Hare RTW and Men’s Spring 2020

Name: Hare
Main message: One of the more commercial brands to show during Tokyo Fashion Week, Hare is designed by a team. For spring they turned out oversize versions of classic jackets and tops, often with exaggerated, wide sleeves, overly boxy shapes, or nearly comically large pockets. Paired with wide-legged pants, some looks bordered on shapeless, but others had asymmetric details that gave them a modern edge. The team incorporated Japanese imagery into their prints and motifs, from kabuki actors to bonsai trees, as well as traditional geometric patterns. Neutral tones of black, white, beige and brown were contrasted with pops of red, fuchsia and gold.
The result: There were some beautiful fabrics and interesting imagery, but many of the pieces themselves were either very basic or so oversized that they lost their shape, and certain details such as trailing ribbons of chiffon seemed to have no rhyme or reason and didn’t do anything to elevate the pieces.

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Cinoh RTW and Men’s Spring 2020

Name: Cinoh
Main message: Takayuki Chino said he was inspired by a French sense of style for spring, “including the chic way the French wear scarves, Basque shirts and nautical items such as striped boatnecks.” And while these things may sound cliché, the designer succeeded at reinventing them in his own way. He fashioned silky scarves in white, red and navy stripes into buttoned-up ponchos and pleated skirts, and lengthened tipped jackets into calf-length coats, pairing them with jumpsuits and relaxed, high-waisted trousers.
For men, Chino showed a relaxed style of tailoring, including jackets without lapels over long, untucked shirts and loose-fitting pants. He mixed widths of blue and white shirting stripes and added a casual touch with drawstring trousers and sporty bomber jackets.
The result: While many of the pieces were timeless and basic, Chino made them feel modern by giving them a relaxed edge and playing with slightly oversize proportions.

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Rainmaker RTW and Men’s Spring 2020

Name: Rainmaker
Main message: A rare Kyoto-based brand in Japan’s fashion scene, Rainmaker was chosen as one of the winners of this year’s Tokyo Fashion Award. For their second showing during Tokyo Fashion Week, Kohichi Watanabe and Ryutaro Kishi showed relaxed but refined silhouettes in soft, draping fabrics. Unstructured trenches and suit jackets were paired with easy trousers, and collarless shirts topped drawstring shorts. The palette was muted neutrals and pastels, with the exception of a deep purple silk embroidered allover in a floral pattern. Cardigans and shirts were often worn unbuttoned but crossed over in the front and tucked in, for an elegantly undone look.
The result: The offering was cohesive and well executed, with a modern versatility that would be right at home in any urban environment.

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Hyke RTW Spring 2020

Yukiko Ode and Hideaki Yoshihara’s brand has, for the past several seasons, been a consistent bright spot during Tokyo Fashion Week, and the latest season was no exception. After a series of collections focused on reinventing classic military pieces from around the world, the spring offering had a softer, more feminine feel to it, but was no less timeless.
Hyke is not a brand that capitalizes on sex appeal. There is very little skin shown with its clothes, even for spring. And yet they have a refined elegance that is undeniable. Ankle-length trenchcoats, maxidresses layered over fringed skirts, and pantsuits topped with pleated half skirts were turned out in neutral khaki, beige, navy and black, with a few pops of blue and pink candy colors thrown in to mix things up. The fabrics were stunning without exception, from smooth cotton and soft linen to functional tech materials.
Having collaborated with sports brands including The North Face in the past, this season saw a grouping of pieces made in conjunction with Adidas. Pleated, asymmetrical dresses, yoga-ready leggings, and abstract printed black-and-white pullovers were often paired with more tailored items, such as fringed long skirts or a basic black shirt.
Ode and Yoshihara also sent

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Spring 2020 Trend: Waist Not

One school of fashion says that most women want clothes with a waist. Another school prefers to let loose, literally. That school made multiple compelling arguments for spring, as designers ruminated on new ways to deliver unfettered volume, for day and evening. Alluring looks ranged from oversize T-shirts to elaborate layerings.

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Maje RTW Spring 2020

For spring, Judith Milgrom was thinking about those glamorous Miami poolside photos taken by Slim Aarons from the Sixties.
“I asked myself, what have these women become, who are these women who seemed to have nothing more to do than be there — women today are very active,” she said. They still want to wear color, even if they’re working so much they no longer have time to drink Champagne, she concluded. 
So she gave them color: Hot pink biker shorts. And added glamour, using taffeta for the first time, to make very feminine dresses in baby blue, pale yellow and bubblegum pink. Accessories were bright, and included faux crocodile leather purses that attach to a belt — in bright red and hot pink. New this season was a teeny-tiny lipstick case, to be worn on a chain; sneakers, on the other hand, were chunky. 
There were airy romantic pieces too, including a flower dress with spaghetti straps and an uneven hemline. A capsule collection featured prints from the photos, including a dress patterned with a photo of sunlight in the water of a pool. Outerwear included a puffy-sleeved denim jacket with laces running down the back.
It was a youthful and upbeat lineup,

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Lacoste RTW Spring 2020

“The players are ready. Position,” and with that, the second Lacoste collection by Louise Trotter hit the runway, corridors around Roland-Garros’ brand-new Simonne Mathieu court, an ultra-modern installation nestled in the greenery of the Serres d’Auteuil botanical gardens. But the venue, where the brand had surprisingly never shown despite historic links with the sporting complex, wasn’t the only opposing pair offered by the tennis-centric brand this season.
For this iteration, the incumbent designer explored what she called the brand’s “aristocratic yet quite street” identity. “I wanted to try and address the nostalgia people feel toward Lacoste, with a contemporary lens,” she said backstage. Sporty pieces were cut from butter-soft leathers or silks. On others, Trotter demonstrated her deft tailoring hand, cutting a double-breasted suit in soft pink. Shown in succession on a female and then male models, it reinforced the idea that very little, if any, of the lineup was gender-specific — not even floor-skimming polo shirts and skirts that nodded to the Japanese hakama in their pleating and proportions.
To ground her work in the here-and-now, she tweaked proportions on house signatures. Mercerised or heavier yarns were used to produce oversize piqué. Widened cuffs and ribbing details were given pride of

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Equipment RTW Spring 2020

Equipment continued to expand its offering for spring, with utilitarian and archival details and a watercolor palette coming together in a lineup inspired by Marrakech. There was an expanded range of dresses, some directly derived from the brand’s shirting heritage, others with more feminine wrap shapes and done in animal or floral prints.
Elevated basics presented more masculine lines, as on a cropped military shirtdress in beige or cilantro leather shorts and matching army sweater, which rubbed shoulders with more statement pieces, like a viscose twill jumpsuit in fuchsia and red.

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Louis Vuitton RTW Spring 2020

Closing Paris Fashion Week can be a double-edged sword. In theory, the Louis Vuitton show is the star-studded, spectacular apotheosis to a month of runway shows in four capitals. In practice, weary fashion editors are anxiously eyeing the clock to gauge if they will make their plane or train back home.
It didn’t help that the Vuitton show this season started an hour later than usual, just after the sun set on the plastic tent erected in the courtyard of the Louvre. The brand wanted to maximize the impact of the music video that played on a giant screen that stretched the entire width of the catwalk.
Looming over the audience was transgender singer Sophie Xeon, known simply as Sophie, performing an extended version of her 2017 track “It’s Okay to Cry.” Somewhat surreally, models emerged from a door set in the middle of the performer’s chest.
Nicolas Ghesquière has been flirting with gender fluidity for several seasons, having cast androgynous models including Krow Kian in his spring show a year ago, and subsequently tapped transgender actress Indya Moore to star in his pre-fall look book and act as Instagram “host” for Vuitton’s fall show.
And it was an undercurrent this season at the

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Maticevski RTW Spring 2020

For Australian designer Toni Maticevski, designing around a theme is no longer working out. “It’s really weird. I’ve stopped trying to figure it out,” he said ruefully during a showroom appointment. What he thought about instead: how good a spring morning feels — clear skies, bright light and the scent of dew-saturated earth.
He embodied the latter as touches of sheen or darker tones; the bright light in flattering pinky-beiges, and the breeze in fabrics meant to obscure without hiding the skin. Given his proclivity for architectural draping, the result could have easily felt too formal. Here, his sculptural approach was reined in by softer fabrics and felt more relatable, especially with new daywear options.
Among the standouts: A light gray striped dress looked blowsy, while soft tuffs dotting white gauze fabric evoked sun-dappled surfaces. A jersey T-shirt gave an editor-off-duty look to a pencil skirt. The soft hand of a silk blend made a top and matching trousers skew more relaxed but still smart.
The lighter materials of the collection made tailored pieces stand out. A double-breasted blazer felt at once familiar and fresh, while a check overcoat toed the line between sporty and statement thanks to its kimono-inspired proportions. “My idea of

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Martin Grant RTW Spring 2020

“It’s a little bit ‘workwear meets Bubblegum Barbie,’” said Martin Grant, by way of introducing his spring collection. That’s some statement, coming from a designer famous for dressing style icons like Cate Blanchett and Meghan Markle.
Grant was referring specifically to a blue belted shirtdress with safari pockets that he’d paired with pink heels, but there were plenty of other playful options in his spring collection: a sexy pink halterneck minidress; cross-back bra tops, and a navy linen zip-front, hourglass bustier dress.
They tipped his trademark masculine-feminine dynamic into flirtier territory. Even the suits had a softer edge this season, courtesy of a slightly Eighties-feeling curved, cropped pant shape. Grant emphasized the waist by belting everything from oversize shirts to a flowing one-shouldered pink taffeta evening gown.
He also used the taffeta for a puff-sleeved shirt, noting that the fabric was made by a French company that historically supplied haute couture houses. “It’s one of the first pinks that I used when I moved to Paris, and it’s called ‘Paris.’ I like also that I can go back to a house that I used 15 years ago and have that exact color,” he mused.
Bubblegum Barbie just got a couture makeover.

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Mary Katrantzou Spring 2020

Mary Katrtantzou set the bar high for her spring 2020 show — a little too high, some would say.
Just like she managed to make the impossible possible when it came to securing her dream show venue – the historic Temple of Poseidon in Athens – the Greek-born designer delivered a standout couture collection that was bursting with emotion, ideas and elevated construction techniques.
It was admirable that she was able to execute everything at such scale, on a tight budget and with a small team at her north London atelier. Her talent, conviction – and many a sleepless night – certainly paid off.
The collection consisted of 30 looks, each exploring a different couture technique and conceptualizing a philosophical idea birthed in Greece at the same time as the temple of Poseidon was built, in 440 B.C.
The first model – in a sequinned and fringed column gown with a quote from Socrates embroidered on it – made her way down the runway against the ancient ruins, sending a frisson through the crowd. The dim lighting and eerie music added to the electricity in the space.
What followed was an explosion of creativity, with Katrantzou paying homage to her country’s history – and writing a new

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Capucci RTW Spring 2020

For their second season at storied Rome house Capucci, Luisa Orsini and Antonine Peduzzi played with optical effects, using iridescent fabrics that change color in the light and working them into designs that can be worn in different ways to create volume.
Mikado silks were taken from Capucci’s archives, recycled into modernized cocktail separates in color-blocked brights. A cropped waistcoat in lilac silk was adorned with glow-in-the-dark beads, intended to evoke a rosary, and worn with high-waisted white pants.
A handmade black devoré gown and plissé silk dresses — orange or red, burgundy or green, depending on the light — in one-shouldered or bell-sleeved iterations nodded to the house’s couture heritage, a link the designers are keen to cultivate as they seek to modernize the label without neglecting its rich history.
Wide-brimmed “visiere” hats, adorned with beaded fringing or giant bows, added to the updated vintage feel of the collection.

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Honayda RTW Spring 2020

For her first presentation at Paris Fashion Week, Honayda Serafi drew inspiration from her childhood memories of seeing Bedouin women in the countryside in her native Saudi Arabia.
Their traditional outfits inspired the seashell-embroidered belt she layered over a silky white cape-sleeved top, and the geometric patterns on a hooded dress worn over matching pants. The layered silhouettes are a pragmatic choice for Bedouin women out in the elements, but Serafi gave them a seductive allure.
A black bustier jumpsuit was overlaid with a sheer tunic with graphic silver sequin embroideries, while dramatic floor-length capes added pizzazz to buttoned-up long-sleeve shirts and pants. The designer titled the collection “Evolution,” saying it was a vision of how women could evolve from one generation to the next.
Serafi has done her bit to challenge social attitudes in Saudi Arabia by introducing colored and embroidered abayas in previous collections. This time, she showed variations on the traditional caftan, such as a white column dress with a pleated half cape. “This for me is the new generation of caftans: dress caftans,” she explained.
The collection was heavy on the kind of red-carpet fare that has won over celebrities including Priyanka Chopra, Lupita Nyong’o and Lindsey Vonn. Standouts included

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Kirin Peggy Gou RTW Spring 2020

Peggy Gou doesn’t need to look far for inspiration: her Kirin line is basically condensed from the kind of things she likes to wear. For her sophomore collection, the South Korean-born techno DJ and producer whipped up outfits for everything from hitting the festival circuit to traveling between gigs.
Her signature look is matching tops and pants, ranging from color-blocked tracksuits and denim pairings, to satiny logo-printed pajamas. Among the patterns this season is a pixelated image of dancers — a nod to the Saatchi Gallery’s recent “Sweet Harmony: Rave Today” exhibition — and a motif of Korean traditional masks.
Gou said the idea came from the artwork for her track “Starry Night,” an illustration that shows her hiding behind a laughing mask. “Everything with social media now is about who has a better life, who’s happier, and my cover had the meaning that everything is not as it appears,” she said. “I’m not always a super happy person.”
The Berlin-based DJ has been working with her partners at New Guards Group, the Milan-based brand platform that was recently sold to Farfetch, to refine her assortment. Based on the feedback from her first season, she’s added more feminine shirts and snugger denim fits.
“I

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Aalto RTW Spring 2020

This wasn’t your typical, sparkling beach inspiration. Tuomas Merikoski was thinking more of danger, lust and excitement, he said — his summer feeling has something more of a road-trip vibe. To start with, there was a heavy dose of white — lightweight white cotton shirts, some with sailor blouse collars, and a trenchcoat with wide lapels. Merikoski had also rigged up sails in the showroom — he’s making handbags out of sails, and a stiff, crinkly prototype sat near the window, with round handles. Next to the bags were clogs — a collaboration with a traditional Finnish make called Talla, some with fat bows. But topping accessories was the stingray hat. Imagine a bucket hat with an extended brim, that split and grew stingray tails. It added flair but he meant it to be worn casually — like a real sailor bob that will look good even after it’s bleached by the sun. 
Then there was color — simple cotton T-shirts carried an extra sash of lightweight material with the house’s “bleeding dots” print, drape it in front, drape it in back, or toss it in the washing machine — the silky fabric was actually a recycled polyester. 
And now for the statement

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A.P.C. RTW Spring 2020

For its spring show, A.P.C. splashed out on an outdoor sound system, drawing guests into a Left Bank courtyard decorated with flag garlands, a beverage cart and tents displaying merchandise —  future products from three collaborations in the pipeline: JJJJound in November, Carhartt WIP in January and René Tadeo Holguin in March.
“I realise that the older I grow, the less subtle I want to be,” Jean Touitou told the crowd, waving a finger at the setup. DJ Prince, a teenager from the U.S. — found on Instagram — stood ready to spin Eighties tunes to spur the models down the runway.
The lineup was A.P.C. through and through — a sparse selection of prints with checks or flowers, stripes on occasion; more choice in the jeans department, offered at times with matching shirts or in the shape of a sleek boiler suit. Dresses, too, were sprinkled into the mix, trim, attractive and deceptively simple.
Sensible, all of it, with just the right register of chic to keep things from getting too ho-hum.
Moving with the times — the streets will soon be going all dressy — the bomber coat moved to preppy territory this season, tan with a collar, and flaps on the pockets; a

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Givenchy RTW Spring 2020

If there’s one thing that’s courted controversy on the runways in Paris, it’s denim, from the fraying denim shorts as base layer for the circa 2020 “le smoking” at YSL, to Seventies Landlubber throwback jeans at Celine, to ripped and shredded Nineties iterations at Givenchy, reworked from actual upcycled vintage pieces in a nod to sustainability, bravo Clare Waight Keller!
It’s not that designer denim is a new phenomenon, far from it. But somehow, in this era of class and climate warfare, it’s been a lightning rod.
But the beauty of denim is that it can be the uniform of the aristocrat and the protester. Designer denim costs more simply because it can, because customers are willing to pay for context and emotions and values. And at Givenchy, Keller has created the whole package, carving out a feminist fashion niche that is honest and questioning (dressing a duchess for her big day didn’t hurt, either).
Titled “NY Paris 1993,” Waight Keller’s latest collection was a look back at a particular moment in time in the Nineties when she started working in fashion at Calvin Klein and Ralph Lauren and was traveling between New York and Paris. She was reminiscing about the contrast of

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Lutz Huelle RTW Spring 2020

Lest anyone worry that Lutz Huelle, the label, would languish as Huelle, the designer, gets swept up in his new mission at Delpozo, here came a message, striding down the runway: fear not.
A bit saucy and rather fashion-savvy — with an alternative Eighties vibe — the Lutz woman threw off her jeans last season and, swapping them for long skirts with a puff and shiny pencil trousers, declared it was time to dress properly. And enjoy it.
For spring, she carried on in this manner, slipping on an evening gown, in a flowy, black and metallic jacquard splashed with a generously proportioned floral pattern.
“In a way it’s kind of a French, flirty way of dressing — but it’s still what I like,” said Huelle.
He turned his focus on transparency, using an ultralight black mesh, often with polkadots, layering it over short, puffy sleeves, making them larger, or longer, and in one case, adding a chic touch to a light blue cotton shirtdress. Other times the layering felt a bit haphazard — those polka-dotted legs shooting out from under a thick trenchcoat were surprising in a slightly jarring sense —  likely his intention. 
Known for his obsession with bombers and jean jackets — which he

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Alexandre Vauthier RTW Spring 2020

For someone from the field of haute couture, Vauthier is surprisingly democratic, finding ways to literally get the look for less. “While we’re developing fabrics and embellishments for couture, we’re already considering how to spin them off into ready-to-wear, to get the same aspect,” he said during an appointment.
The fall couture’s subject, namely the imagery and crafts that made him go into design, worked overtime in this collection, giving the couturier ample opportunity to play with Parisian tropes. June’s silk faille became prints on silks and jerseys; dresses made of acres of silk mousseline were recast in charmeuse to create volumes and reduce yardage; silk linings get blended with cotton, and hand-crafted flowers created by feather specialists Maison Lemarié return as machine-made fabric blooms. “We ask our suppliers to develop a version with price targets that match rtw targets,” he explained.
So the gold-buttoned blazers loved by French First Lady Brigitte Macron felt familiar, as did brushstroke prints cut into dresses and blouses. His less obviously sexy but intensely handsome feminine suits were made available in more variations, while a statement trench returned as a breezy, lightweight staple. Footwear was available in a range of heel heights and treatments so vast

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Isabel Marant RTW Spring 2020

It felt like Isabel Marant wanted to stretch the summer just one more evening as guests waiting for her show in the Palais Royal gardens were treated to music and mojitos.
“I was listening to baile funk, contemporary electronic Brazilian music, and it gave me ideas of Brazil, of beaches. Colors, sexiness. Craft and architects that I love like Oscar Niemeyer and Roberto Burle Marx,” she said backstage. The season certainly read like a day in that setting, going from the pinks and oranges of a sunrise, to the sun-bleached and vivid hues of midday, right through to nighttime’s somber shades.
Warm weather certainly lends itself to the French designer’s particular brand of skin-baring yet always classy sexiness. There were plenty of things to call out in her lineup such as abbreviated denim cutoffs, mini dresses and short skirts galore but also crochet knits and flowy fabrics made to skim toned physiques. Marant men — who now have their first stand-alone boutique — will have their pick of flower print shirts, peasant blouses and matching denim.
Whatever far-flung destination flavors the season, Marant’s work can almost be viewed as a continuum that never strays far from her forte: the free-spirited bohemian French girl.

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Lemaire RTW Spring 2020

“A summer rain,” Christophe Lemaire said after a show that stayed thankfully dry in the open courtyard of the École Duperré, despite worrisome black clouds and a distribution of umbrellas.
“We liked this idea of having fabrics with a wet effect,” added partner Sarah-Linh Tran. “We wanted to work around quite defined silhouettes and wet blacks.” This translated into an opening group of dark silhouettes, the kind of elongated looks Lemaire is known for, cut from chintz, coated cottons in various weights and occasional details in glossy wooden pearls — similar to those on orthopedic seat covers used by Parisian taxi drivers.
The duo did away with any embellishment, hewing close to the body by taking cues from the sparse elegance of judo outfits. Those informed the curved legs and padded detailing, notably self-tie belts that cinched jackets and coats, continuing down around the ankle on sandals with puffy straps.
The monochromatic silhouettes looked dipped in single color baths, moving onto a palette of almost neutrals of off-white, blush pinks, caramels and chocolate with the odd sage green — all tones that flatter the skin. “We like clothes to be a kind of new nudity,” Tran said. “This is a kind of makeup

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Saint Laurent RTW Spring 2020

The new YSL female power suit is shorts. That according to creative director Anthony Vaccarello, who put the spotlight — literally — on what’s emerging as one of spring’s biggest trends, the shorts suit.
While it’s tough to imagine U.S. House Speaker Nancy Pelosi ditching her royal blue skirt suit for a shorts suit to announce formal impeachment hearings against President Donald Trump, you never know — things are heating up in Washington.
Meanwhile in Paris, the rain is proving to be quite the runway set piece, from the dystopian mist at Marine Serre, to the downpour at Saint Laurent that let up just in time for the spotlights to turn skyward, all 394 of them, for another one of Vaccarello’s light spectaculars to rival the Eiffel Tower’s twinkling behind it. (He really takes the whole City of Light thing seriously.)
On the runway, it all started with the legs. The spotlights’ skinny beams of light following models’ strides in knee-grazing boots made for the ultimate power moves. Opening looks were long, short and shorter shorts — HotPants short in some cases — in blue denim or black, worn with a ruffled navy blue shirt left unbuttoned to the navel; a banker’s gold

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Telfar RTW Spring 2020

There’s a new American in Paris.
New York designer Telfar Clemens kicked off Paris Fashion Week with a multimedia happening that was, appropriately enough, a musing on migration. Not one to do a straight runway show, he presented his coed collection at La Cigale concert hall with a film, a live sonic score by Afro-Parisian DJ Crystallmess, a musical performance by Lancey Foux, and the surprise reveal of a Converse collab (including uber-cool sneaker sandals for men and women) that should help catapult the brand to an even wider audience.
Projected behind models wearing the same outfits that were shown on-screen, the film “The World Isn’t Everything” was the work of Clemens’ buzzy group of creative collaborators, including “Slave Play” playwright Jeremy O. Harris, artists Petra Collins and Juliana Huxtable. Speaking to the idea of migration, borders and belonging, the work featured black men floating on rafts just out of reach of the New York skyline, and “Moonlight” actor Ashton Sanders being interrogated at an airport security checkpoint, among other scenes, all with characters wearing Telfar logo jewelry, T-shirts and bags.
On the runway, the collection set out to rewrite the narrative of American sportswear. Techniques of deconstruction, reconstruction and patchwork were used

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Philosophy di Lorenzo Serafini RTW Spring 2020

Monte Carlo, late Seventies. Caroline and Stephanie Grimaldi are two beautiful, rich, sometimes scandalous princesses living their best life surfing the international jet set.
These two icons, very different in their style and attitude, were the muses who inspired Lorenzo Serafini’s spring collection. Their looks and their images — Caroline more feminine and polished, Stephanie more tomboy and audacious — were reflected in the duality that Serafini injected into the lineup.
Bold volumes stole the spotlight. Big shoulders gave an Eighties vibe to denim and striped bouclé jackets cinched at the waist with jeweled belts. In keeping with the glamorous vibe, denim was also used to create tweed ruffled corsets layered over white T-shirts, while prom-inspired dresses with puffy details came in florals, as well as solids, such as vibrant red.
The mood got more grown-up when Serafini played with tailoring, sending out a white tuxedo with a big jacket with boxy, strong shoulders and another more fluid style fully embroidered with iridescent sequins. The young and innocent attitude of frilled mini frocks contrasted with the more nocturnal, sharp look of black leather outfits, punctuated by crystals, which were inspired by a picture of Caroline shot by Helmut Newton.
The collection, which also unveiled

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Piazza Sempione RTW Spring 2020

Stefano Citron and Federico Piaggi celebrated the joyful, lively spirit of summer with their latest collection, displayed at the brand’s showroom, with its frescoes on the ceiling,
Taking inspiration from Michelangelo Antonioni’s 1960 movie “The Adventure,” filmed on Sicily’s Aeolian Islands, the designers showed uncomplicated, flared cotton dresses and full skirts matched with shirts, all worked in pure white or splashed with abstract prints resembling watery ink stains.
A mannish vibe was felt in suits, with jackets replaced by belted vests and classic sartorial fabrics switched with lightweight shirting textiles.
Discreet elegance prevailed in tunics layered over coordinated culottes, as well as in black and white tops with graphic necklines and built-in belts.

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Versace RTW Spring 2020

Talk about a J.Lo jaw-drop.
The diva herself closed out the Versace show Friday night, reprising what may have been the first viral fashion moment in history with an IRL runway walk for the ages.
It was the second time in the spotlight for the jungle print gown, which became an instant icon when Jennifer Lopez wore it to the Grammy Awards in 2000. Not only was the plunge-front dress depth-defying (How did it stay on then — or now —on the age-defying actress?), it changed history, when news traveled from Hollywood red carpet to Internet superhighway.
“I’m kind of proud to have inspired Google,” said Donatella Versace with her trademark humility during a pre-show preview.
Google was still in its infancy, just two years old, when fans burned up cords and cables searching for “Jennifer Lopez’s green dress.” When their queries weren’t turning up what they really wanted — a picture! — the tech giant realized it needed a new visual search engine, and developed Google Image. “For the first time, fashion inspired technology,” said the designer, noting it was also a validating moment for her personally, when she realized the dress had stopped the world. (She took the design helm at Versace

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Bottega Veneta RTW Spring 2020

Few designer arrivals are instantly momentous. Bottega Veneta’s Daniel Lee is finding that out.
Lee’s appointment at Bottega came with high expectations buoyed by his Phoebe-centric résumé; he was a longtime assistant to Phoebe Philo, now on industry hiatus (because no one wants to think she’s exited fashion for good). Insider-celebrated, he was also green in the ways of fronting a major brand, and in connecting to women on the emotional level that made Philo more cult goddess that mere fashion star.
Would Lee command a slice of the Phoebe-loving population longing for courtship? After his second runway on Thursday, the answer remains a giant question mark. One point is very clear: Lee has a long way to go, both in clarifying his vision and refining his skills. After the show, Lee said this collection was about “solidifying icons…the things we’ve become known for.”
But what are the Bottega icons? There’s a very specific, very famous handbag treatment that Lee has translated to clothes and shoes. And he listed, “the pouch bag, the kind of ease, reality of dressing.” But are those identifiable codes? In fact, does Bottega really have a ready-to-wear iconography? If yes, what is it, and how does he advance

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Armani sees airy, light spring for Emporio line at Milan show

Giorgio Armani goes for a light breezy silhouette for his Emporio Armani line at Milan Fashion Week. Rough cut (no reporter narration)


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Jil Sander RTW Spring 2020

Balance is a goal that most everyone aspires to reach in life. Probably one of the most difficult to attain, considering the chaotic lifestyle of today. But a fashion show, if considered as a representation of tiny fragments of life, gives us that peaceful feel that, for a handful of minutes, everything is in its own place and the balance is found. This happened on Wednesday night at Milan’s Brera Academy where Jil Sander unveiled a beautiful collection, which seemed to center on the concept of balance.
Creative directors Lucie and Luke Meier succeeded in finding harmony among contrasting forces, giving shape to a lineup, which felt personal, distinctive, inventive.
The minimal rigor of sartorial suits, injected with an almost severe, mannish attitude, was counterbalanced by the liquid fluidity of draped dresses with high-neck collars and long sleeves. The conceptual vibe of most intricate constructions and deconstructions, as well as the paper-like feel of textured, more rigid fabrics, were juxtaposed to the desirable, essential approachability of a pleated tunic top with a crisscross detail on the back layered over a matching skirt in a different white tone and the liquid fluidity of a black and blue silk V-neck frock.
Patchwork in a chic

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Wright Le Chapelain RTW Spring 2020

In a small alleyway not far from the newly opened Standard hotel near King’s Cross station, Wright Le Chapelain debuted its first on-calendar collection in a refreshing way. Models were doing community work, planting plants and cleaning garbage off the street, instead of standing still against the wall.
Imogen Wright and Vincent Le Chapelain, the duo behind of brand, said this was their way of participating in the circular economy. Showing in a public venue that engages with residents and commuters not only generates zero waste but gives back to society.
The collection worn by these “social workers” is all made in London in collaboration with local tailors and seamstresses. Their thoughtful play on men’s wardrobe classics included a men’s dress shirt reinterpreted as a bias-cut wrap dress, while a check jacket was deconstructed into a panel skirt. 
The two met while studying MA Fashion at Central Saint Martins, and decided to launch a brand together in 2017. It’s still early days, but as more young brands go back to tailoring and aim to dress members of the business world, Wright Le Chapelain might soon start a style evolution with the likes of Eftychia and Peter Do.

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Richard Quinn RTW Spring 2020

Lines snaked around the street outside East London’s York Hall, where the spring 2020 Richard Quinn show was set to take place, with guests waiting more than 40 minutes post the scheduled start time to be let in.
“It better be worth it” was the general consensus.
It most definitely was.
The feeling of fantasy and the grandiose were apparent from the moment you set foot in the old sport’s hall, transformed with a big crystal chandelier, blush pink carpet and arrays of flowers, next to which the Philharmonia orchestra was set up to play live.
Richard Quinn’s intention for this event was straight-forward: to put on a real show and encourage his guests to dream during these challenging times. There was no specific muse or philosophical thought process, just fashion for the sake of fashion, in its purest, most artistic form.
He telegraphed his message by dialing up the volume and the glamour, in an even bolder way than previous seasons. He super-sized the bow embellishments or the sleeves on his much-loved puff-sleeve minis; added extra layers of tulle under bold leopard print balloon dresses for an added dose of drama; mixed florals with feathers and piled up the crystals on the trims of

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Duro Olowu RTW Spring 2020

In the midst of back-to-back shows, London-based Duro Olowu offered a select few showgoers and friends of his brand, including artists, historians and curators, the opportunity to have a break and view a collection at a very different type of pace.
Taking over a Mayfair town house that resembled a giant cabinet of curiosities, Olowu sat in the living room alongside his guests talking through each garment, as two models took turns showcasing the looks in his spring 2020 collection.
Françoise Gilot — an artist, the former wife of Picasso and “the only one who managed to leave him” — was Olowu’s main point of reference, for the effortless way she carried herself.
He married references to Gilot’s elegant style with the energy of Eighties’ dance-hall music to create a more current look of his own that was luxurious and laid-back.
“I think that if I found myself in Kingston in the Eighties with Françoise Gilot, we’d have a great time,” said Olowu. “She’d make elaborate clothes seem practical and that’s what we tried to achieve here.”
He worked some of the colors and patterns of Gilot’s sketches, drawn during trips to Venice, India and Senegal — into patchwork coats that juxtaposed painterly and non-painterly

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Eftychia RTW Spring 2020

It’s only been a year-and-a-half since Greek designer Eftychia Karamolegkou launched her brand, yet she already has managed to impress well-known tastemakers. Phoebe Philo snatched multiple looks from the brand within days after the merchandise hit the store. Gaia Repossi also places personal orders with her. With her approval, Eftychia seems to be a new guiding star for the Philophile, the nickname for those who are loyal to Philo’s vision at Celine.
Karamolegkou said she pretty much got tailoring figured out by herself one project after another through her bachelor and master of arts courses at Central Saint Martins. Her collection for spring 2020 is her take on Leonardo da Vinci’s “The Last Supper.” Instead of 12 men and one woman, however, there were 12 women and one man at the presentation. “The guy is Judas,” said the designer.
As a businesswear brand, Eftychia offers fine tailoring pieces and outerwear as well as blouses and skirts for a woman in power at a reasonable price point compared to, say, The Row or Bottega Veneta. It’s refreshing to see a brand that actually makes well-designed and wearable clothing coming from London once in a while.

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16Arlington RTW Spring 2020

The British fashion industry might be pondering big issues this season, including the mammoth 870-million-pound potential cost of Brexit, but the 16Arlington design duo Marco Capaldo and Kikka Cavenati offered a much-needed antidote to the gloom with a presentation-cum-dance-party that began London Fashion Week on a high note.
Drawing on their Italian roots, Capaldo and Cavenati looked to one of their all-time favorite muses, pop singer Raffaella Carrà. Channeling her high-octane glamour, they transformed a dark, central London basement into a joyful scene that was reminiscent of Italy in the Sixties: Models sporting sharp bobs and playful head scarves danced their way through the show like no one was watching.
The clothes telegraphed the same message of pure fun, with beaded jumpsuits, feather gowns galore, as well as lamé suits and cocooned minidresses featuring a Sixties-inspired swirl print.
“It was a nice time to bring our heritage in. Raffaella Carrà is the Italian gift that just keeps on giving; she is this exuberant, insanely talented performer, singer, dancer and we just wanted to inject that in our clothes,” said Capaldo. “Her music is all about feel-good and that’s aligned with 16Arlington, we want to be that beam of light in these dark times.”
The

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A.L.C. RTW Spring 2020

“For me, the story is these beautiful acid pastels, a new modern femininity and reinventing favorite classics from safari to a shirtdress,” Andrea Lieberman said of her upbeat spring line rooted in reality.
Upon first glance, the collection appeared colorful and charming, easy and romantic, inclusive of wardrobe enhancers in clean and modern silhouettes. She built up puff sleeves and other sleeve treatments on sweet tops and dresses meant to empower. “There’s something about having some volume in the sleeve. It’s about redefining proportions,” she added. A leather ruched top and flirty skirt set was a great example of how she brought a modern edge to feminine shapes.
Leaning on a thread of playfulness, acidic pastel colors topped tailoring and essential knit tops, while the print of the season was a hand-painted abstract butterfly rendered in two colorways. She riffed on men’s wear stripes in offbeat ways, and injected ease into a safari dress and skirt with soft flounces. Knits, too, were lightweight and fun, and included a beautiful pink pointelle dress and cream crochet set. “For me it’s about taking fabrics that we love, and putting more textural detail onto it. We’re definitely looking for that versatile, effortless moment for our

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Marc Jacobs RTW Spring 2020

In his show notes and during a preview on Wednesday night, Marc Jacobs acknowledged the Sept. 11 anniversary. For anyone who worked in this industry 18 years ago in a show-related capacity, the two are inextricably linked. “Where were you when you heard the news?” The answer is at or en route to a show; working at a show; casting a show, doing something show. (I was traveling down Fifth Avenue to Bryant Park in a taxi and saw the Towers in flames in front of me.) Jacobs heard the news in a phone call from a reporter — myself. He’d slept in since the night before, he’d thrown a huge postshow party on Pier 54 with views of the Towers. In the moment, carefree reverie. In the aftermath — bacchanal before carnage — a stark reminder of how quickly life can change, and of how little control we have of our destinies.
Heavy material in the lead-up to a fashion show (or in a piece about a fashion show), but given the timing of Jacobs’ show and party 18 years ago, it would have been odd for him not to reminisce. He lost a friend in the attacks, David Rivers.

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Monse RTW Spring 2020

Fernando Garcia and Laura Kim went bucolic for spring.
Their inspiration — a farmer’s market — brought a lively sense of serenity into their lineup, which in keeping with the brand’s signature aesthetic played with deconstructions and twisted cuts.
Charming botanical patterns were splashed on the panels of jeans and chinos; printed on silk shirts, and mixed and matched with striped fabrics with a rustic feel for asymmetric dresses.
Perfectly combining a dose of edgy design with a sense of comfort and effortless coolness, the collection also featured gardener-apron-inspired skirts and cutout sweatshirts featuring prints developed in collaboration with Renee’s Garden, a supplier of heirloom and certified organic seeds, international hybrids and open-pollinated varieties.
Tailoring got a fresh makeover with applied utility pockets and intentionally unfinished elements, while jersey evening dresses looked equally chic and comfortable.
Injected with an intriguing sense of escapism, the Monse collection will bring the joy of the countryside to the hippest streets of the world next spring.

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Lela Rose RTW Spring 2020

“Do you like our ‘yellow brick rose?!’” Lela Rose excitedly giggled just before her spring show. The designer was referring to the runway of yellow rose petals, surrounded by white tablecloth-clad little round tables topped with various baked goods. “Café Lela,” as she called it, was set against the backdrop of New York’s cityscape and waterfront on Pier 64. 
The New York City skyline — or rather vintage postcards of the island — served as Rose’s jumping-off point for the collection. The show opened with literal takes — the cityscape printed on a pleated cotton cape-back dress or Central Park splashed across a belted cotton pale-pink number — and ended more abstract, with a layered pale pink over gold tulle gown that emulated the golden hour of sunset. 
Roses came big and small, embroidered or printed onto signature flirty cotton voile — the designer’s favorite fabric of the season — on dresses and sets with overcoats. A lightweight tiered dress with tricolored blooms and curled ruffles made for a strong look. Outside of florals, a navy and white crochet-knit dress with carwash hem felt fresh, while a blue point d’espirit blouson gown conveyed effortless romance and the “celebration of the city in

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Jason Wu Collection RTW Spring 2020

“It’s about beauty. I have never been edgy and cool. I don’t know how to do it. I want to do my best version of beauty,” said Jason Wu backstage at his spring show, held at Pier 17 in a postindustrial venue with large windows offering a spectacular view of the Brooklyn Bridge.
Is there anything wrong with wanting to create beautiful clothes? Not at all. Especially when a designer like Wu succeeds in interpreting what is classic, sophisticated and feminine with a fresh, lively touch. 
This season, Wu wanted to give a different twist to the idea of beauty he normally conveys with his clothes, which usually have a polished, “perfect” look. So he played with hand-washed fabrics, textures, sun-bleached effects, raw cut edges and intentionally unfinished details to give his elegant creations a lived-in, poetic and intriguing vibe.
The mood of slightly decadent romanticism was inspired by the images of fragile, dried flowers of Wu’s friend, photographer Maxime Poiblanc. 
His nocturnal-looking flowers were printed on a washed-silk pencil skirt worn with a coordinated bralette and a lightweight trenchcoat, as well as with an exquisitely draped dress punctuated by tiny crystal embroideries.
Leather was also treated to obtain an imperfect, wrinkled

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Adeam RTW Spring 2020

Hanako Maeda’s designs often have a personal connotation, and when conceptualizing her spring outing, she choose the place in Japan her parents are from — Yokohama — a seaside city and one of the first places in the country to open to the west, as inspiration. “It’s similar to Cape Cod in the U.S.,” she said of Yokohama. It’s a place where she spent a lot of time as a child, and judging from her collection, a place that clearly left an imprint on her.
Maeda is a conceptual designer who takes a theme and meditates on it, ushering in new silhouettes and ideas, all variations on her laser-focused ideas. For spring, she expanded on the idea of nautical through her signature East meets West lens.
Several times throughout the show, a piece was shown more than once — for example, a navy chunky knit with a white stripe on the sleeve and flap collar that had a detachable shoulder detail. Once it was shown with the sleeves buttoned up, and then later on in a sandy colorway with the sleeves unbuttoned, forming a new shape. The variations permutated the silhouette, giving her customer a convertibility, another theme she often riffs on.
Japanese

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Tomo Koizumi RTW Spring 2020

What gift can a creative mind give to the world? Answers may be many and very relative. In the case of Tomo Koizumi, his biggest gift to the world is his very unique, extravagant, flamboyant vision, which he brought to the stage for the second time at New York Fashion Week with a performance at the Marc Jacobs store on Madison Avenue.
“The gift from me to the world,” is how the Japanese designer explained the concept behind his presentation, which once again was supported by a stellar team, including Katie Grand, Pat McGrath, Guido Palau and Marc Jacobs, who offered the location. “I had a really big gift by having all these great people involved in my show last season and I wanted to give something back.”
In the basement of the store, a mysterious creature, a sort of glamorous gnome with cone hair and wonderful sparkling makeup, interpreted by transgender model Ariel Nicholson, captured the attention of guests with a dramatic silent play that touched on themes of transformation, love, death, happiness, humor, fatigue, obsession and fear. This catalogue of human emotions, expressed with gestures and poses, was enhanced by the seven giant frilled designs, including gowns, a short frock

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Street Style at New York Fashion Week Spring 2020

At New York Fashion Week, the street style can be just as intriguing as the looks on the runway.
Cooler September temperatures have made the street style set forgo their traditional summer wear for more layers, including printed suits and matching sets worn in both neutrals and colorful prints. The monochromatic look is also proving to be a favorite, with showgoers gravitating toward greens, purples and pinks.
Read More: What to Expect at New York Fashion Week Spring 2020

They Are Wearing: Fashion Week Street Style Spring 2020. 
Andrew Morales/WWD

Some have already begun tapping into Pantone’s spring 2020 color palette, with a few sporting the forecaster’s top ranking hue: Flame Scarlet.

They Are Wearing: Fashion Week Street Style Spring 2020. 
Andrew Morales/WWD

Others are putting more emphasis on their accessories, like one attendee who complemented her look with Christian Louboutin Measuring Tape Sandals and another who wore Gucci’s New York Yankees baseball cap.

They Are Wearing: Fashion Week Street Style Spring 2020. 
Andrew Morales/WWD

Click through the above gallery to see more New York Fashion Week spring 2020 street style photos, updated each day.  
Read more on NYFW here:
The Biggest Fall 2019 Fashion Street Style Trends 
Celebrities at New York Fashion Week
Vanity Fair’s Best Dressed List Party at NYFW
WATCH: How to

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Vfiles RTW Spring 2020

Once again fashion and music collided at the energetic Vfiles collective show, which took place on Thursday night at Brooklyn’s Barclays Center.
Performances by Rico Nasty, Erika Jayne and Brooke Candy, as well as YG, animated the event, which was organized in collaboration with London-based marketplace app Depop and which highlighted the talent of the four emerging designers selected from among an international group who submitted their applications this past summer.
The sculptures of artist Anna Uddenberg featuring women who either collapse on their suitcases or writhe out of them served as the starting point for Chinese designer Di Du, who recently graduated from the Royal College of Fine Arts Antwerp. A combination of dreamy, whimsical colors such as lilac and pink mixed with deconstructed lines and silhouettes sat at the core of her collection, which felt like the wardrobe of a space anime’s heroine. Standout pieces included teddy bear cowboy pants matched with an armor-like cutout top, a padded off-the-shoulder bodysuit with exaggerated sleeves, as well as a Seventies net mini frock featuring the halter neck made of a plastic bag handle.
Wesley Harriott’s designer Ricky Harriott, who is based in London, wanted to portray an empowered femininity with his well-executed lineup.

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Red Valentino RTW Spring 2020

Pierpaolo Piccioli captured the most immediate and lively spirit of a never-ending summer with his charming collection for the Red Valentino brand.
Delicacy and femininity joined a chic metropolitan appeal in the fresh eyelet pieces, spanning from miniskirts worn with cropped matching blouses to generously cut parkas paired with lace bottoms. Mainly worked in black and white, the chic cotton style also welcomed bright accents, including the vivid red of a pretty halter neck dress enriched by floral white embroideries.
An exotic note was introduced via the vibrant prints of tropical flowers and birds splashed on flowing frocks and pajama sets, while butterfly-shaped patchwork details added a cute touch to denim designs, such as a slipdress and a jumpsuit revealing an exposed back and ruffled embellishments at the shoulders.
The brand’s signature craftsmanship stood out on cotton crochet skirts and bikinis, exuding a free-spirited, boho-chic vibe.
Versatile at heart, the lineup offered plenty of options for the Red Valentino girls, who next summer will also have the chance to shine bright at pool parties thanks to the allover sequined frocks — their hyper-feminine appeal exalted by romantic bow ties.

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Willy Chavarria Men’s Spring 2020

Sex, love, glamour and immigration.
All these hot topics, mixed with masculine queer culture, set the tone for Willy Chavarria’s runway return to New York — and boy, was he missed.
Known for his Chicano heritage vibes, Chavarria’s former stint in the Nineties, the creation of “The Love Garage,” a club in San Fransisco that embraced rave culture and gritty house music, served as one of the key components of his take on what minimalism can mean.
In this case, the usually big, oversize silhouette that has defined Chavarria took a sophisticated turn that still managed to maintain a tough edge.

The first portion of the show showcased standouts such as a black washed satin robe with matching shorts, along with an array of flared and high-waisted denim numbers, often paired with souvenir jackets or matching oversize boxy shirts. Quilted leather handbags, an item typically associated with high luxury, adorned most of the models, along with black and gold chains used as necklaces, belts and handbags, which provided a refined touch.
Part two featured a collaboration with athletic brand K-Swiss: a Nineties California Chicano tennis prep collection — oversize pastels in blue and pink with a bit of neon that enhanced sweatshirts, baggy shorts and

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Beaufille RTW Spring 2020

Chloé and Parris Gordon drew on their recent, first visit to Japan for inspiration, and delivered a clean, modern lineup with a healthy amount of artistry. They used a bright orange, ultra-thin yet super-strong fabric to craft a series of romantic blouses and dresses — unfussy cuts with carefully dosed ruffled accents, or puffy sleeves. Also uplifting: a paper-thin waxed cotton made into a bright, orange rain dress. Who needs a traditional raincoat?
The pair likes to take their clients from day to evening. With this in mind, they crafted a transformable, button-up blouse with an extra flap to wrap around the neck like a handkerchief; similarly transformable, a tan suit jacket, with straps to cinch around the waist or leave open, with a different effect. Trained at a design school in Nova Scotia that teaches all stages of the garment-making process — down to weaving materials to make fabric — the designers seek to make sturdy, well-made pieces that exude effortless chic. In a nod to their artistic mother, who encouraged their creativity growing up — they recalled she would unfurl rolls of brown paper for them to decorate — they used one of her paintings as a pattern for

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Zoë Jordan RTW Spring 2020

Zoë Jordan worked a lively, Ibiza-flavored lineup of sporty knitwear apt for the festival circuit — or the beach. Keeping things easy, her signature cashmere tracksuits came in chic ivory tones or bright, tie-dyed numbers, reflecting her lifestyle change from the city in London to that Mediterranean outcrop where the jet-set crowd lets loose. Long, mesh tops with low, drawstring waists came in lizard green or melon yellow, new accents in a universe dominated by pinks and oranges; an Eighties-flavored layer to toss over a swimsuit. Slightly distressed touches and cutout holes added a touch of shabby chicness of the techno-festival sort, including the frayed bottom of a tie-died skirt and holes in the arms of a bright pink sweater that was dip-dyed — a new technique for the label. Also new, a crocheted dress, cut like an extra-long tank top, all stripes. The sportier looks were also striped, including halter tops and shorts, anchoring the profusion of papaya-pink.

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Isabel Marant Étoile RTW Spring 2020

For the spring collection of Isabel Marant’s Étoile line, the designer worked her trademark volumes into a fashionable lineup that melded seduction with comfort. Amped-up shoulders added heft — on a feminine, embroidered peasant blouse or gray acid washed jean jackets and vests. There were a lot of one-piece looks, including a vest-shorts combo in a faded tie-dye print, a long trouser jumpsuit in a western-inspired floral pattern and a dark boiler suit, cinched at the ankle, with ample volumes on the shoulders and arms. Fluidity came in the form of airy blouses and flower-printed dresses in silk chiffon while structured numbers included a double-breasted flannel suit and quilted jackets. In the footwear department, choices included ivory cowboy boots or studded white wide-leg heels.

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Jacquemus Spring 2020

The roving cruise and men’s shows this season have taken the fashion pack to destinations as far-flung as Marrakech, Malibu and Shanghai. And so it was that a day after the close of Paris Fashion Week Men’s, a clutch of editors found themselves sitting in a lavender field somewhere in the South of France.
Guests including Emily Ratajkowksi, Jeanne Damas and Bruna Marquezine gathered near the small town of Valensole in Provence to help Simon Porte Jacquemus celebrate the 10th anniversary of his label with his first joint women’s and men’s show.
An hour’s drive north of Aix-en-Provence, they arrived in rolling lavender fields where a pink felt ribbon of a runway unfurled as far as the eye could see, against the stunning backdrop of the Alpilles mountain chain.
“I wanted a place that looked like a postcard — almost too much like a postcard, even. It was important to me to turn that cliché into something artistic, with that pink line running through the middle like a contemporary art installation by Christo, or a painting by David Hockney,” the designer told WWD.
The invitation came in the form of a small bottle of SPF 50 sunscreen printed with the words “Le Coup de

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Celine Men’s Spring 2020

“I have nostalgia for things I probably have never known.” The slogan embroidered on one of the big straw totes on the Celine runway could well summarize Hedi Slimane’s design ethos, though he would probably dispute that.
Suffice it to say that his childhood heroes — David Bowie, Serge Gainsbourg and The Clash, to name a few — are largely to credit for his trademark androgynous, elongated silhouettes. And with the designer working a Seventies groove, those influences loomed large over his spring men’s collection.
The sentence in question was actually borrowed from a painting by David Kramer, one of five artists who collaborated with Slimane this season, alongside Zach Bruder, André Butzer, Darby Milbrath and Carlos Valencia. “My own worst enemy,” read another — though we’ll resist the temptation to analyze that.
Paired with a pinstripe jacket, denim shirt and flares, aviator shades and white shoes, the straw bag had a distinctly Gainsbourgian panache. Those high-waisted faded jeans were worn with everything from a shrunken leather bomber jacket to a seersucker tuxedo coat — picture the Rolling Stones recording “Exile on Main Street” in the south of France.
Items like dungarees, straw boater hats and a gold lamé jacket brought to mind another

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Myar Men’s Spring 2020

Myar is showing its colors for spring. Andrea Rosso’s army uniform upcycling label this season matched military-sourced camouflage with multi-hued patterns from deadstock Hawaiian shirts, calling the collection Re_­Aloha. “We love to mix together two worlds that don’t belong together in a very harmonic way,” he explained.
The combinations’ visual effects are striking and fun. Pieces of a Hawaiian shirt, cut into camouflage shapes, were superimposed onto some uniforms. A green military fatigue pocket popped up on a similarly hued shirt emblazoned with palm trees. Blue military trousers took on a playful quality with piping made of shirting material.
On a number of garments, silhouettes of palm trees had been hand-stamped. “Every time it comes out differently,” Rosso said.
As in past seasons, Myar clothing comes with pouches containing excess fabric from its making-of. But this time, each also has a QR code through which it’s possible for people to learn about the provenance of the items and how they’ve been customized.
In another first, Myar created a dress, made of two military shirts put together. “Our biggest clients actually are females,” explained Rosso. “We have a unisex approach to the collection, even though these items are 100 percent made for men.”
The brand’s collaboration with

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Spring Texas Bride – Katie Lane

Katie Lane - Spring Texas Bride  artwork

Spring Texas Bride

Katie Lane

Genre: Contemporary

Publish Date: April 12, 2018

Publisher: Katie Lane

Seller: Draft2Digital, LLC


Spring showers make love flower… When Spring Hadley breezes into Bliss, Texas, Waylon Kendall knows she’s trouble with a capital T. And trouble is the last thing he needs when he’s working hard to fill his daddy’s boots as the new sheriff. He doesn’t have time for frivolous fun with a sassy woman who can’t take no for an answer. But when Spring finagles her way into a position as his new assistant, Waylon realizes there’s much more to her than meets the eye. She brightens his mundane life with her sunny smile and kind heart, and he suddenly wants springtime each and every day. Spring Hadley isn’t trouble. She’s a free spirit who sometimes forgets important things—like locking up the clothing store she owns with her sisters. When her sisters get mad and call her an irresponsible ditz, she decides to go on a camping adventure to prove that she can make it just fine without her family. Unfortunately, her Jeep breaks down, and Spring ends up stranded in Bliss with no money. A temp job is what she needs, and she’s determined to get it—even if it means tangling with the new sheriff. A sheriff who is hotter than a jalapeno pepper with kisses just as spicy. But when her criminal father blows into town, trouble begins, accusations fly, and the truth comes out. Can a straight-laced lawman and a free-spirited woman make it to the church on time? Or will a secret tear through their spring romance like a Texas tornado?

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Jil Sander Men’s Spring 2020

The heat of the desert and the cobbled streets of Mediterranean and Middle Eastern towns hung over this spare, elegant collection, which had a subtle, exotic flavor.
Lucie and Luke Meier’s shapes ranged from the boxy to the languid, with the color, pattern and texture doing most of the talking.
An elongated, marine blue shirtdress; a spare, branch-like design on the back of a long, sweeping coat, and the fringes or tassels on a sweater were among the standouts.
Luke said fluid tailoring remains the way forward for the brand, which has long been synonymous with pared-back shapes and fine details. Lucie added that the collection’s value lies in its subtlety, its “poetry and detail,” and its lightweight fabrics.
The couple have been turning their hands and minds to sustainability, too, working materials such as organic banana fiber into pieces such as the black-and-white trenchcoat that appeared in the show. Lucie said the fiber is a dream because it behaves like gazar, but it’s lighter and offers structure without the stiffness.
All of that fabric research meant that even the simplest of pieces sang — the boxy khaki workwear suits, the navy overcoats and those oversized, billowy white cotton shirts, fit for long strolls under

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N. Hoolywood Men’s Spring 2018

N. Hoolywood is growing up — that is, at least for one season. In an apparent 180-degree turn from fall’s homeless youth reference, where designer Daisuke Obana amped up a more-is-more style philosophy, the latest offering boasted a tone of quiet sophistication with a classic American undercurrent.
Obana, a Japanese native, was in the U.S. during last year’s contentious presidential election, which turned his mind to a journey through American history. He looked to John F. Kennedy, whose suave, debonair appearance has become a symbol of a happier, simpler America.
Preppy varsity references — from the bomber jackets and elongated cardigans to university lettering — were indicative of the Fifties.
Elsewhere, military references drew from JFK’s military career while a Marilyn Monroe print was a playful jab at his personal peccadillos. The overall tone was younger, balancing a collegiate spirit with clean, soft tailored silhouettes. “I wanted to put out something very simple, sleek, traditional and refined,” Obana said backstage.
Notable was the designer’s modern interpretation of traditional style. Loosening up classic suits with generous proportions was not only younger (and a big trend on the European runways), but gave way to greater layering potential and a notion of trans-seasonal dressing. Comfortable, professional, elevated —

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Todd Snyder Men’s Spring 2018

Todd Snyder offered a “melting pot of fashion” in his spring collection, drawing references from around the world — Morocco, France and his own Iowa backyard.
“It’s a mish-mash of different looks,” he said backstage before his show for New York Fashion Week: Men’s on Monday night. “Active, military, sartorial.” Even his father’s propensity to wear black socks with shorts — “which always annoyed me, but now I’m doing it, too” — made an appearance.
In a show that featured a musical performance from Lewis Del Mar, those eclectic references were visible in a suit fashioned after an old French burlap coffee-bean bag, Marrakech-inspired multistripes in linen bomber jackets and a Mexican Baja white and olive hoodie.
But the big news came from a radical change in the silhouette. From oversize pleated pants, shorts and Japanese selvage jeans to softly constructed boxy-cut double-breasted suits, “the pants are much baggier,” he said. “And there are pleats everywhere. The proportion has changed a lot.”
The designer also showcased his long-standing collaboration with Champion by “resurrecting a few classics,” such as a sweater with a diagonal color-blocked design and logo T-shirts worn under blazers and top coats.
In past seasons, Snyder has been playing it safe, but with

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Philippines Fashion Meets Tokyo RTW Spring 2016

This season marked the first time that designers from the Philippines presented their collections during Mercedes-Benz Fashion Week Tokyo. While each of the three brands’ offerings varied greatly, common themes were sustainable materials and inspiration from the natural world.
 
It’s rare for an accessory brand to be capable of standing alone in a runway show, but Ken Samudio’s pieces were bold enough to pull focus away from any clothes his models were wearing. The former marine biologist and college professor presented multidimensional statement necklaces, cuffs and clutches made from recycled plastic drink bottles to mimic coral reefs and creatures of the sea.
 
Also inspired by sea life, John Herrera’s collection focused on bioluminescence, the phenomenon that makes some underwater creatures glow in the dark. Black minidresses trimmed in bright orange and green ruffles shared the runway with several all-black pieces, such as a floor-length coat and a series of ponchos. Body-hugging dresses with supersheer panels left very little to the imagination, creating a sexiness that at times felt forced.
 
Renan Pacson showed black and white streetwear with Escher-inspired geometric prints. He used high-tech fabrics such as mesh, jersey and a metallic bronze bonded-plastic material to create lightweight sleeveless tops, hooded coats, pants and

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Natasha Zinko RTW Spring 2016

Saying she was “interested in the idea of power and vulnerability,” Natasha Zinko played a game of contrasts for spring 2016, pitting athletic references against the sensuality of beautiful lingerie.
 
The designer’s corset dresses had whipstitching on the sides, a short coat in the softest red leather resembled a kimono jacket with its obi belt, and a nude satin duster featured red “go-faster” inserts.

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Onitsuka Tiger x Andrea Pompilio RTW Spring 2016

Abstract photo prints, bold stripes and a botanical line drawing covered much of Andrea Pompilio’s collection for Japanese sportswear brand Onitsuka Tiger. While the only colors the designer used were red, white and black, he played with different textiles for an updated, athletic-meets-street look.
 
Pompilio sent out coats and jackets in a raw-edged, feltlike material, while T-shirts and cowl-neck minidresses were done in a high-tech jersey. He also used mesh, attaching it to the hems of tops or at the low necklines and backs of long, sexy jersey dresses with extreme slits up both legs.
 
Accessories were an important part of the offering, with most looks featuring a lanyard holding what looked like a luggage tag. Bags, from backpacks to duffels, were far cooler than your standard gym bag, while still looking very functional. In his finale, Pompilio showed branded surf boards and swimwear that mixed style and function — making it perfect for lounging on the beach as well as swimming laps.

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10 Winning Red Carpet Looks Straight Off the Spring 2016 Runways

giambattista valli

Awards season might be a few months away, but the demand for attention-grabbing red carpet dresses isn’t slowing down in the meantime. Thankfully, the Spring collections provided enough glamorous options to take Hollywood’s A-list through to the Golden Globes in January. As far as trends go, sheer dressing proved to be popular at Alexander McQueen, Carolina Herrera, and Dior, while Chanel, Erdem, and Giambattista Valli all showed modern updates on the floral dress. Riccardo Tisci’s lingerie-inspired collection for Givenchy—a look from which we’ve already spied on Cate Blanchett—is destined to carry many a starlet along the path to Oscar night.

The post 10 Winning Red Carpet Looks Straight Off the Spring 2016 Runways appeared first on Vogue.

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Spring Break Fuck Parties 5

These hot little minxes were getting ready for their Xmas party when the guys finally showed up. These dudes give these tight and tiny teens exactly what they want – dick in a box! The girls never saw it coming – but boy were they happy with their gifts! They sucked, stroked and fucked these holiday cocks with all the Yuletide spirit they could muster and in the end both of these slutty little elves got their mouths and faces covered in spunk! Happy Holidays from all of us!

These sexy babes were hacking away when they’re discovered by their biggest rivals! The guys were ready to fuck some shit up – but instead settled on fucking some pussy instead. There was a nerd orgy going on as two chicks were getting plowed on a table! The guys inserted their hard drives deep into some free slots and made sure the girls never tried hacking again. In the end, their faces were soaked with spunk and these chicks were more than happy to lick it up!

One of our overseas studs met up with these 3 Euro teens in the Czech Republic. Who knew that these Prague girls came stacked with such big asses? While driving they spotted a guy and got him in the van. Right away, Alexis ripped his pants off and went to town on his lovestick with her pigtailed homegirl! This lucky hitchhiker fucked Alexis’ pussy while her friend came in and took over with her mouth until he finally came all over Alexis’ face and her friend’s mouth!

Cassidy and her friends were busy making a special treat for some special dudes on Valentine’s day. They soon discovered they had the same Valentine! As payback, they blindfold him and had him taste test their muffins and cake! They each suck his cock, before Cassidy jumped on the counter looking to get fucked by that fat cock! Her homegirl got in on the action too! In the end, Cassidy and her friends made sure to get all the frosting out of his tube!

Watch the Full Length, High Quality Movie!

These hot little minxes were getting ready for their Xmas party when the guys finally showed up. These dudes give these tight and tiny teens exactly what they want – dick in a box!

Stars: Nezvera Spice Taylor Reed Naomi Heart Moriah Tyler Tayna (ll) Sydney Cole Elena Gilbert Alexis Crystal Ryan McLane Mandy Muse Cassidy Klein Paisley Parker Juan Largo

Categories: High Definition Reality Based Gonzo Orgies Amateur

Scene Number: 2

Orientation: Straight

Studio Name: Team Skeet

Amateur Pay Per View

Spring Break Fuck Parties 5

These hot little minxes were getting ready for their Xmas party when the guys finally showed up. These dudes give these tight and tiny teens exactly what they want – dick in a box! The girls never saw it coming – but boy were they happy with their gifts! They sucked, stroked and fucked these holiday cocks with all the Yuletide spirit they could muster and in the end both of these slutty little elves got their mouths and faces covered in spunk! Happy Holidays from all of us!

These sexy babes were hacking away when they’re discovered by their biggest rivals! The guys were ready to fuck some shit up – but instead settled on fucking some pussy instead. There was a nerd orgy going on as two chicks were getting plowed on a table! The guys inserted their hard drives deep into some free slots and made sure the girls never tried hacking again. In the end, their faces were soaked with spunk and these chicks were more than happy to lick it up!

One of our overseas studs met up with these 3 Euro teens in the Czech Republic. Who knew that these Prague girls came stacked with such big asses? While driving they spotted a guy and got him in the van. Right away, Alexis ripped his pants off and went to town on his lovestick with her pigtailed homegirl! This lucky hitchhiker fucked Alexis’ pussy while her friend came in and took over with her mouth until he finally came all over Alexis’ face and her friend’s mouth!

Cassidy and her friends were busy making a special treat for some special dudes on Valentine’s day. They soon discovered they had the same Valentine! As payback, they blindfold him and had him taste test their muffins and cake! They each suck his cock, before Cassidy jumped on the counter looking to get fucked by that fat cock! Her homegirl got in on the action too! In the end, Cassidy and her friends made sure to get all the frosting out of his tube!

Watch the Full Length, High Quality Movie!

These hot little minxes were getting ready for their Xmas party when the guys finally showed up. These dudes give these tight and tiny teens exactly what they want – dick in a box!

Stars: Nezvera Spice Taylor Reed Naomi Heart Moriah Tyler Tayna (ll) Sydney Cole Elena Gilbert Alexis Crystal Ryan McLane Mandy Muse Cassidy Klein Paisley Parker Juan Largo

Categories: High Definition Reality Based Gonzo Orgies Amateur

Scene Number: 2

Orientation: Straight

Studio Name: Team Skeet

Amateur Pay Per View

Spring for the Holidays

SPRING FOR THE HOLIDAYS: Mobile marketplace Spring is ringing in the holiday season early this year. Today, “Unwrap Spring” will roll out with a gift tab with themes like “Home for the Holidays,” “Gifts Under $ [a certain price point]” and “Treat Yo’Self.”
The app will also unveil a slew of pop-up shops for its second holiday season, ranging from “Gadgets + Gizmos” to “Spring Bundles,” which contain Spring staffs’ favorite things. Custom wrapping paper prints will live all over the app, and be available for purchase.
“When we thought about what the holiday season meant and talked to our customers, it kept coming back to unwrapping gifts and discovering new things that are out of the ordinary,” said Alan Tisch, cofounder and chief executive officer of Spring. In addition to working with Olivia Wilde and Eva Chen on publishing their gift picks, Tisch was adamant about including a wide variety of items, from food and phone accessories retailing for around $ 10 to a $ 14 million diamond.

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Fashion Hong Kong RTW Spring 2016

Sponsored by the Hong Kong Trade Development Council, this group show brought together the collections of five brands in a bid to boost their exposure in Japan.
 
Highlights included Polly Ho’s label Loom Loop, which went on a playful romp with colorful tunics and bird-print leggings accessorized with paper crowns; Lulu Cheung, who showed chic, ladylike looks such as a sleeveless yellow top made from fluttering fabric petals and slim cigarette pants; and Kathy Lam Studio, which offered pretty dresses, including a pleated floral number.
 
Chailie Ho presented frothy and somewhat dated-looking chiffon eveningwear as well as a sequence of items — including a body-hugging dress for her and pants for him — in a Lisa Frank-style unicorn print. On the zanier side, Koyo designer Koyo William applied abstract swirl prints onto a men’s jumpsuit and a sheer dress, with kooky makeshift moon boots rounding out his styling.

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Paris on the Move: The Spring 2016 Collections

The spring collections in Paris wound down with designers transporting us to places both familiar and exotic — from Karl Lagerfeld’s chic ode to air travel at Chanel to Maria Grazia Chiuri and Pierpaolo Piccioli’s exquisite Africa-inspired realm at Valentino.

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Mint Designs RTW Spring 2016

Gardens are hardly an original source of inspiration, but Nao Yagi and Hokuto Katsui managed to make the concept feel fresh and whimsical for spring. The show opened with a series of casual dresses and separates in a cartoonlike floral pattern. This print was first shown in black and white, and then in a silver version that lent a modern, almost Space Age feel to the clothes.
 
Silhouettes were slightly less flowy and oversize than some of Mint Designs’ previous collections, yet were still easy and unrestrictive. Dresses and skirts featured sheer pleated panels attached at the waist, and asymmetric details became more prominent with movement.
 
But the textiles were what really stood out in this show. A silver checked jacquard with brightly colored, outsize tulips woven into it was particularly eye-catching, whether it was used all over in a modern shift dress or peeking out from between pleats or under half-undone zippers. Another thick jacquard looked soft and wearable in boxy short-sleeve tops, an A-line skirt with diagonal zippers and even a little girl’s coat.

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Paris Spring 2016 Trend: Lingerie-Inspired Looks

Sleep no more? Chiffon, satin and lace — along with lots of skin — were all over the Paris runways as lingerie-inspired slipdresses, baby-doll minidresses, sheer nightshirts, rompers and lacy T-shirts with built-in molded bra cups went from in the bedroom to on-trend.

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Tokyo Designer Inspirations Spring 2016

Architects, Africa, artisans and emotions all provided a spark for the creators of some of Japan’s leading fashion brands as Tokyo Fashion Week for spring 2016 gets underway.

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‘Spring Awakening’: Theater Review


The 2007 Tony winner for best musical returns to Broadway in this hit production from Los Angeles’ Deaf West Theatre, using ASL to heighten adolescent unease.

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Hollywood Reporter – Theater Reviews Feed

Spring 2016 Makeup Trend to Try Now: Eyelash Art

It's almost impossible to imagine now, but not even a decade ago, the idea of wearing designs on your nails instead of solid-color polish was considered adventurous. Like, you wouldn't dream of wearing striped nails…


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John Galliano RTW Spring 2016

The John Galliano label’s recent transition to a premium contemporary line appears to have been a smart move. Aiming for a younger, street-savvier consumer, Bill Gaytten channeled the energy of London to delightful effect for spring, showing khaki mesh parkas next to cute ruffled skirts, for instance. He also played with transparencies on skinny lace dresses, which he layered over same-fabric bustiers and polka-dot pantyhose.
 
The lingerie feeling continued on girly tutu numbers — minus the tulle — which kept the looks surprisingly sporty, even though most of this spirited lineup leaned toward party rather than work. Usually a fan of gimmicks-meet-glamour, Gaytten stayed clear of costly embellishments, restraining himself to tasteful bead embroideries and a series of feathered Bobby helmets conceived by Stephen Jones for the show, which furthered the English theme. As The Beatles’ “Twist and Shout” played though the loudspeakers, the dynamic show marked a promising new beginning for the beleaguered brand.

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Roland Mouret RTW Spring 2016

Roland Mouret marked the 10th anniversary of his signature Galaxy dress with a limited-edition capsule collection of seven pieces inspired by the tailored hourglass silhouette, including a jacket and a jumpsuit with the same angular neckline. The capsule went on sale online after the designer’s spring show in Paris, which ended with models wearing Galaxy dresses in nine colors, including navy, mustard, coral pink and mint green. The collection will also be available through select retailers, including Bergdorf Goodman, Neiman Marcus, Printemps, Selfridges and Tsum.
 
Mouret has previously said he doesn’t want to be defined by the Galaxy, which has been worn by celebrities such as Scarlett Johansson and Cameron Diaz. But he is also mindful of commercial considerations. “It’s the dress that allowed me to enter the fashion bible, and for that alone, I have to be respectful of that dress and respectful of the woman who wears it,” he said backstage.
 
The anniversary had him thinking back to when he was 10 years old and first became aware of fashion through a French TV program called “Aujourd’hui Madame.” Those memories inspired precisely tailored outfits in Seventies-tinged floral or leaf motifs, many featuring folded or cutout necklines. He also worked graphic contrasts, such

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Akris RTW Spring 2016

There’s always a risk when fashion designers take inspiration from architecture, particularly of stiffness or awkward volumes.
 
This season, Akris designer Albert Kriemler went gaga for acclaimed Japanese practitioner Sou Fujimoto, perhaps best known by the fashion crowd for designing the cloudlike Serpentine Gallery pavilion in London in 2013, and a shopping center in the Miami Design District, all vivid blue glass.
 
The pleasant surprise was that this was one of Kriemler’s breeziest collections in years, as he transposed Fujimoto’s grid patterns and transparency onto sleek fit-and-flare dresses, snazzy shirt-and-shorts combos and spare tailoring.
 
The show opened with the perforated roof of the future House of Hungarian Music in Budapest echoed on white cotton shirts and Bermuda shorts, with some in the audience murmuring about a resemblance, given the brand’s roots in St. Gallen, Switzerland, to Swiss cheese. In fact, the cutouts looked equally scrumptious on sleek jersey dresses and A-line mesh skirts — longer hemlines gaining importance this European season.
 
The show progressed in segments, drawing on details from specific Fujimoto projects. A sheath dress and coat in rows of cork with a few squares of transparency too closely resembled a wooden house in the forest. But between the languid silk crepe pantsuits,

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Alexander McQueen RTW Spring 2016

Maidens, fair ladies, goddesses, princesses — Sarah Burton had the cast of fairytale heroines, fragile and strong, covered in her stunning spring collection. It was the stuff of girlhood fantasies, except even the wildest dreams rarely imagine clothes so beautiful.
 
The collection was based on a reality from the distant past: the Huguenots, the persecuted French Protestant sect that fled France in the late 17th century and settled in Spitalfields in London. Many were trained silk weavers who brought their craft with them, eventually building Spitalfields into a stronghold of the silk industry. Burton paid homage to their artisan prowess, quite possibly outdoing it with couture-level shredded silk faille floral jacquard; silk taffeta with naturalistic floral fil coupe jacquards; embroidered leather, and French lace worked into tulle with patterns of doves and trellises of flowers woven in. Flowers were essential effects. Apparently, the Huguenots arrived in London with little more than bulbs and seeds in their pockets, planting them to grow inner city gardens.
 
Burton garment-washed many of the pieces to give them a tactile softness and angelic sense of decay underscored by the predominantly pale palette of white, blush and pastel petal tones. “I wanted everything to feel very, very feminine.

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Global traveller inspires Kenzo for next spring

Kenzo’s Spring/Summer collection in Paris sees models drift on moving blocks wearing over the knee ‘massage shoes’ and multi-shaped belt bags. Rough cut (no reporter narration).


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Drew Barrymore’s ’90s Fashion Trend of Choice, the Nightgown Dress, Is Back for Spring

With the resurgence of so many '90s fashion trends in the past couple of years (chokers, Doc Martens, and lots 'o flannel, to name a few), it was only a matter of time until we…


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Nina Ricci RTW Spring 2016

Guillaume Henry thinks about Nina Ricci the brand as a woman. “Of course Nina Ricci is a woman’s name and I always try to ask, ‘who is that woman?’, the designer said backstage before the show, noting that he wanted the spring collection to build on the classics tinged with melancholy he introduced with his debut fall show. “I wanted her to be a little more sensual, like the second time you meet someone.”
 
The collection gave the impression that Henry is still getting acquainted with this woman he has in mind, as well as the turf that comes with helming a luxury label. The tony, bourgeois traditionalism of the silhouettes implied an adult chicness more seductive than last season as Henry infused the lineup with sheer, blouses, spare apron dresses and an abundance of shine via patent leather and lacquered fabrics. Two of his key references were Romy Schneider in the Seventies and Nineties minimalism.
 
The plainer, the better. Squarely tailored coats and miniskirts in shiny patent ostrich leather and two wrap leather dresses, one olive, one red, with wide open V necklines and gathered waists were strong examples of alluring, womanly polish. Henry’s attempts at elevating the minimal and traditional,

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Alessandra Rich RTW Spring 2016

Alessandra Rich is up to something clever in eveningwear. The very word conjures a bygone era of formality and stuffy cocktail parties with passed hors d’oeuvres, but Rich’s approach brings back the fun and exuberance of nouveau riche while making it look new.
 
She named her spring collection “Dolores,” concocting a story about a young girl who runs away to marry a guy she just met. “I imagine her to be from Honduras, or I don’t know, South America, and she has these cheap plastic flowers in her hair and her trenchcoat on,” said Rich. “She’s ready.”
 
The trench came in black, white and fuschia silk Moiré — your grandmother’s favorite fancy fabric —  which Rich breathed life and wit into, using it on the sleeves of an embroidered denim jacket and an improbably chic jumpsuit suit. “It looks like someone working at a petrol station,” she said.
 
Putting a playfully stylish spin on stuff that has major tacky potential is Rich’s knack. Her signature dress silhouette — tight, tea-length with a godet skirt — came off the shoulder with a V-neck trimmed in a big ruffle, and off the shoulder with big pouf sleeves. It was treated in lace, paillettes, taffeta and even denim. There was a great denim coatdress

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Baby Bjorn Chic: Models Actually Wore Other Models in Rick Owens’ Spring 2016 Show

We're all about women's empowerment here at Glamour, but we've never seen it expressed quite like designer Rick Owens did on his Paris runway on Thursday. The California-born, Paris-based designer known as the Lord of…


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Theater: Glorious “Spring,” Sugar “Daddy,” Stingy Stein

SPRING AWAKENING (2015) ***1/2 out of ****
DADDY LONG LEGS ** out of ****
REREAD ANOTHER ** out of ****

SPRING AWAKENING (2015) ***1/2 out of ****
BROOKS ATKINSON THEATRE

When Deaf Theatre West came to Broadway in 2003 with its acclaimed revival of Big River, I was bummed not to get a chance to see it. Like many, I was intrigued. A deaf theater company. Doing a musical? What did that even mean, I and perhaps the clueless like me in the hearing community wondered. It sounded fascinating, to say the least. An interesting experiment. I was sorry to miss it.

Now having seen their revival of Spring Awakening on Broadway, I know exactly what I missed back in 2003: great theater. Like an all-male As You Like It or an all-female Julius Caesar, like an all-Asian Death Of A Salesman or any other such approach to the canon, these unified takes on casting or performing can offer insights both large and small, inspire staging and reveal meaning quite unexpected and refreshing. Done as a stunt, none of these approaches mean a thing. Done with purpose and artistry and a desire to find connections and inspire performances, they are revitalizing.

That’s the case here, with the doubling up of key characters underlining their isolation and inability to communicate, with signing becoming as intimate and moving as a whisper, with silence the most powerful moment in a musical filled with great numbers.

Spring Awakening left Broadway just six years ago. And its original cast — Jonathan Groff, John Gallagher Jr. and Lea Michele — left huge shoes to fill. But it’s a delight to see the story has lost none of its impact, the score and songs none of their dusky, moody impact.

Teenagers in the late 1800s of Germany feel unduly repressed. Like teenagers everywhere, they question everything and want to know everything…now! Melchior (a handsome Austin P. McKenzie) is a budding thinker who refuses to attend church and tries to console his sex-obsessed friend Moritz (a convincingly troubled Daniel N. Durant) with the facts of life. Wendla (a fresh-faced and appealing Sandra Mae Frank) simply wants to know where babies come from, something her mother (Camryn Manheim) is incapable of explaining. Hanschen (Andy Mientus, so good in the original cast of the new Les Miz) just wants to sleep with anything that moves. The school they attend –mirroring the times — insists all deaf students learn to speak instead of sign and punishes those who won’t or simply don’t gain fluency as failures. Hearing a teacher mock a student’s attempts to verbalize Latin is haunting. Their parents are dour and disapproving and demanding, when not downright abusive. It won’t end well.

Spring Awakening is a signal moment in musical theater. This is the show that made rock n roll truly belong on Broadway — not as a jukebox musical or as nostalgia or for specific shows drawn from rock albums but as a specific voice and style that earned a permanent place on the stage alongside country and folk and blues and Tin Pan Alley. It’s never left since. Spring Awakening returns just as the show’s creatives return: Steven Sater has School Of Rock later this year and Duncan Sheik has American Psycho in the spring. It should give them courage to see how vibrant and moving their breakthrough remains.

Director Michael Arden honors the original while putting his own touches on it in ways large and small, from the intertwined bodies of students that form a tree to the coup de théâtre at the end which makes use of the show’s gunmetal grey look throughout for a final breathtaking glimpse of a brighter future during the closer “”The Song Of Purple Summer.” He proves himself a director of the first order. The work of choreographer Spencer Liff and the rest of the technical team is similarly inspired.

The signing throughout is just lovely and poetic, often spreading from the person speaking to the cast as a whole, becoming as important visually as the movement or the set or the lighting.

The cast as a whole is sexy and talented, from the moment they come onstage in their underwear to dress in front of us before the beginning right to the finale where they strip back down again, emphasizing the innocent beauty of youth that has nothing to be ashamed of, whatever parents or society might say. (No wonder teenagers love this show.)

Artistically, the production is unified and strong from start to finish. Its weakness mainly comes in some vocals, normally a fatal flaw in a musical but not here. McKenzie is an appealing lead and a deeply sympathetic presence throughout. I worried he didn’t have the power to put across the climactic “Totally Fucked” but in fact McKenzie came through in stellar fashion. While Durant has the turmoil of Moritz down pat, Alex Boniello couldn’t match him as the Voice Of Moritz (and fell way short of Tony winner John Gallagher Jr. who blew the roof off with these same songs). Similarly, Kathryn Gallagher’s bluesy mama take on the Voice Of Martha failed to impress, though in this case it felt of a piece with the unsatisfying work of Treshelle Edmond. (To be fair, the role is brief and not terribly interesting, though somehow Lilli Cooper made something of it in the original.) The great Marlee Matlin simply has little to work with in several one-note adult roles.

Patrick Page and Manheim were able to make more of their various roles, thanks to the many opportunities they had to give voice to others as well. And how did this work, with one actor performing a character and another actor sometimes giving them voice in line reading or song? In general, one simply watched the performer who embodied the character, while the voice or the singing did its work. Sometimes lines appeared on screens or chalkboards, sometimes they were spoken and signed, sometimes just signed but always the visual impact was clear and the doubling or tripling of a line was clarifying and powerful, never confusing.

Both Mae Frank as Wendla and Katie Boeck worked in synergy to create an angelic, sweet but troubled Wendla, the girl who felt herself confusedly aroused by the idea of punishment. The devilishly sexy Mientus and the innocent (?) Joshua Castille had great fun in the seduction scene “The Word Of Your Body.” And the winning McKenzie (an excellent actor) made you believe Melchior would rise above this brutal start to demand a better world.

And all of this discussion of individual performances underplays the overall impact of a show that is truly conceived and performed as a unified whole, with the cast moving in concert and reinforcing dramatic scenes in powerful ways. Arden and the design team work together seamlessly, building the story element by element, overpowering the melodrama inherent in the original play with sophisticated verve, creating a second act that builds on the first right up to a finale that really is a triumph. It was like seeing Spring Awakening for the first time. Or should I say, like hearing it in a new way.

DADDY LONG LEGS ** out of ****
DAVENPORT THEATRE

Few remember Jean Webster’s epistolary novel Daddy Long Legs. It features a spunky, winning orphan a la Anne Of Green Gables and so many other tales, but somehow hasn’t retained its hold on readers. A pity, since the book is a charmer. Still, it’s endured long enough to be made into a film at least four times (including Mary Pickford, Janet Gaynor, Leslie Caron and even Shirley Temple as our heroine) and presumably adapted for the stage just as often.

Those coming to this two-hander musical fresh will find it innocuously pleasant if somehow unsatisfying when all is said and done. Those who have read the book will be more confused, wondering how the essentially bright and witty tale became so quiet and rather mournful. That shouldn’t dim the pleasure of two solid performers doing their best, namely Megan McGinnis as the orphan Jerusha and Paul Alexander Nolan as her benefactor and eventual love Jervis.

In the show, Jerusha is”The Oldest Orphan In The John Grier Home,” as McGinnis charmingly sings in the opening number. She’s 18 and quite clever, industriously helping at the dour but competent orphanage where she must depend on charity for housing or brave the cold streets alone. What more can she hope for? Quite a bit, since Jerusha now has great expectations: one of the home’s patrons has decided to send her to college. Jerusha will go to school and have everything she needs paid for (including a king’s ransom of $ 35 a month allowance — in 1909, mind you — so she can “fit in”). In return, she will never know her patron’s name but must write to him as “John Smith” once a month with a report on her progress.

Soon Jerusha is off at school, making friends and delighting in the opportunity to learn (and buy pretty dresses; she’s not a saint, after all). She assumes her patron is quite old and grey-haired (if he’s not bald, that is) and has the idea he is very tall. So she dubs him “Daddy Long Legs” and writes him far more than once a month. In fact, her patron is the youngish and handsome Jervis Pendleton, the eccentric uncle of one of her schoolmates. Despite his better judgment, Jervis is charmed by her letters. Soon he is re-reading the books Jerusha is reading, visiting her with the pretext of checking on his niece and of course falling hopelessly in love. Jerusha quite likes this Jervis, though he is far from the only young man paying her attention. Yet her sad background worries her.

Could any man of standing approve of an orphan? And Jervis worries, will Jerusha forgive his deception? Can he get her to love him as Jervis before discovering Jervis is her patron and then perhaps, horribly, feeling obliged to marry him? Well, really, have you never read Anne Of Green Gables or Rebecca Of Sunnybrook Farm and the like? The pleasure is in getting to know the characters, after all, not the suspense of their presumably happy fates.

Daddy Long Legs has been turned into a movie at least four times, including the godawful musical version starring Fred Astaire and Leslie Caron. That’s a little surprising since it’s an epistolary novel and almost all the letters are written by Jerusha to her unknown patron. It is, essentially, a monologue. The charm comes in falling in love with this intelligent young woman and slowly imagining her patron is falling in love with her as well. The modest suspense comes in wondering if the handsome young Jervis and her benefactor are one and the same.

This show lacks that suspense of course: we know Jervis is her patron from the start. So here the suspense must come in getting to know him as well, along with his dilemma about when to reveal this double identity. Notably, the songs for Jerusha often pull from lines in the book and feel more specific and alive. The songs for Jervis must be created from whole cloth; time and again the music and lyrics of Paul Gordon fall short. Whether because of clunky lines or confused references to the Camelot tale of the Lady In the Lake or a never fleshed-out backstory of a broken heart, the songs and story of Jervis remain unsatisfying.

The problems reach their peak with his big number “Charity.” Suddenly Jervis is denouncing charity as corrosive, as building up a wall between the giver and the receiver, a wall that can never be scaled. Huh? This is bizarre on many levels. The story celebrates charity and in the case of Jervis, the noble act of charity has done exactly the opposite of what he claims: without expecting anything in return, Jervis has found his wall scaled and his heart opened by another. So what exactly is he complaining about? (The book by John Caird with its hints as to why Jervis is closed-off to feeling is surely at fault here too. We simply don’t know why this man is such an emotional recluse, despite a vague reference to him being dumped for a duke many years ago.)

The songs for Jerusha are better, especially when peppy. But the arrangements and chamber feel of the show emphasize the romantic and even mournful undertones of the work. Since we don’t know where Jervis has begun, it’s hard to follow him on his journey to love. When they finally meet, Jerusha’s anger and then abrupt declaration of love feels both obvious and undramatic. We know her well, but after two hours we still don’t know him. John Caird has provided a showcase for two actors, not a satisfying work.

And that takes care of the show they made. What remains are many confused questions about why they made this show out of this book. First and foremost, there is the overall tone. The novel is a delight to read. Webster’s heroine is funny and smart and self-aware. But you certainly wouldn’t know that watching this. Humor is modestly present but more often the tone is dramatic and serious rather than exciting and fun. Jerusha is a firecracker and that’s clear from the start of the novel. Instead of “John Smith” as requested, she calls her patron “Daddy Long Legs.” She plays with the form of a letter to reflect her many studies. (Something the show attempts poorly.) The focus is always on learning and how Jerusha discovers a world of possibilities. The real adventure is knowledge, education, trying and succeeding at becoming a writer and discovering oneself. It is not about falling in love and being rescued by a man.

In the novel, when she talks about seeing Hamlet performed for the first time, Jerusha drolly says this Shakespeare fellow really is good, despite her having assumed he was coasting on reputation all this time. It captures both her genuine excitement at seeing a great play for the first time, her self-aware lack of experience (she’s seen precious little if any live theater) but without downplaying her innate intelligence, never more exemplified than by her awareness of how much she has yet to learn. This understanding of her meaning is perfectly in sync with the cheeky, witty tone she sets at the start of the book. But in the show, the lines are split up between Jerusha and Jervis and played straight; we’re allowed some condescending pleasure at her naive appreciation of the Bard, a la Educating Rita.

It typifies the show’s confused attitude towards Jerusha. Yes, the novel will end with a conventional happy ending of marriage. But Jerusha is hardly conventional: she touts education for women, argues for getting the vote and expresses a rather shocking disregard for organized religion if not downright atheistic thoughts (in 1909!). So why when she displays her first new dress do we see a sparkly virginal white one that looks for all the world like a wedding gown, as if her only dream was to be a bride? Being a bride is quite the last thing on her mind. She wants to be a writer and a reformer and a citizen, thank you very much. The novel describes Jerusha first buying SIX new dresses — she describes them all and none of them are white. Yes, white is an appropriate color for a woman her age when stepping out, but seeing it sends entirely the wrong signal.

Similarly, the production design sets all the action in Jervis’s world since we’re nominally in the library where he reads her letters. Fine enough and it’s a warm inviting room for any booklover. When Jerusha heads to a farm towards the end of act one, the windows are opened wide and the light streams in to indicate clear country air. Good. But in the second act, those windows are left open throughout. I kept thinking, are we back in the country?

The one unquestionably dated element of the book is that Jerusha often calls her benefactor “Daddy.” It’s forgivable since she imagines he is in his eighties and never had a father of her own. But since we have modern ears and sense her benefactor and her true love will be one and the same quite soon, it’s creepy to readers of today. She also has many other nicknames for him so this dated wording is easily fixed for the show. And yet, bizarrely, they remain adamantly faithful to the book and have Jerusha call him Daddy quite often. (Yes, “Daddy” is easier to fit into songs but that’s no excuse.)

And finally, in a perverse reversal, they ignore the book — and indeed every other adaptation of the novel I’m aware of — and call our heroine “Jerusha” from start to finish. Now Jerusha is a horrible name and it was randomly chosen for her at the orphanage, just one sign of many that reform is needed. As soon as she gets the chance, Jerusha dubs herself “Judy.” Wouldn’t you, given a name like Jerusha? Even in 1909? She announces this name change in the third or fourth letter of the book. It echoes what every reader has been thinking and proves early on that Judy nee Jerusha is an independent, confident, spunky sort thoroughly deserving our admiration. And of course “Judy” works much better in lyrics. Instead we have Jervis singing about “Jerusha” and how much he loves “Jerusha” and adores “Jerusha” and we think, couldn’t you give her a nickname please? Jerusha may be the least romantic name around and since Jerusha herself changes it to Judy and every other adaptation has eagerly done the same, it remains unfathomable as to why this show doesn’t. “Daddy” is a little icky but “Jerusha” is downright unforgivable. Certainly Jerusha would never approve.

REREAD ANOTHER ** out of ****
THE BRICK IN BROOKLYN

Having recently seen the Gertrude Stein children’s book The World Is Round turned into a captivating evening of theater, I was intrigued by Target Margin tackling her rarely performed 1921 puzzler Reread Another A Play To Be Played Indoors or Out I Wish To Be A School. A stage filled with detritus from a party long over is the setting. The game cast composed of Clare Barron, Purva Bedi, Ugo Chuckwu (and honorary cast member and sound man Jesse Freedman) give their energetic all, led by director David Herskovits. It’s not enough.

If the title alone makes you wary, stay away. If you’re willing to give a talented cast your focused attention, you will be rewarded with some potent imagery, some poignant moments where leaves are falling and music is playing and emotion is conjured out of thin air.

But you soon realize the text is stuff and nonsense. Without some structure imposed on it by the director, without discovering some internal rhythm that makes it sing, it remains a disconnected series of bits. Snatches of dialogue, ideas proffered up then batted away, word play that soon becomes work — it’s all here, unfortunately, and nothing more. Still, one respects the attempt, the dedication to following wherever the author leads, especially when it’s clear that — as a dramatic work — the author has led you astray.

THEATER OF 2015

Honeymoon In Vegas **
The Woodsman ***
Constellations ** 1/2
Taylor Mac’s A 24 Decade History Of Popular Music 1930s-1950s ** 1/2
Let The Right One In **
Da no rating
A Month In The Country ** 1/2
Parade in Concert at Lincoln Center ** 1/2
Hamilton at the Public ***
The World Of Extreme Happiness ** 1/2
Broadway By The Year 1915-1940 **
Verite * 1/2
Fabulous! *
The Mystery Of Love & Sex **
An Octoroon at Polonsky Shakespeare Center *** 1/2
Fish In The Dark *
The Audience ***
Josephine And I ***
Posterity * 1/2
The Hunchback Of Notre Dame **
Lonesome Traveler **
On The Twentieth Century ***
Radio City Music Hall’s New York Spring Spectacular ** 1/2
The Heidi Chronicles *
The Tallest Tree In The Forest * 1/2
Broadway By The Year: 1941-1965 ***
Twelfth Night by Bedlam ***
What You Will by Bedlam *** 1/2
Wolf Hall Parts I and II ** 1/2
Skylight ***
Nellie McKay at 54 Below ***
Ludic Proxy ** 1/2
It Shoulda Been You **
Finding Neverland ** 1/2
Hamlet w Peter Sarsgaard at CSC no stars
The King And I ***
Marilyn Maye — Her Way: A Tribute To Frank Sinatra at 54 Below ***
Gigi * 1/2
An American In Paris ** 1/2
Doctor Zhivago no stars
Fun Home **
Living On Love * 1/2
Early Shaker Spirituals: A Record Album Interpretation ***
Airline Highway * 1/2
The Two Gentlemen Of Verona (Fiasco Theatre) ***
The Visit (w Chita Rivera) ** 1/2
The Sound And The Fury (ERS) **
Broadway By The Year: 1966-1990 ***
The Spoils * 1/2
Ever After (at Papermill) **
Heisenberg *** 1/2
An Act Of God **
The National High School Musical Theatre Awards ***
Amazing Grace *
The Absolute Brightness Of Leonard Pelkey ** 1/2
Cymbeline (Shakespeare in the Park w Rabe and Linklater) ***
Hamilton *** 1/2
The Christians ***
A Midsummer Night’s Dream (Pearl Theatre Company) ** 1/2

_____________

Thanks for reading. Michael Giltz is the founder and CEO of the forthcoming website BookFilter, a book lover’s best friend. Trying to decide what to read next? Head to BookFilter! Need a smart and easy gift? Head to BookFilter? Wondering what new titles came out this week in your favorite categories, like cookbooks and mystery and more? Head to BookFilter! It’s a website that lets you browse for books online the way you do in a physical bookstore, provides comprehensive info on new releases every week in every category and offers passionate personal recommendations every step of the way. It’s like a fall book preview or holiday gift guide — but every week in every category. He’s also the cohost of Showbiz Sandbox, a weekly pop culture podcast that reveals the industry take on entertainment news of the day and features top journalists and opinion makers as guests. It’s available for free on iTunes. Visit Michael Giltz at his website and his daily blog. Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also available for free on iTunes.

Note: Michael Giltz is provided with free tickets to shows with the understanding that he will be writing a review. All productions are in New York City unless otherwise indicated.

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Lutz Huelle RTW Spring 2016

Lutz Huelle played with the idea of multipurpose clothing for spring. He put his draping skills to the test by granting trenches a little action around the shoulders and waist, in effect inching them close to dress territory.
 
He spun the idea further with handsome elongated men’s wear-inspired white shirts — cut out or pleated for extra visual effect — as well as a pair of fringed black blazers that channeled Charleston dresses with Roaring Twenties attitude.
 

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Balenciaga RTW Spring 2016

No choked-back tears; no drama. Backstage after Alexander Wang’s last show for Balenciaga, everyone seemed happy. (Wang had just chronicled his final runway-sprint bow for the house via selfie). François-Henri Pinault and Salma Hayek offered him smiling congratulations; he in turn thanked Pinault profusely and said, “I feel like I’ve graduated; it’s the last day of school.”
 
At first thought, odd phrasing; Balenciaga rings more pinnacle than proving ground. But then, what better way for a still-young designer to broaden his range, deepen his skill set and learn, than by clocking three years at a place with the resources and institutional creative rigor of the storied house.
 
The collection with which Wang closed his Balenciaga chapter gave evidence of such; it was the most ornate and decorative of his career — but decorative his way. It was about lingerie dressing in a single color, off-white, for cottons, silks and linens, but with an undone countenance and a street attitude, for the girl edgy enough (whose feet are calloused enough) to wear little-nothing lace bedroom slippers on urban streets.
 
The girliness, the sensuality, the intricately wrought delivery of boudoir-chic tropes were different for Wang, but he made them his own. Since his arrival at

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Tom Ford RTW Spring 2016

Tom Ford is rethinking the traditional fashion show concept with a little help from Lady Gaga and Soul Train.
 
Watch: Lady Gaga Stars in the Tom Ford Spring 2016 Video

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Haider Ackermann RTW Spring 2016

Blasts of disco smoke and churning techno announced a new, more tough-minded direction for Haider Ackermann. His fast-paced show packed a punch with its acid colors and punk splashes of white paint — a reprieve from the glacial, contemplative parades of yore.
 
“A gang of girls, but each one an individual,” the designer said backstage, describing a wish to convey a “strong” look for a “strange” world. His gang members strode out mostly in cool, low-slung pants similar to the ones in his terrific spring men’s collection. Her boyish trousers came in glossy satins, colorful shantung, rugged leather, shredded patchworks or black wool with grosgrain waistbands.
 
Pointy boots accentuated the rock ‘n’ roll mood, as did cropped leather biker jackets and vests, while tender touches included chiffon blouses with tight rows of frothy ruffles ringing the arms or the neck, or lined up on jabots. He poured his most girlish gang members into sinuous fishtail tank dresses in lustrous silks and pane velvets.
 
While Ackerman’s buddy Tilda Swinton was not in attendance, her turn in “Only Lovers Left Alive,” the 2013 Jim Jarmusch vampire film, echoed the mood of show. His pale models, some veiled and with bits of troll doll hair jutting

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Wanda Nylon RTW Spring 2016

Johanna Senyk sent a wide array of looks down her first ready-to-wear runway show for Wanda Nylon, with some — such as a gray jersey dress with a cutout back — veering sharply away from the label’s traditional focus on water-repellent fabrics. Even the format sent a message of change: Attendees were given white hard hats, the runway backdrop was scaffolding, and a welder made sparks fly to start the proceedings.
 
The lineup was a veritable mash-up: Trenches, in various colors and fabrics, morphed into a jumpsuit, wrap-around skirt and dress. Sexier numbers included a body-hugging top and leggings in black Lurex and a white leotard under plastic see-through rainwear. An eye-catching metallic iridescent fabric was used in various pieces as well.
 
The collection had many layers — literally and figuratively — resulting in a novel, if slightly confusing, effect.

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Dior Prepares for Spring 2016 Show

MOUNT STREET: The hills are alive — with flowers. Dior has erected a hill within the Cour Carrée of the Louvre for its spring show on Friday, piquing the curiosity of tourists visiting the world’s largest museum. Workers were seen Thursday laying sod on the structure and adding blue flowers.

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Vêtements RTW Spring 2016

Even Vêtements’ earliest adopters barely had a second to get there first. In March, the then one-year-old label was quite literally a buzzy underground curiosity. The fall collection was shown in the basement of a seedy Paris sex club in front of a small but influential fashion audience who heard fresh blood was in the water. A season later, the vultures have descended. A tiny label with minimal distribution now has a full-blown profile — you couldn’t even count one prominent glossy’s editors on two hands.
 
The draw is Vêtements’ antifashion, its way of manipulating the utmost mundane, familiar garments — novelty T-shirts, trenches, jeans and blue-collar work uniforms — into something with powerful, alien appeal. Demna Gvasalia and his design collective are serving the glossy fashion crowd a taste of something curdled and they’re lapping it up.
 
Held at kitsch Chinatown dining institution Le Président, the show opened with a nonmodel, average-looking guy wearing a yellow DHL T-shirt under a black short-sleeve button-down and shiny black pants. So seemingly ordinary was the look, he could’ve been there to ask someone to sign for a delivery. The casting in general defied the conventions of runway beauty with awkward, androgynously punkish models who

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Lanvin RTW Spring 2016

The Lanvin collection Alber Elbaz showed on Thursday night was a sartorial “smorgasbord” — his word. But not one thrown together frantically by an ill-prepared host. Rather, he sent out a carefully considered lineup intended to address the multiple requirements of fashion today. “We used to be designers. Now, we’re image-makers,” Elbaz said during a preview. Inherent in that role: delivering clothes that look good not only on the body and in the mirror, but also on the phone, in search of “likes.” He wondered about the role of fashion as entertainment — “not complaining, just questioning” — adding, “I have to show the extremes.”
 
And so he did, in a lineup comprehensive to the point of discordance, and often very beautiful. Elbaz organized his nearly 70 looks into groups — black and white, color, “body dresses” — with a logic not always clear from the audience perspective. With his first look he delivered a purposeful, almost tough rendering of a classic: white shirt, black pants. Other exits expanded on and toyed with that austere tailoring, sometimes in concert with ballooned organza or a sleek satin mini over sleek pants. Elbaz went undone with tweeds that had seemingly fraying edges —

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Tom Ford Taps a Lady: Gaga to Appear in Designer’s Runway Video for Spring 2016

LONDON — Tom Ford is taking to the small screen to showcase his spring 2016 collection, putting paid to speculation that he was skipping the show season altogether.
The designer has tapped Lady Gaga to appear in the film, a runway video of the collection, which was shot by Nick Knight. The online video will be released to some editors in the early hours of Friday, and everyone will be able to view it at 1 p.m. CET on the designer’s Web site.
Ford told WWD: “Instead of having a traditional show this season, I decided to try something new. I wanted to think about how to present a collection in a cinematic way that was designed from its inception to be presented online.”
Ford’s choice is no shocker. The designer-turned-film director is in full production for his second big-screen effort, “Nocturnal Animals,” and will be shooting that until the end of November. The film stars Amy Adams and Jake Gyllenhaal, and is an adaptation of the 1993 novel “Tony and Susan” by Austin Wright, which is a novel within a novel. The movie is due for release next year.
The all-star cast also includes Aaron Taylor-Johnson, Armie Hammer, Isla Fisher, Kim Basinger, and costume design

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Daniela Villegas Previews Spring 2016 Jewelry Collection

Entering Daniela Villegas’ Hollywood studio is like being in a curio box of sorts. There’s a wall of colorful butterflies, beetles and bugs mounted in glass boxes, and tiny quail and fish skeletons pieced together on wooden stands. These items are often the basis for her fine jewelry collection, which sells on Net-a-porter and in stores like Roseark for $ 1,875 to $ 39,000. Her “Backyard” collection, inspired by insects, incorporates real iridescent beetle heads with matching precious stones, and her “Rebirth” collection features tiny 18-karat gold animal skeletons with moving parts and gemstone eyes made from lost wax molds that are hand-carved in her downtown Los Angeles workshop.

For spring 2016, which she will show in Paris from Saturday through Tuesday, Villegas created more baubles on these themes, such as tiny, rose gold ants atop a tourmaline cabochon that looks like a cake on a lacy gold doily. Other items she pulls out of her red leather case include rainbow sapphire trapeze earrings and large carved pendants on delicate body chains. Her next collection will include pieces inspired by her recent trip to Peru. She toyed with some native woven bracelets that she plans to recreate with precious stones. “I’m always picking things up along the way,” she said. “My husband [furniture designer Sami Hayek] jokes that our

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Loewe RTW Spring 2016

“How do you get conflict in the clothes?” Jonathan Anderson mused during a preview of his spring collection for Loewe, his third for the LVMH-owned brand. “There needs to be a tension in garments to make them feel more real, less precious.”
 
A quick study if ever there was one, the young designer is shaping a vivid new template for the luxury house: immediate, eclectic — and electric. His open-air show at UNESCO on Friday morning, guests seated on shrink-wrapped concrete stools, was as thrilling as the weather was chilling — full of invention applied to wearable clothes.
 
Well, mostly wearable. Mr. Cellophane opened his show with a series of see-through pants, teamed with handsome cable-knit sweaters with sheer shoulders or a clinging T-shirt printed with Canada geese. While impractical, these trousers heightened the futuristic gloss that Anderson juxtaposed against more traditional signposts of luxury like suede and leather, specialties of the Madrid-based house.
 
The unexpected combinations created not only tension, but runway fireworks: silver tinsel spilling from one hip and one arm of a sinuous black wool dress; metallic snaps coiling around linen tops and trousers; and grainy, black-and-white photos of cotton plants printed on a Tyvek paper sweatshirt and pants.
 
To Anderson,

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Rochas RTW Spring 2016

Alessandro Dell’Acqua collections at Rochas are for fashion maximalists, who are die-hard about dressing up even as society swings ever more casual. His collections have been kooky concoctions of the hyper-feminine and ornate dedicated to explosions of color, cartoonish embellishment and insistent throwbacks to old-school couture. Fun and flamboyant, the clothes can feel at odds with modernity.
 
But they don’t have to be, as Dell’Acqua demonstrated for spring with a lineup that made the art of overdressing appealing and accessible for those below peacock-punching weight.
 
Dell’Acqua chose for his seasonal muse Gala Dalí, the wife of Salvador and a highly influential force of nature in the Surrealist art scene. That world of artful, amusing madness manifested in exaggerated sculptural bows; oversize black-and-white stripes; surf motifs and an improbably graceful and rich embroidery depicting a herd of giraffes under the rays of the sun.
 
Rather than multiply the decorative mania with daffy silhouettes, Dell’Acqua controlled with simple sporty shapes. Bows were placed on trim cropped tanks worn with slim skirts and the jungle and beach scenes appeared on slip dresses, tanks and on the back of an oversize blazer that was completely gilded over in front with lavish embroideries. It was over the top,

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Ilaria Nistri RTW Spring 2016

For her first presentation, held in the Cour du Mûrier at the École Nationale Supérieure des Beaux-Arts, Florence-based designer Ilaria Nistri had models wear her spring collection while rotating as students drew and painted them.
 
Nistri collaborated with German artist Andreas Nicolas Fischer — she worked with photographer David Maisel for her 2015 resort lineup — and used the synthetic images in the collection’s unique print on silk georgette. “It’s coming from fractal geometry but organic,” she said. Shiny rubberized tape added a futuristic twist to the sharp collection, whether heat-sealed as a substitute for sewn seams or as striped motifs on matte fabrics.

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Alexis Mabille RTW Spring 2016

What do you get if you mix one part eveningwear, two parts casual attitude and a shaker full of fruity colors? The answer is Alexis Mabille’s spring collection, which was inspired by a watermelon cocktail called the Sandia Smash.
 
Lest that reference be considered a trifle lightweight, he also cited the drawings of Mose Tolliver and Alekos Fassianos as inspirations for his naïf watermelon print. A red sweatshirt embroidered with a semicircle of black pips, paired with a sweeping coral silk skirt, made for a witty yet subtle variation on the theme.
 
Some of the color combinations were a bit of an eyeful, such as a coral silk jacket with lime green and turquoise pants. Used in smaller doses, the zesty hues packed a pleasant visual punch. Shirtdresses, lace-trimmed blouses and high-waisted crepe pants all made for nifty additions to a summer wardrobe. And this fun, flirty attitude was reflected in the season’s accessory: a micro-backpack in duchesse satin that dangled from the waist.

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Vionnet RTW Spring 2016

It was clear after Vionnet’s spring runway show that creative director Goga Ashkenazi was out of her depth. She enlisted Hussein Chalayan — who had recently designed two of Vionnet’s demi-couture collections — to join the ready-to-wear design team in an ongoing contributing capacity, beginning with spring.
 
Chalayan’s input made a clear difference for the better, as the house pleating and draping was handled with far more subtlety on powdery goddess gowns and tops cut with a floor-length pleated panel down the front and paired with pants to signal evening modernity.
 
There’s always room for improvement. Chalayan is known for his love of the conceptual. There’s no telling if the sheer, full-body capes that were pointlessly worn over many of the looks were his doing or a collaborative effort, but the netting effect added nothing. In fact, it vexed in the case of the floor-length encasements that didn’t have armholes, as if the model had walked off wearing the dress and its garment bag.

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Anrealage RTW Spring 2016

Talk about a gimmick. At a time when brands stream their shows, Anrealage opted for a personalized high-tech experience that could only be lived in situ.
 
Along with sake, guests were served a pair of headphones with instructions on how to best enjoy the show: by snapping pictures of the looks, whose photosensitive fabrics reacted promptly to the flashes of mobile phones, turning the runway into an interactive happening. “Reflect reality [to make] a new reality,” was designer Kunihiko Morinaga’s mantra for spring.
 
To wit: A ruffled black dress revealed itself to be fluorescent green; gray, seemingly monotone knitwear illuminated the room with its turquoise stripes; and white top-cum-skirt combos with quirky circular cutouts assumed a three-dimensional quality, courtesy of the visual trickery.
 
Though fun and engaging at the onset, the exercise quickly grew tiresome — typical for the label, which is known for embracing special effects at the expense of true stylistic range.

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Anthony Vaccarello RTW Spring 2016

Edie Campbell opened Anthony Vaccarello’s spring show in an Army green canvas jacket, its pert collar turned up, and matching wrap miniskirt. Both were trimmed in shiny black leather and gold zippers and tacks that suggested functional toniness. Campbell has that posh English rose look that veers with her haircut (it’s currently a choppy shag) and is a known equestrian. Dressed in the trappings of well-bred money, she triggered an association: bourgeois.
 
Cropped jackets had a vaguely military vibe, and mini kilts, fastened with skinny black-leather straps, deliberately didn’t close all the way, leaving a panel of flesh for all to see. Skin is conventional on Vaccarello’s runway, which, in turn, made the relatively conservative crisp white shirts with porcelain blue prints paired with classic blue jeans seem almost outrageous. Those looks made more sense than the interlude of Pop: red and white sequined dresses with pixelated face motifs.
 
Vaccarrello’s point of view is ironclad yet narrow. Decking out his sharply drawn sirens in the standards of proper society changed his direction by only a few degrees. No matter the angle, it’s still sexy and severe, reliant on razor-sharp hip bones and ribs to accessorize the look as much as his sculptural

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Designer Inspirations for Paris Spring 2016

Influences on designers’ collections range from feelings — of romance, wanderlust, nonchalance — to sculpture and paintings for spring.

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Koché RTW Spring 2016

Christelle Kocher served up a potpourri of couture techniques and fabrics boldly mixed with streetwear silhouettes.The designer used her knowledge acquired at feather and flower specialist Maison Lemarié (owned by Chanel), where she is artistic director, to conjure romantic, ruffles shirts in chiffon, which she paired with loose basketball shorts.
 
Elsewhere, an oversized denim bomber jacket was embroidered with scraps of tulle resulting in a handsome camouflage pattern, while a sports bra festooned with colorful sequins proved a viable companion for a slick black tuxedo jacket and a pair of nylon sweatpants.
 
It took the eye a little getting used to these unusual combos, but by the time the evening looks appeared, the angst vanished and desire kicked in. Cue body-hugging tank tops and tennis dresses richly hand-crocheted  with rows of tulle, chiffon, lace, plastic,feathers, beads and sequins for – as Kocher called it – “a couture melting pot.” No coincidence then that the show took place in the middle of Les Halles, Paris’ inner-city mall. “I wanted to open my show to the public, and this place is perfect — a junction between suburbia and culture, two steps away from the Louvre. All cultures mix. Because the last thing I want

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Highlights From Milan Fashion Week Spring 2016

The spring season in Milan highlighted an ever-growing diversity (and editorial savvy) that ranged from Moschino’s scrub-it-clean camp to the lyrical nerdiness at Gucci that has the fashion world fascinated. And once again Prada set the bar, now with a gold standard that only started with the lips.

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Jacquemus RTW Spring 2016

Simon Porte Jacquemus had a terrible summer. While he hinted at personal strife backstage, he wouldn’t say exactly what happened, letting his strange, melancholic show tell a tale of burden, frustration and unfinished business.
 
He enlisted his seven-year-old cousin, Jean, to roll out a giant ball wrapped in red fabric, and later, drag a giant red necktie across the circular show set, occasionally stumbling under its weight. (Given that the ushers at Paris shows are known as “cravates rouges,” or red ties, was this a wry comment on the fashion system?) And then a white horse trotted out, symbolizing hope, the designer said, likening his oblique set play to a piece of Italian theater.
 
The collection was as naïve as ever: Navy jackets, white shirts and red minidresses and skirts dissected into halves, occasionally quarters, and bound to the body with white laces, red sashes or circles of white fabric — circles being a fetish Jacquemus motif.
 
As a spectacle, it effectively portrayed the anguish and ache of a young designer whose spring victory — scoring a 150,000-euro ($ 169,000 at current exchange) special jury award in the second annual LVMH Prize — did not carry over into an idyllic August. Meanwhile, the clothes,

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Preview Virgil Abloh’s New Take on Couture for Spring ’16

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“For me, Off-White is a diary,” says Virgil Abloh. Judging by the response Kanye West’s right-hand creative has had since launching the label back in late 2013, it’s a journal that a lot of people are keen to open up. Tomorrow Abloh will present the brand’s third women’s collection at the Galerie Joseph on Rue de Turenne, a lineup stemming from a simple, even stark, jumping-off point: the white T-shirt and jeans.

 



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Photo: Courtesy of Off-White

For Spring ’16 (dubbed Off-Day), Abloh has tapped into fashionable women’s newfound affinity for dressing down. Gone are the days of Going-Out Tops; sneakers are a staple of the industry’s most boldface front rows. And so the designer came to re-examine the iconic combo, embracing tees—a garment that served as one of Abloh’s earliest forays into fashion with his popular Pyrex Vision styles—and denim. This summer he headed out to San Francisco and plumbed the depths of Levi’s 150-plus-year archive; for Spring he’s collaborated with the heritage brand on retooled vintage pieces, patchworking “pure denim that hasn’t been indigo-dyed, with jeans that have been worn.” Other elevations of the workwear staple will include a denim evening gown, while your basic Hanes shirt will find new life in pieces created in collaboration with New York City artist (and Alldayeveryday art director) Othelo Gervacio. The pair borrowed elements from the rich visual vocabulary of the Grateful Dead, repainted by Gervacio onto garments, ripped to shreds, and tied back together.

As Abloh tells Vogue.com, “I’m 35, I like nice things, I like special things, and I think the old way of couture has a different relation to culture. For me, a pair of jeans that are custom-made with a person in mind, that have all these details—and as a designer I can go down the rabbit hole and create something special—that’s the spirit that I’m trying to unveil in Off-White.”

Check back tomorrow for complete Off-White Spring 2016 collection photos.

The post Preview Virgil Abloh’s New Take on Couture for Spring ’16 appeared first on Vogue.

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Capucci RTW Spring 2016

Capucci cited a painting by Henri Matisse as the inspiration for its spring collection, which played out in a rainbow of vibrant hues. In addition, the label’s signature trio of little black dresses — which caused a scandal in 1961 because they were made to be worn without bras — were given a new lease on life in girly shades of pink.
 
The dresses were among the eveningwear options on display at Milan’s 10 Corso Como store as part of an event cohosted by Vogue Italia and attended by 84-year-old founder Roberto Capucci to mark the label’s second collection since its relaunch by new owners.
 
Cinzia Minghetti, who now heads the brand’s design team, said she had taken elements from the house archives and given them a contemporary spin. Capucci’s signature sculptural pleats appeared on flirty black skirts that were casually paired with white jersey tops. Meanwhile, woven ribbons in colors inspired by a 2001 evening gown were used as a decorative trim on dresses and tops.
 
Available in Italy at 40 points of sale, Capucci hopes to enter the international market this season. While respectful of the house’s heritage, the house’s new look proved modern enough to merit a spot in the contemporary arena.

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Cividini RTW Spring 2016

Cividini’s spring collection featured only a ghost of its signature knits — a cropped sweater or knitted bra top was layered on almost every outfit, in yarns so fine as to be virtually translucent.
 
Miriam and Piero Cividini used a white shirt as the base for most of the looks, proceeding to layer on garments in fabrics ranging from washed sienna linen to crisp cottons woven or printed with geometric motifs. This created mash-ups of pattern and color — mainly neutrals and earth tones.
 
Some of the prints had an Eighties, Japanese feel — as in a gray sleeveless blouse and skirt featuring a pattern of broken-up grids. Topping these with an extra layer felt like an unnecessary distraction at times. The knits worked best when left to shine on their own, for instance in the form of long dresses adorned with geometric motifs.

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Ermanno Scervino eyes soft, feminine silhouettes for spring

Italian fashion house Ermanno Scervino works layered lace, floral motifs for latest womenswear line. Rough cut (no rerporter narration)


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Teatum Jones RTW Spring 2016

After watching a documentary on Liberian peace activist Leymah Gbowee, Catherine Teatum and Rob Jones were moved by the words and work of the Nobel Peace Prize winner to create a collection in her honor. The result was a serenely beautiful spring collection, full of rich textures and bold prints in elegant silhouettes.
 
The Woolmark Prize finalists used fil coupé fabrics and raw edges to reference windswept African fields of grass, while native Liberian tribal prints were interpreted into a black, white and red graffiti print. An oversize check was done in wool jacquard in great outerwear, such as a black-and-white cape-cum-jacket.
 
The lineup was mostly finely tailored separates, with a few dresses in the mix. One fit-and-flare white-on-white wool skirt had a silver check woven into the jacquard that was teamed with a simple white cami and worn over raw-edged wide-leg pants, while a great looking white dress had seams picked out in coils of paillettes and tufts of organza.

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They Are Wearing: Milan Fashion Week Spring 2016

WWD went off the runways and onto the streets and sidewalks for the best looks from Milan Fashion Week.

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Ports 1961 RTW Spring 2016

Ports 1961 creative director Natasa Cagalj favors clothes that have a relaxed ease yet are sophisticated at the same time. Her spring lineup was filled with pieces that a woman can easily style herself. Shirts and dresses had ropes to wrap and tie according to the wearer’s whim. Some looks featured mismatched, detachable glass buttons, there for the tinkering, while pajama-inspired pants had rows of buttons down the sides that could be opened to loosen up the shapes.
 
Everything was infused with an airy feel, highlighted by the use of lightweight fabrics. These included a cotton poplin printed with several classic shirting patterns, as well as washed silk cut into slouchy suits and asymmetric slip dresses. Cajalj also introduced a playful element with separates and dresses done in cotton with a childlike blue-and-white print as well as tribal references via striped tops and skirts with an engaging rustic look.

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Moschino RTW Spring 2016

Entering a fashion show — especially one with a cult following, held at 8 p.m., which positions it as party time, in a pitch-black tent — is a hazard. There are traffic jams, detours, reserved parking (“you’re in my seat”), roadwork on the runway and general obstacles in every direction. In the interest of the quick-burn irony that now defines Moschino under Jeremy Scott, he made the veritable construction zone of the runway into a literal set, strewing it with an orange-and-white mess of traffic cones, barriers and signs warning of “Dangerous Couture Ahead.” So many people tripped over the heavy-duty cable protectors on the floor on the way to their seats, it was difficult to tell if it was part of the set or a legitimate safety measure.
 
The ruse allowed Scott to double down on the punchlines, playing on the notion of roadwork and construction, as in traditional couture garment-making. There were classic suits fashioned from what looked like safety reflectors in blazing orange and yellow; hats and bags that were essentially wearable traffic cones; hard hats, toolbox bags; over-the-knee boots inspired by traffic cones; and all manner of road signs made into wearable jokes: “Slippery When Wet” read

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Co|Te RTW Spring 2016

“Florals for spring, groundbreaking,” deadpanned Miranda Priestly in the fashion-cult movie “Devil Wears Prada.”
 
Actually, flowers might sound a tad boring for inspiration, but to be honest, how many women don’t like to adorn themselves with a fresh, floral touch?
 
Co|Te designers Tomaso Anfossi and Francesco Ferrari offered their very personal take on the theme, showcasing a collection where arty details were mixed with more geometric elements. Flared skirts and poplin tops were printed with graphic flowers in vivid tones, while a striped cropped T-shirt with matching pants combined nautical stripes with rich floral embroideries of microbeads and sequins.
 
Koi fish were also embroidered on tulle shirts, their delicate attitude contrasting with the strong appeal of miniskirts crafted from crocodilelike leather.

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Marcelo Burlon RTW Spring 2016

“I’m not a fashion designer — I’m a creative director,” Marcelo Burlon said at the presentation for his spring County of Milan collection, which took the shape of a dance performance and doubled as the world premiere of “Gualicho,” his new single with DJ Davide Squillace. “I like to bring content to the fashion world,” continued Burlon, who gathered a group of dancers, including performers from the Lido cabaret in Paris, around choreographer Kirikoo Des.
 
The avant-garde display at the cavernous Teatro Arsenale summed up the clannish vibe of Burlon’s elevated streetwear aesthetic. This season, his tribal references ran from the familiar — symbolism borrowed from the indigenous tribes of his native Argentina — to African-influenced beading and motifs.
 
The dancers mostly wore printed bodysuits that created a graphic second skin, but the look book offered a wealth of dressier options, from layered looks in monochromatic motifs to perforated leather pieces, such as a black bomber jacket with jet bead epaulettes.
 
“It’s about being smart in the market, bringing something that the audience needs,” said Burlon, referring to the label’s rapid evolution from a unisex T-shirt line to an upscale women’s ready-to-wear brand. “We’re growing up so fast that we’re always listening to

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Brunello Cucinelli RTW Spring 2016

“The most important thing is the materials,” said Brunello Cucinelli during his spring presentation. He was correct. Without the uberupscale assortment of crisp linen, wool linen, fuzzy “cotton fur,” raw cotton and silk, the collection could have passed for a variation on Club Monaco and its brethren.
 
The look was pristine tomboy sportif, loosely inspired by Années Folles in the Twenties with tennis sweaters and pinstripes mixed with Japanese-influenced ultrawide culottes that had exaggerated fold-over waists. Cast in a palette of soothing neutrals — ivory, ecru, butter and sand, punctuated by black and charcoal — the showroom had the aura of a fancy fabric softener commercial. Silky, clean and relaxed.
 
The lifestyle Cucinelli’s collection conjured was certainly appealing in its moneyed, preppy ease, as were many of the knits, T-shirts and crisp white wrap skirts and pants. But the cumulative effect of all the white and off-white with the contrast of avant, mannish cuts and hyper-feminine details can be neutralizing in a bland way. Unfortunately, decorating the striped trim on blazers, sweaters, pants and even tony shower sandals with the house signature (and slightly cheesy) silver Monili detail didn’t solve everything.

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NYFW Spring 2016: Style Inspirations on the Runway

An inspiration — a glance at a painting, a line of romantic poetry, a rebellious decade, a sultry locale — is just the beginning. Here’s a look at how designers’ muses translated onto the New York Fashion Week runways for spring.

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Max Mara RTW Spring 2016

What do you do with a drunken sailor? You button her jacket askew — and she still looks chic.
 
Max Mara turned seaward for spring, setting sail with a fresh, upbeat collection, yet one not without its peculiarities. Silky separates in a flashy rope print and a Garanimals-like star motif (big stars, small stars) were buoyant to an extreme.
 
But tailoring is Max Mara’s forte, particularly the coats, and once again proved covetable, dashing, refined pieces buttoned incorrectly to fein dishabille. Take your pick: Amply cut white trench over a striped T with extra-long sleeves; slouchy double-breasted topper in skinny stripes; sleek black pantsuit; lean sailor skirts and pants, some worn with lovely drawstring blouses.
 
The sailing ruse continued in primary brights, at times head-spinning; handbags with seagull imagery, rope details on snappy, sleek overalls and lighthearted T-shirts with a ship graphic by Brian Grimwood, who also designed the set backdrop. It was the same ship, only animated, seen sailing past through three porthole windows. It charmed.

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Francesco Scognamiglio RTW Spring 2016

For Francesco Scognamiglio, it was a short leap from the sacred to the profane as he showed a collection of flimsy dresses that he described as a tribute to the statue of the Veiled Christ by Giuseppe Sammartino, on display in his native city of Naples.
 
“When I see the Veiled Christ, I feel like I have a collapse all the time,” the designer explained backstage. “It’s kind of chiffon on the Christ’s body and it looks wet.”
 
How you go from a statue of a lifeless Christ covered in a transparent shroud to this hot-blooded display of lingerie-inspired looks is God’s own private mystery — in the words of Sailor Ripley in “Wild at Heart.” It felt disappointingly familiar, as if all roads inevitably lead to the boudoir.
 
They ranged from baby doll dresses to voluptuous chiffon gowns trailing detached ruffles. Elsewhere, ruffles were used to underline the curve of the breasts on a sheer gown, while ultra-short dresses in brocade or white mikado silk came with barely-there lace panels at the chest.
 
Scognamiglio, who is preparing to launch a couture line in Paris thanks to new financial backing from Malaysian entrepreneur Johann Young, felt he was treading a line between sex and

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Timo Weiland RTW Spring 2016

Inspired by “the early stages of love” and also weekend dressing, Timo Weiland, Alan Eckstein and Donna Kang wanted their Timo Weiland collection for spring to feel romantic, but more importantly, comfortable. “If it’s slim-cut, there’s a stretch to it,” explained Kang. “If it’s woven, there’s a lightness to it.”
 
Done in lightweight knits, cotton linens and silk chiffons, the charming lineup certainly exuded a relaxed ease. Feminine details added a softness to the looks, as in a denim ruffled skirt with a cutaway hem or mixed media knits featuring sheer floral lace inserts or fringe. Flower-print dresses and tops were juxtaposed against more streamlined pinstripe and windowpane patterns, seen on a pair of navy shorts with a mesh hemline. Even the more boyish pieces — such as a white cotton poplin shirtdress, also offered in a bodysuit — came with subtly sexy cutout shoulders.

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Danielle Romeril RTW Spring 2016

Danielle Romeril called her collection “Paradise Lost,” taking inspiration from images of Africa by photographers Viviane Sassen and Jackie Nickerson. The result was a collection that nodded to tropical dressing, but in a studied, off-kilter way.
 
The designer did a moody print of black palm trees on a white zip-up jacket, fringing the trees with raffia to look like grass, while an abstracted floral pattern woven in a green and white jacquard appeared on tops and trench coats. The designer also demonstrated a knack for cutting and draping, as in one cool, asymmetric sundress with layers of skirts that knotted together at the hip. It had a laid back, feminine appeal.

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Antonio Berardi RTW Spring 2016

Antonio Berardi played with the contrast between precise tailoring and romantic fluidity in this glamorous, yet easy collection.
 
The standouts were languid silk dresses with billowing trains, as in one racer-back number in a pale sky blue. That design was worn with a matching silk trench coat that slipped off the model’s shoulders, adding to the collection’s undone air. And naturally for a designer whose collections occupy high-octane territory, there was plenty of embellishment, but this season Berardi worked his decoration in a comparatively low-key way. A series of silk dresses were stitched with a lavish paisley pattern of sequins, but they were matte rather than shiny.
 
A masculine foil to the ultra-feminine creations came from tuxedo suits that were sharply cut, but worked into relaxed, oversized shapes. Among them was a gleaming white tuxedo with black lapels with rounded, cocooning shoulders.

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Pringle of Scotland RTW Spring 2016

Knitting – in all its iterations – was the inspiration behind this fun, artsy collection that drew from the work of visual artists such as Louise Bourgeois.
 
Head of design Massimo Nicosia – whose silhouettes were long, layered and lean – knitted fabric ribbons or leather strings, and used crochet and other classic techniques to create various shapes and sizes of webbing.
 
He also mixed knits with woven fabrics, as in a breezy cotton tennis dress that was adorned with a handful of white macramé flowers.
 
Lightweight spiral seam shirts had crocheted seams, while models wore apron-like tops made from knitted and macramé leather. Dresses were fashioned from a mesh of bouncy silk.
 
There was a guipure lace coat cut to mimic the look of a knit while dresses had a trompe l’oeil crochet print. Models, meanwhile, carried bags made from knitted leather shoelace-like strips.

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Roksanda RTW Spring 2016

Power and grace were top of mind for Roksanda Ilincic, whose elegant, confident collection was inspired by the ballet and dancers’ strength and movement.
 
Proportions ranged from the voluminous and sculpted to the long and sinuous, in a muted color palette of pale blue, light brown, yellow and blush pink.
 
Dresses and strapless romper suits were adorned with stripes, zips or geometric cutout shapes, while stiff ruffles flared from the hips or peeked above trouser waists. Giant, stiff bell sleeves – a Roksanda signature – flared at the elbow.
 
On the softer side, there were liquid evening dresses, some with flared, floppy sleeves and belts, and gowns made from hand-frayed, fluttery panels of silk, while stiff coats were covered with frayed bits of fabric mimicking those on the dresses.

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House of Holland RTW Spring 2016

“I’ll make the crowd dance like Kriss Kross,” rapped Lady Leshurr, who performed her song “Brush Your Teeth” ahead of Henry Holland’s show wearing a shirtdress and bucket hat printed with luridly colored foliage and bugs. It was an energetic introduction to a collection inspired by the 1998 film “Fear and Loathing in Las Vegas.”
 
The safari jackets, yellow-tinted aviators, Hawaiian shirts, striped sports socks and sports coats of contrasting panels worn by Johnny Depp’s Raoul Duke and Benicio del Toro’s Dr. Gonzo all made an appearance. There was a safari coat of animal print and contrasting panels of camel, navy and red; a playsuit with safari pockets in a Hawaiian print; a lace-front safari jumpsuit; a very nice pajama suit, and a plush blue coat as cozy as a hotel bath robe.
 
It was all wacky yet wearable, including a midilength mesh dress embroidered with menacingly large bugs straight out of a bad acid trip.

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Emilia Wickstead RTW Spring 2016

Emilia Wickstead experimented with voluminous shapes for spring, inspired by “The Women,” the 1939 film directed by George Cukor starring Jane Crawford and Rosalind Russell.
 
Working in a delicate palette of baby pink and vanilla cut through with mustard yellow and violet, she adapted the shapes that the film’s characters wore, notably the high-waist puffy shorts, which Wickstead interpreted into a playsuit in a rose jacquard that seemed almost Elizabethan in its proportions.
 
There was a rose-print gown with a Watteau train and a geometric-print full-skirted dress that turned into a cape at back. The volume was most successful when confined to sleeves, as in a beautiful peach dress in a spongy fabric that had crystal-embellished eyes at the hem – a motif borrowed from a look worn by Russell in the film.

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They Are Wearing: London Fashion Week Spring 2016

WWD went off the runways and onto the streets and sidewalks for the best looks from London Fashion Week.

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David Koma RTW Spring 2016

Skimpy tank shapes and racer backs gave an athletic cast to David Koma’s spring collection, as always hinged on body-con, leggy dresses and second-skin jumpsuits.
 
The designer, who does double duty at Mugler in Paris, is obsessive about defining the waist: here demarcated with ruffle-edge, zipper-streak corsets or lashed with bandage-like strips. Fit-and-flare baby dolls in leather and tulle provided some relief from the hold-your-breath tightness.
 
Executed mainly in cream, black and nude shades, the collection was graphic, sexy and more youthful than usual.

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RVN RTW Spring 2016

Newly inducted CFDA member and Los Angeles-based designer Ted Kim called his spring collection — also his debut at New York Fashion Week — an “urban jungle” as an homage to New York, where he got his start designing for Donna Karan, Michael Kors and Anne Klein before starting his own label in 2011.
Composed solely of graphic jacquard knitwear with a few suede and leather pieces mixed in, Kim’s collection drew from the city’s architecture in the textures and prints of his bodycon dresses and tops; one look was derived from the Art Deco style of the Chrysler Building. He also reinterpreted the works of two artists he discovered on a recent trip to Colombia: Fanny Sanín and Alejandro Otero, both of whom were devotees of geometric abstraction.
The colorful lineup fused tribal and industrial references in a feminine way, with some looks featuring fringe and mesh detailing. Most of the styles, like the ones worn by Katy Perry, Sofía Vergara and Beyoncé, were meant to hug the body, but Kim also offered some chic options that didn’t. These included a studded black-leather culotte jumpsuit and a long, voluminous striped jacquard dress with mesh panels. But it should be noted that

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The Marc Jacobs’ Spring 2016 Beauty Look: You Probably Can’t Wear It, but You Have to See It

Marc Jacobs closed out New York Fashion Week with a bang last night. There's a reason his show is the one to watch for hair and makeup—it's always something fun, crazy, fearless, and completely unboring….


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Style Notes: Emily Ratajkowski Makes Runway Debut; Burberry To Show Spring Collection on Snapchat


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Let Emily Ratajkowski, Joan Smalls, and More Show You Around Marc Jacobs’s Spring 2016 Show

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Marc Jacobs may have transformed the Ziegfeld Theatre for “One Night Only!” as proclaimed the posters and Playbills, but you can relive the moment again and again with our exclusive video of the event. From Emily Ratajkowski’s rehearsal strut to the band breaking into a rendition of the Beastie Boys’s “Sabotage,” we’ve captured all the exciting and elusive moments inside the theater. Watch it unfold above.

 

The post Let Emily Ratajkowski, Joan Smalls, and More Show You Around Marc Jacobs’s Spring 2016 Show appeared first on Vogue.

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Ready for Leather Weather? Meet Zana Bayne’s Bright Ideas for Spring ’16

zana bayne

Even if you don’t know Zana Bayne’s name, you probably know her work. The leather maven’s decidedly bondage-y designs—harnesses, chokers, skirts, bags, etc.—have been spotted on the likes of Debbie Harry, Zoë Kravitz, and Anja Rubik (who sports hers regularly with crisp white oxfords). And if an undeniably dark appeal has characterized Bayne’s designs in past, her tropically-tinged Spring ’16 lineup, dubbed Bossa Nova, brings a new side of the label’s aesthetic to the fore.

Taking cues from mod icons like Courrèges and Cardin, the designer introduced juicy pops of coral and raspberry leather alongside all her classic noir (whatever the hue, all pieces are made by hand in her New York studio). Graphic petal shapes inspired by her ’60s influences appear as one of Bayne’s signature lattice-like skirts—ideal for layering over a prim midi skirt—but also in the form of footwear. Both ankle- and knee-high styles mark a first step into shoes for the brand. And for the truly statement-making among us, look no further than the Side-Eye Hat: a quietly Surrealist, wide-brimmed number in jet-black leather with a generous peephole cut in the brim, perfect for a little shade in the sun—or throwing a little shade in the sun.

 



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Photo: Todd Pendu / Courtesy of Zana Bayne

 

The post Ready for Leather Weather? Meet Zana Bayne’s Bright Ideas for Spring ’16 appeared first on Vogue.

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Calvin Klein Collection RTW Spring 2016

The morning after. Francisco Costa titled his spring Calvin Klein Collection to conjure the intimate daze of undone sensuality captured in moments of deconstructed purity and grunge glamour.
The show was beautiful with a caveat: One of Costa’s main propositions was the oversize slipdress, loosely constructed to fall from the body with exaggerated soft cups. Phoebe Philo put a similar idea on her unforgettable fall runway for Céline last season. While Costa’s versions were different, more clinical and edgy with their poetically crude apron constructions and flap details, the connection was ready and waiting to be made. Costa has rights to the slipdress, a constant in his own oeuvre and an item native to the house he helms, but at the very least he should’ve put a few more seasons between his and Philo’s artfully deflated cups.
Moving on. The collection was divided between slick modernizations of two Nineties megatrends — neo-grunge and stark street minimalism — that are particularly relevant now amid the current Nineties renaissance. Fluid slips, camisoles, wide trousers and trenches came in shades of stark white and porcelain with deliberately large yet gentle proportions. To decorate, Costa slashed, traced seams in rough-hewn stitching, and left garments trailing with

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Marchesa Notte RTW Spring 2016

For their sister line Marchesa Notte, Georgina Chapman and Keren Craig referenced the same mood boards as in their main line, which this season had a botanical bird theme. “This one transgressed a little more into an English country garden feel,” admitted Craig, noting the lineup’s charming silhouettes and cascading florals.
From delicately ruffled sleeves to allover lace embroidery, the duo’s cocktail and eveningwear was unabashedly feminine and romantic this season. Yet there were a few femme fatale looks throughout, such as a fuchsia bustier mididress and a black gown featuring mesh cutouts and beaded gold embellishment at the waist — these darker, moodier pieces added a bit of edge to the saccharine. The standout number was a short-sleeved illusion dress embroidered with pink and purple flowers over a black bustier underlay, which hit just the right balance between sexy and sweet.

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London Knit Label Loma Previews Spring Collection

LOMA’S KNITS BRANCH OUT: London knitwear label Loma, which is showing its spring 2016 collection at Coterie this weekend, already counts Nordstrom, Ron Herman and Neiman Marcus among its U.S. stockists, and will launch in Saks Fifth Avenue in October.
Now founder Lorna Masters, who started the label in 2012, plans to expand closer to her home turf. “When I started the range I was living in Australia and that’s why it resonated so well, especially in California, because the lifestyles are very similar,” said Masters, a Royal College of Art graduate who designed for Nicole Farhi and French Connection before starting her own label. “California is a great market for knitwear because they don’t wear coats.”
The label has recently launched at The Shop at Bluebird and Harvey Nichols in London, and Masters said that now the label plans to expand into the U.K. and Europe, having recently appointed a German sales agent, U. Schramm-Badenhop. She will also present the collection during Tranoi in Paris in October, and is considering a presentation in London.
The label is focused on fine cashmere knits, in what Masters called “architectural” shapes. “I’ve always liked the idea of a bohemian look but done in a very

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J.Mendel RTW Spring 2016

For spring and summer, it makes perfect sense for a fur designer to offer more ready-to-wear than furs. And each season, Gilles Mendel seems to be more comfortable and creative with that reality in his eveningwear collection for J.Mendel. For spring, he paired short with long — a look that was virtually everywhere for night — showing gowns that were opened or slit to reveal asymmetric shorter skirts or panels; occasionally a short layer topped a long. Mendel also worked with lots of flourishes: tiers, cascades, flounces, ruffles, folds and metallic rings that looked like grommets and were used on far too many looks.

He had just the right touch with his graphic-print chiffon: a lemon and black Yagasuri-printed georgette halter gown with front cascades, a flirty black-and-white halter with a keyhole bodice, and a black and lapis graphic-printed chiffon look. The brush-stroked ombré organza shift with the low V back was also beautiful, but when the model turned around, there were those metallic rings again.

Were there furs? A few, including one of note — an intarsia vest in black and blue shown with a micro-pleated georgette skirt. It had Mendel’s inventive signature, but the ready-to-wear stood on its own this

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Marc Jacobs RTW Spring 2016

So much to process – on many levels.
 
That Marc Jacobs is one of fashion’s great impresarios is a given. Almost as much as he loves pure fashion, he loves fashion’s entertainment value, over the years becoming increasingly inclined to stage not just a fashion show, but a show. Both here and in Paris, his productions have swung raucous and wistful, lyrical and brash, always with pure fashion – and a pure, powerful fashion message – at the core.
 
On Thursday night, Jacobs flexed his showman’s muscle exponentially. The location, the Ziegfeld Theatre, provided the ruse: Movie magic! Drinks! Popcorn in cardboard! T-shirts in cardboard! “One Night Only” read the theater’s marquee outside on 54th Street, while inside, hot-pink video posters teased the main event, and pretty, fishnetted Marc Jacobs’ staffers worked the aisles distributing those movie-house essentials, Junior Mints and Hot Tamales.
 
From a fashion standpoint, the show was a bonanza, packed with great clothes and dizzying fun. But fun on a mission. This is Jacobs’ first collection following the dissolution of the Marc by Marc brand – but not the abandonment of the Marc by Marc price structure. In that sense, the event provided a template for what the reconfigured Marc

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Spring Break ConcCO – Alexa Formosa

Alexa Formosa - Spring Break ConcCO  artwork

Spring Break ConcCO

Alexa Formosa

Genre: Music

Publish Date: November 6, 2014

Publisher: Lex Formosa

Seller: Alexa Formosa


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NYFW Review: You’ll See a Lot of Marchesa Spring 2016 This Awards Season

For those obsessed with red carpet dress predictions, look no further than Marchesa spring 2016. Out of 34 gorgeous, ethereal yet gothic looks, many will surely be pulled and custom-fit for…


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Anna Sui RTW Spring 2016

Anna Sui’s shows always brim with bubbly energy. For spring, her runway was lined with palm trees — courtesy of her dear friend, knitwear designer James Coviello — so it was no great mystery what was to come. She took her audience across an ocean to the vibrant islands of the South Pacific.

Sui’s inspiration was her family vacation to Tahiti, but research and fabric selection for the collection had to be done before her trip, meaning it was based more on her fantasy of what Tahiti would be. So she played with traditional Polynesian influences mixed with American pop culture. Think Forties and Elvis in Hawaii, she said backstage.

The result: pineapple prints, seaside motifs, palm leaves and, of course, tropical florals. A Hawaiian shirt in Sui’s hands transformed into floaty crepe de chine dresses. Surf shorts were rendered in floral jacquard. Varsity jackets were embroidered. And there were plenty of colorful printed swimsuits. For fun, Sui also showed a hula skirt paired with a serape stripe jacket. Everything was accessorized with floral jewelry and leis made by Erickson Beamon for Anna Sui. And for the second season, Sui showed a few matching men’s looks as well. Being transported by fashion

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Threeasfour RTW Spring 2016

It’s been quite a year at Threeasfour as designers Gabi Asfour, Angela Donhauser and Adi Gil celebrate their 10th anniversary as well as the National Design Award for Fashion Design from Cooper Hewitt. Naturally, this milestone season led them to conceptualize a meta-retrospective collection for the label, “recasting elements from its design legacy,” they said in the show notes.
 
They set the ambience by projecting a large-scale fractal video by artist Alex Czetwertynski, which served as the ideal backdrop for the 3-D printed creations for which the trio has become known. Pioneers of the technology — at least in fashion — they have mastered the craft, as proven by their first look: an intricate white digital-lace mesh and Neoprene dress.
 
The designers also tend to play with unconventional materials, and this time it was a “milky” latex and mesh layered dress featuring a floral crystal appliqué in the bodice. On a more wearable note, they offered several printed cotton-sateen bodycon dresses in flesh and red tones.

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London: Designer Inspirations, Spring 2016

LONDON — From Balkan gypsies and Balinese textiles to hot Havana and Seventies Honolulu, designers took inspiration from all around the globe.
 
Mary Katrantzou
“Balkan gypsies and the magical realism portrayed in Kusturica’s ‘Time of the Gypsies’ — a film that demonstrates the traditional Romani culture, but also explores the influence of Eighties pop culture and its ability to permeate even the most isolated of cultures. This collection explores the juxtaposition between tradition and imposing modernity, and the dialogue between them.”
 
Margaret Howell
“The color is crisp, the clothes are casual. A graphic simplicity of one color set against black or white. Swiss cotton shirting, opaque but fine and papery to the touch. Cool Irish linens from sheer to closely woven ‘linen denim.’ The waist is emphasized with oversize trousers secured with an English bridle leather belt. Skirts are shorter and also focus on the waist, with a gentle A-line silhouette. Refined but sporty, the clothes are teamed with athletic sandals and white canvas shoes for a youthful spirit.”
 
Julien Macdonald
“I have taken a journey through the incredible island of Bali. I have been inspired by the intricate Indonesian textiles and paintings and the breathtaking natural beauty. The collection is bold and graphic with opulent embellishments and

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Theory RTW Spring 2016

Lisa Kulson used the word optimism to describe her spring lineup at Theory, which featured clean, modernized takes on the brand’s basics and suiting. “I was feeling a sense of lightness —  not just in the clothing but in the attitude and feeling,” she said of the collection, which featured a mix of soft, pale neutrals and earthier burgundy, mustard and orange tones.
 
As a whole, the collection struck the right balance between relaxed and polished. At the sunset presentation on the rooftop of Theory’s headquarters in the Meatpacking District, models were talking and  lounging about nonchalantly as they thumbed through magazines to emphasize the idea of the clothes fitting seamlessly into a woman’s lifestyle.
 
Blouses in ruffled chiffon or cotton poplin with peplum details added a dose of femininity to the brand’s signature suiting, which was marked this season by softer tailoring and cropped trousers. There was a luxe feel to the Italian fabrics, particularly a lightweight suede tie-neck dress in brick red, styled here as a tunic over culottes. And Kulson continued to introduce more prints into the collection, including a playful and sophisticated take on polka dots in graphic black and white.

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Chiara Boni La Petite Robe RTW Spring 2016

Most of Chiara Boni’s stretch jersey dresses, jumpsuits and gowns, in bright pinks and rusty oranges, paid close, sensual attention to the female form. Boni also did some printed and pleated versions of these in tulle and georgette that were quite pretty and more sensual than sexy. Where her second skin design aesthetic looked best was, predictably, in her sleek maillots, shown under flowing and sweeping printed-chiffon dusters.
 
Swinging in another direction, Boni showed some very pretty, ladylike flared dresses in a black and white cotton or an off-the-shoulder peasant look in a coral and white abstract print. This collection gave her customers options whatever their mood. She clearly she knows sex sells.

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Phil Oh’s Street Style: New York Fashion Week Spring 2016 Ready-to-Wear

new york fashion week street style

The post Phil Oh’s Street Style: New York Fashion Week Spring 2016 Ready-to-Wear appeared first on Vogue.

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Oscar de la Renta RTW Spring 2016

Signs were all around the Oscar de la Renta spring show indicating that Peter Copping has gotten settled since his arrival at the house last fall, when he was not only new on a big job but also navigating extremely emotional, hallowed ground. With sensitivity and reverence to his forebear, Copping made his own necessary adjustments and the results were splendid. For starters, he moved the runway out of the showroom to the Prince George Ballroom, where the set had the intimately grand ambience of a couture salon and the convenience of the ground floor — bye bye elevator crush at 11 West 42nd Street. Copping lobbied to relocate the show to make it more of an event worthy of the house. It was a good decision.
 
On each seat was a single red carnation, de la Renta’s favorite flower and a significant bloom in Spanish and Latin culture, which were the primarily references for Copping’s beautiful collection. He isn’t mounting a radical overhaul. The changes to the venue and the clothes are in the interest of updating and personalizing the point of view at de la Renta while remembering what’s appropriate for the house. Copping based the Spanish and Latin

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Narciso Rodriguez RTW Spring 2016

Narciso Rodriguez played to a pleasure principle for spring. “I wanted to see things much more relaxed…much more undone and easier,” he said.

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Hanley RTW Spring 2016

Nicole Hanley’s spring collection — which until this week had been known as Hanley Mellon — took shape after a recent trip to Havana, Cuba. Rooted in the idea of layering, the lineup fused contrasting earthy colors, cubic prints and rich textures for “an element of surprise.” Looks such as a mustard silk drawstring shirtdress worn over printed black-and-white jacquard jeans resulted in a spirited, eclectic lineup that was a nod to the Seventies.
 
Some offerings riffed on military silhouettes, including a safari vest and culottes with cargo pockets, done in bright whites as well as soft pinks, terra-cotta browns and burnt oranges, all with a sun-faded appearance. A colorful tweed vest coat with deep pockets and a hint of metallic sheen was a chic, statement outerwear option for the season.

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Simon Miller RTW Spring 2016

This season, Jack Sargent and Daniel Corrigan, the design duo behind Simon Miller, launched their women’s collection. Inspired by the American Southwest and all the natural textures of its landscapes, the tightly edited lineup featured tops and skirts in open-weave knits, classic ribbed tops and dresses, wide-cuffed denim pants and a suede sleeveless coat. There was also a made-in-Japan capsule collection, which included an allover dark denim look.
 
Sargent and Corrigan also launched calf-leather bags in bucket styles that were the perfect accessory to the laid-back collection. The bags joined the label’s strong accessories collaborations: Moscot x Simon Miller sunglasses; jewelry from Rebecca Pinto and Jojo Japanese sandals. Overall the women’s collection was classic Americana in a cool and modern way.
 
The desert tones worked well in the men’s assortment, especially in the terra-cotta suede jacket paired with ripped jeans, which the designers offered up in a looser silhouette. And the new aspects weren’t just in women’s. The brand also reintroduced knitwear and significantly increased its focus on outerwear for men — welcome additions to this pleasing and wearable lineup.

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Caroline Herrera creates mystery for spring 2016

Carolina Herrera is pretty in pink for spring 2016 at New York Fashion Week: The Shows. Rough Cut – no reporter narration.


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The Most Breathtaking Gowns From Oscar de la Renta Spring 2016

It's an accepted fact in fashion circles: the Oscar de la Renta runway will have gowns that take your breath away. Creative director Peter Copping made sure not to disappoint us with the house's spring…


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Zac Posen RTW Spring 2016

Zac is back. Just as his choice of venue — Vanderbilt Hall in Grand Central during rush hour — with a star-packed front row that included Amy Schumer, Bella Thorne, Jennifer Hudson and Christina Hendricks signaled a grand gesture, so did the direction of his spring collection. Backstage after the show, Posen said after establishing himself as a go-to label for red-carpet looks, he wanted to propose day options on the runway for his customers. He also addressed the transition in his show notes: “The idea is to blend couture techniques into the daywear and in turn, bring the daywear comfort into after-dark dressing.”
 
“I need a sense of ease, floaty-ness, softness and simplicity,” he told WWD, “but done with techniques such as cording, hinge-stitching, slits and then applying them to cottons and wool.”
 
Posen opened the show with a gathered-bodice sundress in black that featured one of the lacing techniques used throughout the lineup. It started under the chest and separated panels of a tiered full skirt. He also paired a fitted jacket with a full skirt in duchess silk, demonstrating ease can also mean polish. The looks alternated between day and night: a crisp white cotton shirt with an open,

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Rag & Bone RTW Spring 2016

Slim and sleek silhouettes, as well as sport and military references, anchored Marcus Wainwright and David Neville’s spring collection — which managed to be at once sexy and tomboyish. “Those references are the real foundations of the Rag & Bone girl and how she dresses,” said Neville backstage. Showgoers who made the trek to St. Ann’s Warehouse in Brooklyn were treated to a custom soundtrack by Radiohead’s Thom Yorke and a live choral accompaniment from 12 members of the Brooklyn Youth Chorus, who were stationed throughout the show behind an eerie black curtain.
 
Army pullovers, jumpsuits and oversize parkas were the most obvious takes on the military trend, rendered in fabrics like nylon and cotton-linen-sateen blends. Silk bomber jackets — worn over leather skirts and cropped tops — had an athletic appeal, especially when styled with the duo’s new high-top trainers with colorful laces. Some looks also bore a likeness to Nineties-era Helmut Lang, with oversize cargo pants and all-white outfits, such as a field jacket worn over a silk charmeuse shirtdress.
 
Knitwear was particularly noteworthy. There were orange and yellow versions done in tweed cotton tape yarn that had a textural, sporty feel. Cotton bouclé ribbed dresses in contrasting colorways on

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Marc Jacobs Switches to Ziegfeld Theatre for Spring Show

MARC’S FOLLIES: Liza premiered “Cabaret” there. Woody Allen chose it to open “Manhattan.” And now the historic Ziegfeld Theatre on West 54th Street will host Marc Jacobs’ spring show.
The designer has chosen the movie house — the last single-screen theater in Manhattan and the site of dozens of premieres and screenings from 1969 to the present — to show his spring collection. It will be the first time since 2004 Jacobs has shown outside of either the Park or the Lexington Avenue armories.
Though a spokesman for the brand was tight-lipped on details — “He’s incredibly protective about elements of the show,” the spokesman said, referring to Jacobs — this one looks to be something of a production. One clue might be in the hashtag for social media: #marcjacobspremiere.
In fact, to allow guests time to absorb all the elements of the setup, doors will open earlier than usual, at 5:15 p.m. and the show will begin at 6 p.m. on the dot.

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Studio 189 RTW Spring 2016

Rosario Dawson and Abrima Erwiah’s Studio 189 brand is the antithesis of fast fashion. The duo’s third official collection featured laborious African artisanal techniques such as hand-batiking, indigo dyeing and basket and kente weaving — the latter of which can produce only one yard of fabric in six weeks.
 
The vast, eclectic lineup, much of it unisex, was inspired by water, the color indigo, and the West African Adinkra symbol “sankofa,” which translates to the idea of looking back in order to look forward. Presented in partnership with the Lower Eastside Girls Club, it featured jumpsuits, patchwork denim jackets, hooded ponchos, wide-leg trousers, caftans and halter dresses in geometric patterns and abstract prints. There were also hand-dyed textiles made using a bògòlanfini mud technique from Mali. Rendered in Italian silks, cotton poplins, piques and jerseys, the looks had a relaxed, androgynous feel. The results paid off in a collection brimming with rich, colorful fabrics in which a personal touch was palpable.
 
The duo define their brand as a social enterprise headquartered in Ghana that champions African and African-inspired content through an artisan-produced collection; it partners with the United Nations’ ITC Ethical Fashion Initiative. Dawson stressed how integral partnerships are to the brand’s ethos. “If we embrace doing

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Jil Sander Navy RTW Spring 2016

In only his second season designing for the Jil Sander Navy label, creative director Rodolfo Paglialunga has changed it into a young, vibrant and playful collection. He pulled from many references for spring, but they all worked together in a lively melange. Eclectic prints — including an homage to Henri Matisse and minimalistic Hawaiian florals — could be found on everything from floaty dresses to asymmetric skirts. Multicolored jacquard patterns included pixelated patterns and a stripe that was based on an Italian sunbed fabric.
 
But the big message was layering: Skirts were worn over each other with the underskirt having a visible boxer waistband as a throwback to street style, peplumlike belts were created to wear over skirts or dresses — and even be around the shoulders. Cropped knits were key as they could be layered over anything and everything. Paglialunga also had a sporty moment with parka references, both as a skirt and a dress. It was a lot to take in, but somehow it all worked in a colorful and quite charming way.

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The Best Beauty Street Style From NYFW Spring 2016

The hoards of street-style photographers perched outside the shows in New York City may be fighting to get a snap of the most stylish attendees, but who says New York Fashion Week has to stop at the fashion? Ahead, the inspiring beauty looks that stopped us in our tracks.
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Tommy Hilfiger Spring 2016 Gives Us a Supermodel Pool Party With Gigi and Bella Hadid

Just in case anyone's ever wondered what a pool-full of gorgeous supermodels would look like, Tommy Hilfiger's answered that question. The designer wrapped up his spring 2016 show with a little dip, letting models like…


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Say, Does the Hair at DVF and Rachel Zoe’s Spring 2016 Shows Look Awfully Familiar to You?

When it comes to the beauty looks at fashion week, the inspiration spans pretty much anything and everything you can imagine. From the semi-vague (“Pacific Northwest girl”) to the iconic (“Brigitte Bardot on the beach”)…


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Edun RTW Spring 2016

Danielle Sherman has elevated Edun into a consistently well-rounded and highly referenced collection. Its refined global aesthetic and genuine artisanal sourcing translate well. On the flip side, at times some things seem familiar. Nevertheless, there was a freshness to spring — drummers worked their beat midaudience as the first look, a blue PVC coat with contrast stitching, came down the runway.
 
“Our main inspiration was the Kuba people of Africa. They’re celebrated for their textiles and their performances — that’s why I wanted to have the drummers, to celebrate that here today,” Sherman said backstage. The tribal influence was subtly expressed through natural fabrics and frequent use of fringe; a raw linen with a frayed hem was cut in an ample top and dress, while an oversize poncho with a fringed hem and extralong sleeves also came in a jumpsuit version.
 
Sherman cleverly wove in a Thirties approach to her silhouettes, which accounted for the lineup’s exaggerated volumes. But the more traditional cuts worked most effortlessly: A black fringed-hem halter dress and a black-and-white macramé and fringe number proved that marching to a familiar beat is often best.

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Prabal Gurung RTW Spring 2016

Prabal Gurung’s show opened with a group of monks chanting on the runway and the collection was intended to show a glimpse of what Nepal means to the designer. He was deeply affected by the 7.8 magnitude earthquake that struck Kathmandu, where he grew up, in April. Since then, he’s been diligent in fund-raising to support relief efforts through his organization Shikshya Foundation Nepal, and used his spring runway to bring further attention to the issue.
 
It was a lovely, sincere sentiment and the chanting made for a reflective moment, but it was not a somber show or a conspicuously ethnic tribute. Rather Gurung did glamour for spring, bathing filmy dresses and fluid evening separates in soft shades of Nepalese orange, rose and saffron. Working with the simple, clean shapes — slipdresses and deep-V sheaths — that have stabilized his aesthetic through his most recent collections, freed Gurung to dream on the fabrics.
 
A series of cocktail looks in silk organza coupé with brush-strokelike jacquards displayed beautiful, intriguing surface interest without showing off. A white cotton poplin slipdress featured precise eyelet that looked laser cut but, according to show notes, was impressively done by hand.
 
Gurung did his best work by jazzing up uncomplicated, elegant shapes

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They Are Wearing: New York Fashion Week Spring 2016

WWD went off the runways and onto the streets and sidewalks for the best looks from New York Fashion Week.

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