Tag Archives: New York Fashion Week

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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


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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

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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


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Graey Fall 2009 Collection

Graey designer, Janet Kim, held her Fall 2009 Collection at Madison Court this year. It was a fairly small collection filled with very colorful geometric silk chiffon frocks. They’re playful and fun, but I can’t help but feel like we’re supposed to be seeing more useful daily wear clothing. I guess she does keep them at affordable prices though.


Photos by Monica Lo

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Carlos Campos Fall 2009 Collection

Carlos Campos’ Fall 2009 Collection was held at The Altman Building this year. I was cranky because the show was an hour late to start. But, I had the opportunity to shoot backstage and hang out with the models during their down time. Carlos wooed us with lots of onesies, tailored suits, ruffles, cute lacy stockings, and heavy black eyes. The whole collection was dark and sensual, like Catholic school uniforms gone sexy.


Photos by Monica Lo