From Calvin Klein to Oscar de la Renta, Victoria Beckham to Brandon Maxwell, Carolina Herrera, Diane Von Furstenburg and many more…, see the best looks here:
Brandon Maxwell didn’t waste time. His first look out was a black leather mini on Joan Smalls. Legs for days countered by long sleeves—also black leather— and a covered-up schoolgirl collar and a sweet layered scalloped hem. Fierce, confident, feminine, smart.
What followed were body-con looks without being clingy; more molded and tailored precisely to his women’s figures and less restricted, whether he was working in leather, wool or cashmere. Jumpsuits and trousers with long wide legs; breathtakingly mini skirts and dresses; blouses and tops either cropped or carved out at the waist.
Maxwell likes to go big just as much as he likes to go body-skimming, showing a sweeping ballgown, dramatically in all black. But not before Bella Hadid sizzled along in a floor-length gown that screamed “bombshell.”
One of the neatest details was the way he treated sleeves on several dresses and tops: hyper-extending the sleeve and then carving out the front of it to create a cape-like effect.
Rodriguez kept coat silhouettes long and fluid with unstructured shoulders and collars and pants at a cropped length—the better to show off pointy-toed booties in matching gray, winter white, pumpkin and black tones.
His color palette spoke to the brand’s favored neutrals: black, camel, gray. Think of it as the triumvirate of luxury. But also injected were oxblood, gold, silver and military green for good measure—all used everything from printed furs to cashmere.
Kors’ runway also promoted diversity. Diversity of texture (fur, sequins, cashmere, leather, fringe!) and silhouette (slinky, cocoon, fitted, tailored, high-waisted), but also models. There were girls of every color and creed, size and age. Well, relatively on the age.
The sheer dresses with fur and feathers feel like the right speed for the gamine actresses like Michelle Williams and Naomi Harris. Harris could probably pull off just about any of these dresses, if we’re being honest. Beaded olive, dripping in delicate beaded embroidery, would be just the thing for Octavia Spencer.
Which brings us to the grande dames Viola Davis and Meryl Streep. Here, it’s more about the confidence of the woman and less about the dress. While Viola we can dream about Davis in one of those pale gowns with deep red floral embroidery, she could also pull off the understated strapless green silk. Streep? It’s anyone’s guess. Though she does like a bit of a plunging neckline…
The silk road continued for evening, with a bevy of lustrous long gowns in crushed monotone silk or subtle florals. In a few places, Lauren brought in an exotic theme, seen in the sari-like shoulder drape of one gown or the print of another.
There’s always an element of leather and denim chez Ralph, this time seen in sexy motorcycle pants, a jumpsuit and a great belted jacket worn with harem pants—all black-on-black.
Sporty separates like gently tailored blazers and button-downs mixed with day dresses cut either crisp and architectural or silky and fluid and crochet dresses. Lauren varied his silhouettes to give his clients variety but kept the earthy palette consistent, adding in leopard totes and satchels, snake platform sandals and bold, tribal metal necklaces to anchor it all.
Gabriela Hearst has quietly built an understated yet strong and loyal (and quite large) fanbase in just a few seasons. Women respond to her clothes, which can be described much the same way: understated, strong, etc. Fall was right in step, adding in vibrant color.
The highlight was the coats and jackets, of which Hearst wanted to offer options. An animal car coat topping matching pants stood out, while cashmere and treated cotton trenches came out in camel cashmere, soft pink and piped pale blue. There were even looser robe-like shapes with a casual throw-on-and-go appeal.
A silk printed skirt was paired with a simple cream turtleneck and topped off by one of many fantastic coats on today’s runway—all finished with a pendant necklace inspired by the designer’s father’s cigarette lighter. She’s a smartly dressed lady we wouldn’t want to mess with.
Continuing on the theme of deftly melding traditional female and male fashion tropes, a pussy bow blouse (another nod to Burch’s own mom) was paired with plaid pants and a matching plaid briefcase, it’s modern prep at its best.
Burch completed her Fall story with a range of embroidered gowns, the star of which was a bold blue and gold long-sleeved maxi dress—because sometimes a woman just wants to put on a beautiful dress.
The Olsens put to rest long ago any whispers of The Row being a flash in the celebrity designer pan. And fall was a continuing education in their brand’s trajectory, especially as they embraced bolder color for the first time with a single red puff coat and skirt.
OSCAR DE LA RENTA
OSCAR DE LA RENTA
And the grande dames can dream again of waltzing into a black tie in ODLR. For the grander among them, the fur-skirted dresses. For the more subtle, the strapless velvet edged in silver beads. And for those not quite of age to be “grande”, some smoking and tuxedo looks.
Open mesh, large scale stripes, colored denim, patent boots and corseted leather tops rounded out the runway. Lim has carved out a niche on the New York scene, a deconstructed, gender-blending vibe that is his own. So yeah, he’ll do romance — delicate lace dress, but on his terms: Victorian high neck with off-kilter ruffles, high slit detail and worn with sporty socks and mules.
When drama showed up, it was through movement and surprise. A pale due of pale dresses, one that was totally covered up with a cape-like addition that swept and swirled down the runway as the model walked. The other a spare golden long-sleeve top and skirt that was tied in the back with black velvet bows.
It took a while for color to kick in, but when it did, it showed up via bright blue, rich red and pale pinks and metallics. Tone-on-tone looks served to showcase the quality of textures, especially in Herrera’s knits.
DIANE VON FURSTENBERG
DIANE VON FURSTENBERG
Three seasons in and Jonathan Saunders is proving to have a deft hand at grasping the DVF mindset—strong, confident, color- and print-loving—while also gently but assertively inserting his own point of view. That is, a keen sense of when to let the colors and prints fly and when to rein them in.
The presentation format is the perfect vehicle to for the new age at DVF. The clothes can be seen up close to appreciate the craft of Saunders, but von Furstenberg herself —who has taken a step back to focus on her numerous other endeavors, most importantly philanthropic — is on hand to charm, woo and delight the masses as always.
One theme that ran throughout was an unbuttoning of seams—be it at the neck, shoulder, across the waist or dramatically down the decolletage. Tiny buttons—like you’d find on the back of a wedding dress—pulled together or revealing—detailed silver foil leaf pattern pants, crushed velvet dresses and winter white tiered frocks alike.
Marjan introduced footwear for the first time, which he calls “chukka loafers and flared heeled boots,” here a yellow hued pair provide a nice contrast to a dramatic white dress.
The designer also played in metallics, like this rose gold leather dress, fitted to perfection, with ultra long sleeves for added interest.
Women on the red carpet are, in essence, exotic birds. Not to boil them down to a basic description, but there’s bright plumage, a ton of drama and, at least in Hollywood, a fair bit of preening. Elizabeth Kennedy, who specializes in evening wear made in her New York City atelier, was inspired by the Golden-headed Quetzal, the Apo sunbird and the Raggiana Bird of Paradise, among others.
There was also a range of shapes meant to appeal to different ages. Shorter, strapless dresses detailed with feathers will speak to the young deb set, while a fluted skirt worn with a white blouse and cinched with black feathers has the kind of gravitas an older woman could pull off. And somewhere in the middle was a sharp black tux cut perfectly.
The accessories were sensational — boxy vanity case-like bags done in cognac, wine and rich brown leather, meant to be worn cross body or traditionally.
Studs and chains on bags and boots mirrored the detailing on clothes. But for as tough as it all seemed, there were softer—you might even say romantic— elements. Like the scalloped trim on a coat or the belled sleeves on several tops or ruffles of velvet tacked onto the bottom of mini skirts. Imagine Wang as the modern-day Byronic party boy.
Simkhai seems to be appropriately ambitious and ready to challenge himself even more, best seen in the highly-decorative jackets and dresses towards the end of the runway. One felt he was going for the kind of drama and execution you’d expect on Europe’s biggest runways.
Smilovic kept her shapes and silhouettes roomy and long, but not frumpy. A pair of shiny turtleneck dresses clung, hung and swung saucily, and were paired with matching leggings and velvet pumps. The color combo of green dress and shocking pink pump was especially fun. But interesting color play is also a Tibi signature.
As much as Smilovic showed tailored separates, it was done with a relaxed touch. The lineup was meant to relay a mood of effortlessness and feeling good, nothing restricted. Even cinched waisted dresses had roomy sleeves and skirts; a sexier, body con tuxedo had a knitted waist, and the gowns felt more like silk and velvet boudoir loungers.
For her first runway show, Ryan Roche laid out the plush white carpet set to the sounds of her daughter’s ethereal voice singing live. The designer’s way with texture and tonality shined through once again, punctuated by some well placed long furs.
While Roche has become known for her ultra luxe tan, blush and black pieces here she played with shades of red layered under a cool suede trench
A strong shouldered subdued take on an ’80s shoulder was a standout on a cherry red knitted maxi dress. This collection is chic comfort at its best.
That signature tan was still out in full force, done beautifully on a cashmere slip dress layered over knitted skinny pants with tonal pumps. Roche is taking her upstate hygge charm to the city once again and we’re fully on board for it.
Have you heard? Raf Simons is in town, and his aim is to reinvent the house Calvin Klein built. One pair of jeans at a time. And while he’s at it, clear coats, knit skirts and deconstructed suiting, too. Oh, and even the iconic logo got a subtle tweak.
Simons is all about the homage. His past collections at well known brands have proven that he is not one to completely reinvent the wheel willy nilly. No, he’s a fan of fashion history. Here, he sent out Brooke Shields doppelgängers—circa 1980—in the seminal “Nothing gets between me and my Calvins” era, wearing denim-on-denim. The mantra was printed on the back of the classic, slightly boot-cut jeans, actually.
Whether it’s elevating street style or demystifying luxury, the equation is appealing: a pale mink coat worn over cropped pants and tied men’s shoes; gently ruffled blouses and skirts in feminine prints and colors and a ton of camel cashmere mixed with cropped denim jeans (has the mom jean ever looked this good?).
Source: Harper’s Bazaar
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