Rooney Mara and Emma Stone at the Calvin Klein Collection show. Fantastic shoes ladies!
An opening white look has been prevalent at a number of shows in New York, but at J. Mendel, the snow white-fur coat, worn with white Manolo Blahnik booties, set the tone for the rest of the collection: uptown elegance meets downtown chic. Mary-Kate and Ashley Olsen, in the front row, certainly seemed happy. Inspired by a Vogue fashion story shot by Helmut Newtown at the Sagrada Famili cathedral in Barelona, Mendel’s collection was a beautiful meld of translucency—at times a bit risqué give the see-thru nature of the floor-length sheer pleated dresses. To help hide all the transparency, a series of coats were a testament to his ethos; but if you get one thing from Mendel for fall, let it be one of his solid coats. Might I suggest his nip-waisted paneled shearling coat?
Bar Refaeli, Stacy Keibler, Petra Nemcova and Taylor Momsen were the starlets front and center at the Marchesa catwalk Wednesday, where Georgina Chapman and Keren Craig presented yet another elaborate and absolutely exquisite collection that truly spoke volumes. Inspired by painter William-Adolphe Bouguereau’s angelic work, “A Soul Brought to Heaven,” the dresses followed the consistency of drama. Pale shades of nude, cream, ivory and blue were brushed with flowers and cascaded like feather details. The bronze and silver fabrics were all hand embroidered with gilded accents. In keeping with autumn winter’s sheer theme, shimmering skeleton body suits peaked through the dark shades of lace. A teal hand embroidered illusion dress with full tulle skirt was remarkable, as was a hand-embroidered gold and cream coat with pleated tulle bursting from underneath the hem. These gowns screamed for an Oscars moment two weeks from now.
In one word: comfort. Michael Kors for fall is a relaxed state of elegance, where looking good is synonymous with feeling good. Call it wintertime chic for a fast description, but the cozy mountain lodge feel from the first pair of looks set the tone for the collection (shockingly, not a single dab of bronzer was used backstage). Melded with showgirl qualities, the lineup of terrific separates—never once fussy or overdone—made these fabulously approachable wares. Among the standouts were large belted furs, red-and-black blanket-plaid coats and skirts, cable-knit sweaters (the chunkier the better), long and lean skirts and après ski pieces that made for the complete woman when complemented by the bias-cut satin and beaded gowns. As for the accessories? They were beautiful. Framed doctor bags, furry hats and Mary Janes stacked on metallic chunky heels required no extra effort.
Jewels were everywhere on Oscar de la Renta’s catwalk. From the blown-up versions of actual jewelry used as inspiration for his prints to the jeweled headbands in his models’ hair to the beautifully embellished cardigans and coats—and even down to the ombré sequined ankle boots—it was sparkles, sparkles, sparkles everywhere! There was plenty of black, as to be expected, but also a bevy of delightful ice blues and light pinks (two colors of the moment in New York) that will make his Ladies Who Lunch set happy. “Today’s woman doesn’t dress for seasons anymore,” said the dapper designer. Naturally, this was a show rich with the luxe and glam factor one would expect. There was Chantilly lace appliqué on chiffon blouses, a silver arctic fox collar, thick cashmere sweaters and a gown with a gold silk taffeta skirt. In his program, de la Renta included an itemized list of the kilos of jewelry his models wore, and they read like a what’s what of baubles: Russian gold, a multi topaz crystal ring, pearl and crystal earrings and so forth. As for the finale? Large and larger seemed to be the decree; tulle skirts in shades of rose, blue and silver marched out, some drawn up in the front like curtains, each one even more fabulously voluminous than the next.