Category Archives: fashion

fashion

Akiko Ogawa Fall 2009

akiko1Akiko Ogawa-This mid week show offered much of what appears to be a la mode in New York: asymmetrical structured jackets (in this case juxtaposed with draped skirts of the sarong sort). Akiko Ogawa presented an edgy take on Fall favoring fitted jackets with bold shapes and tailoring coupled with nubby sweaters and lean trousers. The collection reflected a sleeker take for the designer who in earlier seasons displayed a penchant for feminine overtures.

The most noteworthy element of the collection was the tension Ogawa was able to create both in fabric combinations as well as in combining structured jackets with delicately draped pieces. She paired nubby cardigans, and sweaters with lean trousers.  The overall look was youthful but edgy. The show opened with a nubby cardigan in a tealy blue belted and paired with sarong style skirt.  Ogawa demonstrated a flare for construction creating asymmetrical jackets that while daring retained a figure flattering shape. Ogawa took a stab at the ever so tricky jauper showing it in wool paired with a matching bolero style jacket in an admiral navy. Of the many jackets shown a favorite was a winter white version with large lapels.

The palette further reinforced Ogawa’s moody fall musing; constrained to a moody range of navy and black offset by ivory, a rose quartz tone and an ombre that slipped between the three. While ombres were all the rage just last Fall Ogawa’s version seemed worthy of note, perhaps because of the note of softness it added to the otherwise aggressively shaped jackets.

In moments the show became repetitive but the take away collection anecdote was lean and but not mean. In a season of tepid shows, Ogawa presented a collection with a spirited point of view that was worthy of consideration. Ogawa remains a talent to watch. Her command of balance and tension is worth keeping an eye on.

-A Coelho
Photos © Stevyn Llewellyn 2009.
View a slideshow of the entire Akiko Ogawa collection, below.

See the end of the show below:

See still photos from the show below.


fashion

Victorious Victorian Glamour: The Answer to Dire Times

Hererra1Carolina Herrera-‘The show must go on’ could easily have served as an epigraph for Mrs. Herrera’s Fall collection. The maven of glamour delivered a noteworthy collection of spectacular evening dresses, desirable cocktail dresses and enviable day looks. For Fall Herrera gave way to a new awakening of Victorian chic. It seems imperative to set the stage for this collection, and why it resonated so strongly. Dimly lit throughout the models seemed to stream from a single portal of light and then returned into that light. I couldn’t help but consider the poetic implications of the lighting- it seemed to speak to an awakening of sorts- or an enlightenment.  Could it be that Herrera was suggesting that in these dire times we have been offered an opportunity to tap into a greater awareness? One couldn’t be totally sure but it does seem interesting that the collection was partly inspired by an era well notated for its social awakening.  Context aside this collection did speak to the great hallmark of the Herrera aesthetic: understated womanly distinction.

With a graceful genuflect to the era of feminine awakening, Herrera gestured to a new kind of romantic glamour. In a time where showing more is often favored, Herrera suggested a new kind of sensuality- one that incites the imagination. Instead of lots of skin the designer sent out form fitting sheaths with sleeves that emoted sensuality instead tawdry vulgarity. The absence of skin made it that much more intriguing when it did appear through slit of an bell shaped sleeve or a flash of decollate between the matching bolero cover up thrown over a sweetheart cocktail dress. Coincidentally (or perhaps not) Ms. Herrera was recently written up by Vogue’s Plum Sykes for ability to make covered arms covetable. The designer’s signature white blouse was transmuted and rendered in metallic gazar paired with one the collection key items- the high waisted skirt.  Herrera has not looked so herself in seasons. The collection had a very clear, fanciful yet relatable sensibility that was slightly lacking in recent collections. Herrera played to her legendary strengths showing a bevy of gowns one more intriguing than the next. One particular stand out that spoke most clearly to the mood of the season was a green gown with corset and bell sleeved bolero- positively enviable. This collection was overrun with  all the great Herrera clothing I remember revering- this season ampt up- the sharp cut was still there but this season the clothes looked edgier more cool (for the Mrs. Herreras and Herrera Juniors of the world a like). This collection is what I hoped designers would do: a clear succinct slice of a label’s sensibility.

One welcome continuation from prior seasons was a continued exploration of textiles. Herrera has any eye for great fabrics. Before the designer was urged to design a ready to wear line she considered designing fabrics. This season she turned to gilded gazars, velvets and metallic tweeds to add a luxurious depth to the clothing. The palette was comprised of sumptuous autumnal tones grounded by black. Bronze, purples, and deep emeralds hues played to the darker sensibility of the season.

The show will certainly go on… and things will improve. I can’t help but consider that in these tumultuous times that we all could stand to take a little time to do some introspection- and re-awaken a greater appreciation for life and all it has to offer.  In the meantime perhaps we would all be wise to take a page from Mrs. Herrera’s book and face these dire times with style.

Photos and video slideshow © Stevyn Llewellyn 2009


fashion

Venexiana

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venexianaKati Stern, the genius behind the Venexiana label, is one of those overly-accomplished people we love to hate.  In this case, however, we just have to love her.  Ms Stern’s Fall 2009 Collection was simply “deco-dent.” Models looked as if they walked directly out of a Tamara de Lempicka painting and onto the runway—glamorous, statuesque and glowing in shimmery tones of gold. As per usual, we saw no shortage of fur and luxurious fabrics.  Rich, buttery satin; tonal, metallic jacquard; sheer, luminescent silk (and I do mean SHEER – panties were visible through more than one ensemble) and, of course, leather were the staples of the collection.  Stern also showed some black sequin-embellished dresses which were stunning – my favorite pieces.

Evidence of her former career (well, one of them at least) in architecture was apparent in the shape and lines of the pieces.  Even the hairstyle (every model wore the same), which was pulled back with geometric, blunt bangs, portrayed a sense of structure.  Proportion was long and lean, peplums decorated columnar and strapless dresses, and empire seams cut across many styles providing opportunity to combine fabrics and play with necklines and bodice treatments.  Asymmetry played a big role through hemlines, slanted seams and one-shoulder ensembles (as was the case with many designers this season – and last).  Ms. Stern kept things from looking too severe by adding pretty bows, rosettes, fluttery sleeves and feminine fabrics.  She showed a very cohesive and well-executed collection and I’m sure we’ll be seeing many of these looks on many red carpets.

-Stacy Lomman
Photos by Stevyn Llewellyn

art, fashion

At Home with Noah G POP

noahgpop1Home in Chelsea hosted the Noah G POPography fashion show last chilly Thursday night. A (short) red carpet was laid outside for the invitees. Artists, friends and family, and even NYC’s own Naked Cowboy made a fur coated, semi-naked appearance for the cameras. Outside the club guests mingled with a cleavage baring interviewer in front of a Hollywood premiere styled Noah G POP Banner. Female guests were clad in barely there mini dresses, opaque tights and fur coats, a staple of New York winter fashion. One stylish attendant wore a pair of gorgeous black satin pumps accented with gold trim. Fashion fans to seniors outfitted with oxygen tubes filled up the line to get into Home, a sight probably not so often seen there at this 27th street lounge. Noah G POP started off his event with an hour long open vodka bar and the DJ spinning top 40’s hip hop, as everyone made their way with Vodka mixers to the dance floor. Curiously, an air traffic controller waving light-sticks directed the crowd off the dance floor as “Womanizer” pounded its way through the speakers.

The models came out from behind the DJ booth sporting sublimation and inkjet printed silk jersey and cotton tees over dresses and dark pants, clearly showing that the focus of the design work was in the art depicted onto the apparel. The cut was slim and fitted much like a baby tee, and not very inspiring in the way of construction technique. Noah G Pop’s talent was conveyed mainly in his artwork on the far left wall, his signature Pop art style with a graphic design twist. The use of “tattoo inspired” print heavy on the glitz and rhinestones invoked one of Noah’s primary designer influences, Ed Hardy’s Christian Audigier, whom Noah jokingly confided in Modern Glossy of his plan to overtake. His Men’s line was smaller and simpler, black blazers with glimmering crystal and metal appliqués. Though a bit yawn-worthy in the name of couture fashion, the music and venue seemed appropriately distracting so that one couldn’t complain too much about the show’s lack of length and awkward segue into full-on dancing of everyone near the floor. Nevertheless, the interesting, shocking (did I mention the Naked Cowboy?), and artsy crowd made up for the fact that Noah G’ show slightly disappointed, and the vodka tonics didn’t hurt much either.

But one can’t blame Noah for trying out his creativity in other outlets, as artistic people tend to be good in other mediums. However, we’ll give him good credit since the line between Fine Artist and Fashion Designer is a hard one to straddle successfully. Bonus points also should be awarded since this event was hosted to benefit underprivileged children via the Rush Philanthropic Arts Foundation.
-R Em
photos by Stevyn Llewellyn
see more photos from the event below



fashion

Decidedly Rucci

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Chado- There are those who set trends, there are those who follow trends, and then there are the rare few who are always true to who they are- Ralph Rucci is one of those rarefied creatures. Once again the designer was slated to close Mercedes Benz Fashion week, and did he ever close it with thunder and awe.

Ralph Rucci presented a collection that was as visceral and tangibly heart felt as it gets. This was more than pretty clothing; this was an artist going deep within to a personal place and exposing it for all to see. One couldn’t help but feel a sense of privilege, as though you had been inducted into a scared sect- and this show was its code and secrets.

The thing to remember about Rucci is that his work deserves to be ranked with the Monet’s of art. Monet didn’t paint in the impressionist mode one day and cubist style the next- the work of an artist is more often than not a studied exploration of certain themes. In Rucci’s case: weightlessness. Rucci is not a man concerned with trends; his focus is rooted in pushing the boundaries of innovation and technique. For the past two seasons Rucci has been meditating on weightlessness. Using tulle as his foundation the designer has employed various applications to create the illusion of buoyancy. Tulle work continued this time it took the form inserts in knife pleated jersey dresses, it also was used as the foundation for fur strips pieced together for a coat. This season Rucci abandoned his favored ornamentations instead he focused more on simplicity and line. The increasingly important bold shoulder took on an ultra luxe look in this collection. Atelier Chado constructed the shoulder by building it from the center back then warping the fabric forward and draping it around the arm. The result of this manipulation is a bold shoulder that retains a gesture of fluidity.

What I found mystifying about Rucci’s collection was his ability to create vibrancy using very little color. That ability to create visual texture and intrigue is only another layer of the genius that is Rucci. The color palette was limited to a few tonal shades of sand, brown, black and a very methodical use of purple and orange.

Last season Rucci showed what at the time seemed to be his most consumer friendly collection, a collection that was clearly vying for a younger client. This collection was the fruition of last season’s aims, it was at once wearable, ageless and utterly true to the spirit of Chado. The collection began with a strong line of up very wearable looks including a considerable representation of trouser suits, knit dresses and rain coats. There was less in the way of gowns though there were several cocktail frocks. Audience favorites included a crystal studded cat suit worn under a feathered, chiffon gown. There were also a few of Rucci signature Zen gowns featuring the images of Eastern idols. While Rucci always marches to his own drum, he did offer some of the season must haves: leather trousers, a bold shoulder and fair dose of fur. In a moment of economic peril it will really be those can’t-leave-without pieces that sell. Rucci’s collection was chalk full of such pieces.

In a sea of trends and must haves it’s refreshing to see an artist who stays his course and remains true to his esthetic. At the end of the day Rucci is one of the great American designers of our generation and he deserves a degree of note for his continued contribution to elevating notion of American workmanship, quality and style.

– A. Coelho

Photos by Stevyn Llewellyn
See more images from the event below