Sheer Magic - Vera Wang

From the backdrop of a twilight forest, Vera Wang astonished her audience with a sumptuous fashion feast. Wang always shows a fascinating collection and next seasons vision was equally compelling. The juxtaposition of hard and soft is a Wang signature and she did not disappoint those women who rely on her for both powerful yet soft garments.

The first outfit was a layered black tulle top that was both slipped off the shoulder and yet cropped above the waist. Worn with black satin trousers tucked into black, open toe, ankle boots, you were prepared for it to be an all black, or at least dark, collection. But then an assault for the senses.
Gossamer draped dresses in sorbet colours with asymmetrical trains trailing behind; obi inspired quilted waistcoats, painted oriental dresses and stiff silk Mikado jackets left you hurriedly trying to take it all in. The asymmetrical trend is still huge in New York and one shouldered, draped dresses in silks and georgettes were anchored with knotty silk belts. Stand out looks were pleated heavy silk blouses worn with tailored shorts and a damson sequined shrug that looked like it was made of crystals or stalagmites.
Wang said she wanted the clothes to speak for themselves and accordingly the models wore their hair away from the face and neck, in exaggerated off centre beehives. A sort of bed head Geisha. Make up centred on shine with little or no colour and the silhouette, which was largely a narrow one, was both whimsical and structural at the same time.
Today’s woman needs choice and Wang gave them a sculptural collection that either stood away from the body in structured dresses and tops or snugly fitted the body’s contours by swathe and sheer. In these uncertain times, the smart Wang customers can be assured that she has delivered her potent formula yet again.

Modern Vintage - Halston

There are some vintage names that have a lot to live up to. Halston, being one of the greats from the sixties and seventies, is one such name. In its reincarnation by Tamara Mellon and Harvey Weinstein, it has been given the chance to show a twenty first century audience, the spirit of the late Roy Halston. But with Marios Schwab as Creative Director, this has not been an easy task. There seems little point in reviving a label, if you are not going to infuse the collection with the essence of the original genius. But this season, it seems that Schwab has done this.


Modern, floaty, tribal print dresses were followed by striking, Grecian sheaths in taupes and pastels. Some of the prints called to mind the colours of Monet’s Waterlilies and it was this referencing of the past, this peer into the archives, which found its influence in the bias cut satin slips, worn with retro style headbands. It was a nod to that strong woman of Studio 54 but it was current and fresh.
There was a brilliantly effective use of black jersey with gold leather and again, we saw an oriental inspired wrap jacket; a look very prevalent during this week in New York.

The vintage Halston drapery is thankfully coming through, though some of the tangerine jersey columns were a little complicated. However, it was a more than welcome change from his unreflective last season and one that he can justifiably be proud of.

Riot Of Colour - Marc Jacobs

As usual, the Marc Jacobs show was heavily anticipated. With this and his customary practice of starting the show at the scheduled time, he was ensured an attentive and enthusiastic reception. Both instances would have put the waiting audience in a good mood but what I like about Jacobs’ is his ability to not dress anything up to be more than it is. Stating that the “clothes are just clothes” does somewhat endear him to editors and journalists who are trying to decipher a coherent message for the consumer, without the sometimes fantastical protestations of the designer. Jacobs was aware of all the references to the 70’s and 40’s; but he just presented his ideas and left us to interpret them how we wanted to.

This show that had all the hallmarks of a Hawaii 5.0 episode, from the single exotic blooms used both as chokers and in the models hair to the two tone clutch bags, was never going to be quiet.
The Grace Coddington style hair was crimped and frizzy and parted to the side with flowers or diamante clips. Along with berry stained lips and midnight smoky eyes it gave a seductive Dorothy Lamour, 40’s feel to the outfits, that were predominantly of a disco groove.
Best examples of this were square framed sunglasses, high-waisted trousers, scarves tied over the head under large straw sunhats, satin shine hot pants, and golden glitter wedges.

It was Studio 54 glamour but with an uptown swing as the models marched on in clashing colours of crimson and rose pink. Vibrant 70’s geometric prints flowed over chocolate leather skirts and there was an interesting take on a suit. A high necked, saffron linen jacket, buttoned through and belted over a wide cropped trouser, expressed an independent mood that you could imagine during those heady days in uptown New York.

Most were not surprised that Jacobs bucked the trend for simplicity and piled on the excess with fervour. It takes bravery and a certain freedom of spirit to produce a collection so full of colour and contradictory to the times. But it was not a cerebral show. He was not trying to convey a serious, political message. He wanted to have fun. To him it was cathartic. To us, it was a blissful riot.

Whimsical Romance - Donna Karan

After a previous season that was near on all black, Donna Karan perhaps played to stereotype by going for an exclusively lighter palate for this coming spring and summer.

With cream, oyster, oatmeal and caramel being the only colours in favour, the collection had a innocent and spiritual feeling reinforced by the upswept hair on the models, rolled up and away to reveal the nape of the neck. Indeed, the body was much on show with exposed backs, asymmetrical straps and bare legs with wedge sandals to accessorise.

Despite the bareness, some of the collection was unremarkable. Cropped trousers with a capped sleeved smock was never going to break any records but then after 25 years in the business, Karan could claim to know what women want to wear. Judging by this latest offering, it appears to be bias cut, satin slip dresses with fluted sleeves and pretty, lightly printed, silk dresses with easy sandals.
If there was any structure, it was on the crushed jackets that were embellished only with lady-like corsages. Other intriguing examples were a floral print suit and a crushed caramel trench coat.

It was not a quintessential Donna Karan collection but with a name as blunt as Raw Romance, this collection was something different for her customer. It remains to be seen if they will respond favourably.

Historical Beauty - Carolina Herrera

From the T-bar shoes to the wide straw hats, there was a colonial feel to Carolina Herrera’s latest show. She stated that influences ranged from Korea to botanical plates and both of these elements were evident in the clothes. It was a collection that showed an old style glamour that is rarely seen and only from a true couturier. Zero or minimal jewellery left the clothes to speak for themselves but Herrera knew that’s what this product demanded.

The elegant compilation included oriental inspired wrap jackets in faded floral prints, black sheer sleeved blouses over wide palazzo pants and an incredible silk fitted dress that appeared as though made out of painted black lacquer.
Next came exquisite silk shift dresses worn with a contrasting single silk cord belt. These glided gracefully down the runway with only a wide neckline or a single structured bow as decoration.
Suiting followed, with painted panels, even on sleeves, reflecting those botanical prints. The choice of wide natural straw hats gave the collection a formal but charming overtone, which owed much to history and hinted at a more enigmatic time.
Evening wear was not forgotten with a series of painted silk gowns that were both regal and modern simultaneously and rich embroidered satin cocktail wear, ensured that the wealthy Herrera customer had every eventuality covered.

It was an inspired collection with every item, quite literally, a work of art. Art, like beauty, is often in the eye of the beholder and the word I heard most after the collection was “beautiful”. Bravo Carolina.

Goddess Prints - Diane von Furstenberg

After last season’s man’s-life-in-a-woman’s-body ethos, Diane von Furstenberg has taken a man on as her new creative partner. Perhaps this decision was meant to strengthen this ethos. So had the appointment been worth it?

Yvan Mispelaere, hails from France and accordingly there was an artesian leaning to this new collection. A vast array of prints appeared on every kind of garment from dresses to playsuits, and oversized jackets to camisoles. These prints were sometimes abstract and often clashed with others but somehow the look gelled and gave a real feeling of summer in the city. With the models scraped back hair, matt red lips and round sunglasses, the show took on a bohemian mood. But the collection was distinctly glossy, grown up and supremely wearable. Whether you’re a lady that lunches or a business woman, these clothes were powerful enough to define you as creative and as forward as von Furstenberg herself.

Silks and cottons in summer colours of lemon and mint, purple and lilac or black and white gave an optimistic and happy mood. These prints and colours were also carried forward into accessories such as bum bags (yes, really) and large structured shoppers. Dotted amongst the prints were several colour blocking outfits, all seemingly thrown together. These were amongst the most eye catching, probably because they gave your eye a rest from the complicated coupling of tribal and geometric shapes. Other items to watch were handkerchief hemmed wrap skirts and oversize hoody jackets. It was all very simple, practical and yet beautifully done. Perhaps a little masculine influence has paid off after all.

Contradictory Vibes - Thakoon

Thakoon has been hailed as one of the shining stars of the New York fashion industry. In his latest collection, he did not demonstrate this with a groundbreaking collection. He merely showed that he was confident enough to go his own way and to try something different. Something a little paradoxical.

A white double breasted trouser suit with narrow trousers was as covered up as it got as this collection of garments was ‘heavy on sheerness’, a contradiction in terms, surely. And there is no disputing that Thakoon is, like many designers this season, channelling an airy and light hearted vibe.

Faded blue floral prints on wispy dresses , full, gathered-at-the-hip mini’s, worn with bra tops and open satin shirts, nodded to a bohemian 90’s era and asymmetrical hemlines and necklines added to the if-you’ve-got-it-show-it mentality. But this wasn’t gratuitous flesh on show. Thakoon conveyed a nonchalant mood. This casualness, shown by the rolled up trousers and gauzy knitted separates, owes much to his downtown history.

There were glitzy elements too – sequin skirts and dresses and a snake-like printed t-shirt dress were stand out pieces. But it was the detail that distracted you from the cut or the fabric.
With oversized hooks and eyes acting as fastenings and occasionally doubling as embellishments, your eye is drawn to the cinching of fabric rather than to the bareness of surrounding skin. It makes for a very independent and individual look – not one for an older clientele, but one that a young customer wants and Thakoon has definitely provided it.

Summer Spirit - Derek Lam

In comparison to his previous season’s city-western theme, Lam’s new offering was one of tailored casuality. It is perhaps not surprising that he chose to continue the simplicity that has taken root in the fashion industry of late, but then he does suit this type of collection. One that shows both his San Francisco origin and his twelve years at Michael Kors.

Opening the show, with tailored blue denim separates over strappy wedges showed that Lam has embraced a young and fresher mood. Indeed, the collection conveyed a feeling of summer lightness throughout. The models’ long, clean, moving hair and minimal make up reinforced this lightness. As did the restrained accessories. Slouchy suede bags in champagne and dark ochre, ivory cuffs and double belts worn over knee length full skirts were the chosen accompaniments.

Fabulous white trench coats, suede shorts with black jersey t-shirts and simple white blouses with neutral separates, showed that Lam wasn’t out to blind us with science. He did mix things up a little though. Fitted playsuits and maxi dresses in tribal prints punctuated the unadorned dresses and separates. There was one bright splash of colour. A mustard yellow, linen tunic over shorts added a shot of heat. Other highlights included a sensational long sleeved, white column dress that needed no accessories to detract from its beauty.

With an assembly of neutrals ensuring an expensive, uptown theme, the collection was, overall, a conservative one. Keeping the colours to black, white, grey and blue, Lam produced an almost capsule wardrobe for the stylish women of New York and returned a quietness and logic that has been missing in New York for some time. It remains to be seen whether this brilliant designer will keep to this straightforward formula or will venture into a more elaborate aesthetic.

Urban Purity - Alexander Wang

A typically New York collection from Alexander Wang; and a departure from his usual sharp edged jackets and plethora of black. By his own admission, purity was an inspiration and this collection went right to the heart of the word.

From the predominantly white palate and the raw edging to the models bare faced, over oiled skin and painted hair, Wang’s collection was a calm current flowing through an ocean city still reeling from the fiscal problems of the past few years. For Wang, clearly concentrating on simplicity, showed that he can provide sensitive day wear, as well as his strong, metropolitan evening wear.

Canvas jackets with patch pockets and press studs worn over long dresses of almost parachute material gave the collection an urban ethereal mood. Gone were the dark hues and sexy prowler attitude of previous seasons. In its place were karate inspired jackets over cropped trousers, giving a sportwear feel that was enforced by ribbed cuffs on white silk bomber jackets and trainer laces on mushroom, open toed ankle boots.

Hemlines were long, layering used effectively and the waist dropped. Separates were clearly the mainstay with a few shapeless silk dresses in mint and terracotta thrown in. Graffiti prints and minimal gold and silver patching were the only embellishments though Wang did play with texture in the form of tonal chunky knits that slouched coolly off shoulders and delivered a comfortable and stress free way of dressing for his young, hip customer.
Abandoning any reactionary power dressing mentality at this austere time, Wang’s summer, using the optimism and energy of youth, is shaping up to be a relaxed one.