spring 2013 in New York over the last few days, you might be viewing it with a feeling pitched somewhere between curiosity and trepidation. Thus far, we’ve been awash—or adrift is perhaps better—in long, languorous layers, all pale, pale, pale delicacy, with a few lingerie pieces on show (in every sense of the word) for good measure. Truth be told, some of it has been quite beautiful, but clearly how all this will transition into real life where you have to dress to go to work, date, run around after the kids, etc., etc., is another matter entirely.  

Bravo, Tory Burch, then, for brilliantly flying the flag for sparkling newness without forgetting that great clothes should feel joyful and uplifting without being entirely devoid of practicality. “It’s remixing American classicism; about a girl who travels the world, and takes something from every place she goes,” Burch said backstage of her preppy globalism for spring. “So there is guipure lace and tie-dye or making a polo shirt into an evening dress, and then pairing it with Moroccan slippers.”

That was the final look, a white crepe, collared column dress graphically embellished on the sleeves and the waist with silver and red beading, worn with those aforementioned flats, resulting in a youthful, easy idea of elegance. But let’s quickly rewind, because there were plenty of good things in this collection from the get-go. Most appealing was Burch’s take on that longer line that has been causing the eye to drop downward when looking at the runway of late. Her trick was to tailor it to keep it under control, meaning A-line skirts rendered in lightweight ombre tweeds or in hand-dyed bazin (no, me neither—bazin, apparently, is a kind of African damask) were worn with neat blazers and high, block-heeled loafers.

The smallness of the top contrasted with that midi (as they used to say, back in the day) length that was also used for a series of charming dresses in everything from yellow honeycomb-eyelet lace to a blue-and-white Indian floral print on linen, to mesh embroidered with paillettes. Of course, like all those diaphanous layers, longer can also be challenging for mere mortals. What would, ahem, the more petite Burch recommend? “Making them shorter,” she said, laughing. “No, it’s all about keeping the length tailored. Do that, and you can wear it with heels—or flats.”
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