The Yeah Yeah Yeahs will release their fourth album, “Mosquito,” next week. And with it comes a new look from the band’s chameleon of a front woman Karen O. For one, she’s now blonde. And she’s into crystal-encrusted Elvis Presley style suits, the latest in a long line of wonderfully weird stage outfits designed by her bestie, the designer Christian Joy. We look back at some of our favorites (fishnets! zigzags! giant headdresses!) from Yeah Yeah Yeahs gigs past.

The post Our favorite Karen O looks appeared first on Metro.us.

Name: Bora Hong
Occupation: Designer for Tory Burch
What she’s wearing: “I’m wearing a vintage jacket, a Stella McCartney dress, Marni shoes, H&M trousers, and the bag is by Celine.”

Name: Amber Atherton

Name:Leila Kashanipour
Occupation: Jewellery designer
What she’s wearing: “I’m wearing a Celine jacket, a Chanel bag, a Kenzo sweatshirt, a Maje shirt, Church’s shoes, LeiVanKash Jewellery and ASOS pants.”Her style: “I like to give my look a bit of an edge.”

Name: Soraya Bakhtiar
Occupation: Blogger
What she’s wearing: “I’m wearing an Isabel Marant coat, Balenciaga leggings and shoes, a Uniqlo top, an ASOS turban and the bag is by Chanel.”

Her style influences: “I take inspiration from the runways and street style.”

Name: Marianne Theodorsen
Occupation: The Style Devil

The post London Fashion Week: Street style appeared first on Metro.us.

Monday, Feb. 11

A model walks the runway at the Ohne Titel Fall 2013 fashion show.
Credit: Getty Images

1 p.m It’s been a week of textured, technical knits, which is an area of expertise for Ohne Titel. Flora Gill and Alexa Adams have developed a reputation for manipulating knitwear in creative ways over the years. So I’m curious to see what they come up with this go ’round. For the new season, it’s a weaving technique that appears on striking looks such as a shirt dress worn over a delicate wisp of a silk and sequin skirt. Graphically, the weaving idea also plays out through a series of grid prints on pajama-like trousers, blouses and dresses. Best of all, these stylish things look impressively easy to wear. These are intelligent clothes for girls’ girls like Tank magazine editor and street style celebrity and J.Crew campaign star Caroline Issa, who styled the show. Flora and Alexa’s growing fanbased should pleased.  Kenya Hunt

A model walks the runway at the Donna Karan Autumn Winter 2013 fashion show.
Credit: Getty Images

2:10 p.m. Donna Karan’s collections always remind me of dancers — something about the way her drapey, bias cut dresses elongate the body strike me as being very Martha Grahamesque. If the choreographer was alive today, she’d look at home in any one of Donna’s sinuous jet black skirts that dance and swirl about the hips. The impressive thing is that Donna’s managed to create skirt suits that look about as comfortable to wear as a pair of yoga pants. That’s because her tailored jackets come paired with easy, jersey skirts that are free of any kind of boxy, boardroom stiffness. It’s a classic Donna Karan solution to a common urban working woman’s problem. I’m not quite sold on her experiments with texture, however. A chocolate brown gown made of collaged shiny and matte silk panels with a leather bodice seems totake things a concept too far.  KH

A model walks the runway at the 3.1 Phillip Lim Autumn Winter 2013 fashion show.
Credit: Getty Images

3 p.m. I always like how 3.1 Phillip Lim gives you just the right amount of tomboy with just enough urban grit and isn’t afraid to stick a bow on it. Biker babes are on his mind for fall. Not so much Harley Davidson fanatics but rather stylish city dwellers who can’t wait to ditch their corporate obligations to hit the open road. Their uniform: chic motorcycle jackets, quilted shorts that hang perfectly so and tough pencil skirts embellished with zippers. These looks are grounded in reality with artful layering (preppy oxfords under shrunkencrewneck sweaters, under buttery leather jackets), clean lines (the boxy double-breasted coats) and a lovely color palette (sweet pink, warm tan andrich teal.) Over the knee open-toe leather boots and cross body bags take the cool quotient into high gear. As I walk out the door, I overhear editors chatting about which pieces are already on their wish lists. This is one of those times when I wish I didn’t have to wait a whole six months to buy.  Tina Chadha

Jill Sander
Credit: Getty Images

4:20 p.m. Still buzzing from Phillip Lim, I trek over to view Jil Sander Navy, which is being shown in an intimate presentation, complete with little civilized finger sandwiches, rather than a grand catwalk extravaganza like it’s big sister line in Milan. The collection is exactly what you’d expect from the minimalist house: simple, beautiful tailored clothes, and at more affordable price points to boot. It’s not hard to spot the winners: a fitted bomber, cropped shearling and shrunken wool pea coat. Gimme!  TC

A model walks the runway at the Thom Browne Autumn Winter 2013 fashion show.
Credit: Getty Images

5:10 p.m. Unlike Paris, New York’s runway shows aren’t known for theatrics, fantasy or drama. So a Thom Browne affair is always a little island of creativity, eccentricity and risk-taking in a sea of slick, white box productions. Bring it. This season, Thom Browne’s theatrical set is a winter scene of dead, snow capped trees that stand like prison bars around men in suits who are blindfolded and taped to beds at the wrists and ankles throughout the room.They’re lying there as if they’ve been hunted and dressed for dinner. Naturally, the spectacle is an Instagram magnet. Hardly anyone is sitting in their seats because they’re too busy photographing the bondage scene on their iPhones. Not that I can judge. I’ve already posted three filtered pics of it all on Twitter. No one seems to notice that Sandra Bernhard is in the room,sitting quietly in the front row.  KH

5:15 p.m. If Tim Burton directed an episode of Twin Peaks and set it in the 19th century, it might look like this. It’s pretty safe to assume that Thom’s dazed, slightly sinister looking models are coming in for the kill. How else to explain those long, blood raid nails? Dressed in elaborately constructed dresses and skirt suits that drawheavily on English references (Prince of Wales check and tweed, a mixture of Elizabethan and Victorian shapes), his pale faced corpse brides circle the men, dangling long-stem red roses the way I imagine a serial killer would finger an instrument of some kind of torture. Storyline guessing aside, the clothes are much more of a fantastical statement than anything else. This is not the place to look for wardrobe staples, unless your name is Helena Bonham Carter. But let’s not forget that Thom was the man behind Michelle Obama’s inaugural coat. Strip away the exaggerated hips on a few of those wool, silk and tweed cinched-waist coat dresses and you’ve got a few timeless pieces that could work off the runway.  KH

Alice + Olivia
Credit: Getty Images

5:35 p.m. There’s already a line down the block for the Alice + Olivia presentation, or rather, party. Waiters walk around with trays of bubbly, or, for those on assignment like, ahem me, sparkling waterwith adorable stripped paper straws. Glitzy chandeliers and wallpaper transform the dingy warehouse space into an opulent ballroom. I feel like I’m in a nightclub, an appropriate backdrop for Stacey Bendet’s glamorous fall line. At least, I think it’s glamorous. It’s kind of hard to see the collection because the place is packed with editors, bloggers and buyers jockeying for the perfect Instagram or a chocolate cake pop, which are now being passed around. The clothes almost get lost in the mix, which says a lot about how crowded the room is considering that the collection is filled with eye-grabbing sequins, beaded embellishments and shiny jacquard. Standouts include a dramatic ball gown skirt with graphic florals, a sparkly grey sequin sweatshirt and skirt combo, and a sexy bustier jumpsuit styled with trim tuxedo pants. Wear these to any party andyou’ll own the crowd. TC

A model walks the runway at the Marc By Marc Jacobs Fall 2013 fashion show.
Credit: Getty Images

8:09 p.m. Marc Jacobs is perhaps the only designer who not only gets his audience in their seats on time, but a few minutes early. At any other show, editors don’t arrive until about ten minutes after the start time. But tonight, the entire place is completely full at just nine minutes past the hour. That’s impressive when you think about the fact that a lot of guests accidentally went to the Armory where he normally shows each season. He changed the time (it was originally scheduled for 4pm) and location due to the blizzard.  KH

8:15 p.m. Fashion just got dirty, literally. I’m realizing that the first pair of muddy sneakers I spotted on one of the male models was not an accident. They’re all wearing them under wide leg trousers that drag along the floor, and from my seat look slightly dusty as if the guys walked all the way back home to Park and 81st after barhopping on the Lower Eastside. Marc’s girls, on the other hand, look perfectly neat and put-together in a mix of tailored separates that come in retro, Seventies silhouettes and pretty dresses that would seem outright prim if it weren’t for their trippy graphic prints. Standouts such as a demure graphic top and matching full skirt or wide leg pinstripe pants worn under a three quarter length naval coat look like good wardrobe additions for college seniors preparing for their first big publishing internship in the city. And now that I think about it, I wore Marc Jacobs for my first big magazine job interview.  KH

The post New York Fashion Week Day 5: Marc Jacobs, Alive + Olivia and more appeared first on Metro.us.

Danes’ red Versace gown inspired stylist Peter Butler to give the new mom a “modern Jessica Rabbit” ‘do.

To start, Butler blew out her hair with a large, round, boar-bristle brush. Next, he curled her locks section by section using a curling iron with a 1 1/2 inch barrel.

To set the curls, he sprayed Danes’ hair with Frizz-Ease Moisture Barrier Firm-Hold Hairspray. To achieve the waves, Butler brushed through the curls with a paddle brush before applying Frizz-Ease Secret Weapon Flawless Finishing Creme for shine and hold.

All you need now is a hot red dress.

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Designer Ralph Lauren and the United States Olympic Committee have unveiled the officials uniforms that Team USA will wear during the opening ceremony parade. Ralph Lauren also designed the athletes’ uniforms for the closing ceremony parade and a collection of village wear apparel and accessories.

This year’s Team USA Opening Ceremony Uniforms feature navy blazers embroidered with the official U.S. Olympic and Paralympic Team patch as well as the iconic Big Pony logo. The men will wear crisp white shirts with red and navy neckties and cuffed cream flat-front trousers. The women’s uniform features a cotton scarf with red, white and navy stripes, paired with a knee-length cream skirt.

The official uniforms are topped with a navy beret with red and white stripes and the official U.S. Olympic and Paralympic Team patch and the Big Pony logo.

The sporty American looks were debuted this morning on NBC’s “Today Show” and modeled by soccer player Heather Mitts and fencer Tim Morehouse.

“It’s a privilege to play a part in the London Games and to celebrate the achievements of these premier athletes as they represent our nation on the world’s biggest stage,” David Lauren of Ralph Lauren said.

And you don’t have to be an Olympic athlete to dress like one: the Ralph Lauren 2012 Team USA Olympic Collection for men, women and children will be sold in Ralph Lauren stores, some department stores and on TeamUSAShop.com.

This isn’t the first time Ralph Lauren has outfitted Team USA. In 2008 in Beijing , American athletes wore wool navy blazers emblazoned with over-sized Big Pony logos, off-white wool trousers and white twill newsboy caps by the designer.

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At least, that’s how One Million Moms, a coalition of mothers against negative influences from the media, views the photo. The image shows two young woman embracing each other in a full-on hand-on-face lip lock. And One Million Moms wants you to throw out that filthy, filthy catalog, per a strongly worded statement on the group’s website:

WARNING! The April 2012 catalog from Urban Outfitters has begun arriving in home mailboxes the last couple of days. On page two of this catalog is a picture of two women kissing in a face holding embrace! The ad and catalog are clearly geared toward teenagers.

Additionally, the Moms want you to write a letter to Urban Outfitters asking that they refrain from sending this type of offensive advertising into peoples homes or else.

When you call be sure to let them know why you are unsubscribing. Tell them you will also no longer shop at their stores if you hear this type of advertising continues.

And, quite frankly, they’d like an apology. Oh, and one last thing — If you see any other vile propaganda floating around, be sure to let The Moms know. And then they’ll post something about that, too:

If you see a commercial or program which is offensive, email us the information. Many of you have done this, and it is very helpful.

The post Moms outraged over Urban Outfitters girl-on-girl kiss appeared first on Metro.us.

For more on fashion, follow me on Twitter,  or on Tracy’s New York Life.

The post Frumpy or fashionable: Confidence is always in style appeared first on Metro.us.

The decorated waist
Inhale and hold. The waist was a major focal point for the fall shows. Burberry Prorsum highlighted it with little bows, Etro played it up with horsey harnesses and peplums, while Fendi and Acne cinched it with wide, sculpting belts. This is probably the easiest idea to adopt now. Simply grab a ribbon and tie it around any one of spring’s trendy, ladylike dresses.

Clothes you can breathe in
Despite all the nipped and cinched waists we’ve seen all month, there was also an overall no-squeezing-required ease to a lot of the clothes designers showed for fall. Basically, you don’t have to have the perfect body to pull them off. Think relaxed and slouchy trousers (as seen at Balenciaga, Dries van Noten and Proenza Schouler, to name a few) and skirts that are forgivingly full and knee-length (Marc Jacobs, Rodarte and Rochas are good examples). So go ahead and eat the bun that came with that hamburger.

This fall

Dark and moody colors
The darker the color, the more on-trend you’ll be come fall. Burgundy, oxblood and purple were the colors of the season in New York and London, showing up everywhere from Diane von Furstenberg to Jason Wu to Christopher Kane. And black dominated Milan and Paris — just look at Gucci, Alberta Ferretti, Roberto Cavalli, Givenchy and Yves Saint Laurent for proof. You get extra points if you go dark from head to toe a la Rooney Mara, the most referenced girl of the month. But we suggest holding off until September before you start rocking this look: The “Girl With the Dragon Tattoo” goth thing can get a little hot and sweaty in spring.

Look-at-me outerwear
Technically, every autumn/winter show is an outerwear show. Coats and jackets are items that women rarely skimp on, so designers like to give plenty to choose from here. That said, the outerwear reached new heights when it comes to fabric innovation and embellishment — that’s a good thing when you consider that the winter coat is the only thing a person really sees on the street in winter. Our votes for season’s best goes to Prada (decorative and ornamental), Alexander Wang (slick, sleek and urban) and Jil Sander (soft, chic and romantic).

Never

2-D and 3-D?animal embellishments
Jeremy Scott attached a giant white unicorn to a black evening dress. And Jean-Charles de Castelbajac affixed life-size tucan heads to the shoulders of tweed suits. But unless your name is Lady Gaga, neither of these looks will go over well in the day-to-day.

The post The fashion month that was appeared first on Metro.us.

Estee Lauder “Mad Men” Collection lipstick in Cherry, $25, and creme rouge in Evening Rose, $40.
www.esteelauder.com

Follow Tina Chadha on Twitter @TinaatMetro

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So how do these designers win the approval — and buying power — of such iconic retailers? The people making those decisions, bidding against each other for new looks during each episode, weigh in.

Terron Schaefer, buyer at Saks Fifth Avenue
“It is all about contemporary fashion,” Schaefer explains. “This is a whole new concept in terms of television. Most reality shows, or all reality shows up until now, you vote with your telephone. But this one, you vote with your wallet, and you wear the winner tomorrow.”

Caprice Willard, buyer at Macy’s
“I think the thing to understand is that ‘Fashion Star’ gives us all an opportunity to have high fashion be accessible to every American,” Willard says. “[Each retailer] represents different aspects of the American consumer, so that particular design may have a difference in use in each of our stores. But the essence of the item will be perfectly represented, whether it’s in Macy’s, Saks or H&M.”

Nicole Christie, buyer at H&M
“We were really looking for a designer that had range and could bring something new to the runway,” Christie says. “At the end of the day, the design speaks for itself. I think it’s quite natural that we had some competition up there when bidding for garments on the runway every week.”

Celebrity mentors
Jessica Simpson, Nicole Richie and John Varvatos serve as celebrity mentors to the designer contestants. What tips were they hoping to pass along to the next “Fashion Star”?
   
“We really wanted to mentor all of these designers for having a lifestyle brand,” says Simpson, “not just trying to set trends, but to weave in and out of great trends, really making a name for yourself.”

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Tait, whose Quagmire Golf brand is one of the most trendy in the industry, was hand-selected by Palmer’s people to recreate the style that made Arnie a timeless classic, both on and off the course. Palmer was recently ranked one of “The 25 Coolest Athletes of All Time” by GQ, which previously named him one of the “50 Most Stylish Men of the Past 50 Years.”

Geoff, in 100 words or less, how does a guy from Canada go from working on a cruise ship to designing/reinventing golf icon Arnold Palmer’s clothing brand?

It’s all about following your passion and realizing that life is short. No one is going to hand you anything. You have to work your butt off and create your own opportunities. I’ve always wanted to do something great in the golf industry. After teaching the game on a cruise ship, I saw a market need for an alternatively styled golf apparel line and created Quagmire Golf with my business partner, Bob Pasternak. Doing things our own unique way for five years is what led to the relationship with Mr. Palmer and his team. It’s a dream come true.
 
Knowing our readers are interested in building their own business, what’s one tip you’d offer someone at a crossroad, deciding whether to take that plunge?

You’re only on this planet for a brief speck in time. If you have a dream, your window to make it come true is relatively narrow. Yes, going out and chasing it is scary. Yes, you’re definitely going to have to make sacrifices. But if you believe 100% in your vision and put everything you have into making it a reality, you’re skewing the odds in your favor.

If there’s a single most important break that went your way, what was it?

The e-mail from IMG and Arnold Palmer Enterprises asking if we would be interested in partnering with Arnold Palmer!!! I thought it was a joke but didn’t waste any time in doing some initial design sketches and having a few samples made. We met with their teams, made a presentation and the rest is history.

Was there a moment you said, “no way this will work?” If so, what did you do about it?

I haven’t ever doubted that we could pull this off, because I believe 100% in our determination and drive to make things happen. It’s obviously been a roller coaster ride, but doubt never enters the equation. There are enough pessimists, the world needs more believers!

What’s most important: The idea, the person or having the breaks go your way?

Great ideas and amazing breaks certainly play a role in entrepreneurial success, but ultimately it’s the person that’s most important. You have to control your own destiny and be willing to put your chips on the table, or you’ll be left talking about what could have been. I learned that the hard way a decade ago after I passed on opening a crab shack where cruise ships roll in on the island of Roatan in Honduras. The place is absolutely hopping today and I’d be sitting on a pile of loot, sipping island cocktails right now.  But missing that chance is what led me to seize future opportunities and go after them with all I’ve got.

You’ve launched the Arnie line during a time when everyone’s selling “bargains.” How have you successfully convinced consumers that your goods are worth shelling out more for?
 
The bargain brands actually do a lot of the convincing for us! The negative experience consumers often have leads to folks looking for better quality and brands to which they can relate. Fortunately, there aren’t many bigger brand names than Arnold Palmer. At 82, he’s still the King and very relevant in the clothing market, and a lot of other industries, too. In terms of our product, we’ve made certain to use high-end fabrics that feel amazing, are made to last and appropriately positioned. This combination provides real value that keeps people coming back. That’s a lot more sustainable strategy than competing on price.

Describe the day your phone rang and someone from Arnold Palmer’s team was reaching out to work with you.

I’ll never forget the day we were first contacted by Jim Neish at IMG. He said he’d been watching what we’d done with our Quagmire Golf line and wanted to know if we’d be interested in meeting to discuss a partnership with Arnold Palmer. My jaw literally hit the floor and I jumped at the chance. We really hit it off at the first meeting, and that’s been the case with all the great people at Arnold Palmer enterprises, including Cori Britt, the Vice President, and Mr. Palmer’s daughter, Amy Saunders. They’ve been closely involved in the re-branding from Day 1.

What was your “I get it moment” and did you know it right away? What are some ways our readers will identify their own?

My biggest “I get it” moment was early on in the development of the Arnie line when I visited the USGA offices in Far Hills, NJ, with Tom Williams from Buffalo Communications. The librarian, Nancy Stulack, was incredibly gracious and helpful in locating some amazing articles and archival pictures of Mr. Palmer. That’s where I came up with the concept of the 1950’s, 1960’s and 1970’s collections coinciding with Mr. Palmer’s peak of coolness. It was super clear that he wasn’t only dominating on the course. He was having a massive impact on popular culture well beyond the sport.

For our golf blog readers, what’s it been like working with Arnold Palmer? What’s he like as a guy, as a businessman? What’s his entourage like? Friendly? Intense? Protective?

Working with Mr. Palmer has been an absolute pleasure. When this opportunity first arose, my business partner Bob Pasternak and I were definitely nervous that the fun-loving Quagmire Golf culture would recede. This definitely has not been the case. In fact, we’re having more fun than ever and a big part of that is the relationship we’ve developed with Mr. Palmer and his team. He loves telling jokes and stories and is incredibly approachable. On the day-to-day, his daughter Amy Saunders and right-hand man Cori Britt have become our very close friends. It’s rare in business to cross paths with so many wonderful and supportive people, but we’re fortunate to be surrounded by quite a few. No one is territorial and, surprisingly, we deal with very few layers of bureaucracy.
 
How much input did Palmer have on the product? What has been his reaction and feedback?

I think it would be more appropriate to say Mr. Palmer had an impact rather than input on the product. That’s because the line was directly inspired by the clothes he wore over the course of his most dominant decades in the game. At one point early on, he even opened up to us his closets at home in Latrobe, PA. This allowed us to really get a feel for the designs, fabrics, and overall looks. He’s saved almost everything and it was awesome to be able to go through The King’s closets. His reaction to the designs has been tremendous. One of the coolest experiences of my life was being at a party at Bay Hill recently when Mr. Palmer walked in wearing one of our sweaters. That showed me how much he loves what we’re doing!

Funny, it’s been known that Palmer has a thing for the people around him being clean shaven. Yet his two new fashion guys – you and PGA Tour play Ryan Moore – are known for the scruff. Is he softening up, or open to new style? Were you tempted to shave before meeting him the first time?

That’s a great questions and funny, because I knew that going in to my first meeting with Mr. Palmer. I even asked his daughter, Amy Saunders, if I should shave. Amy told me to be myself and that he would respect that. I shaved quite close that day, but he still commented that we forgot our razors! When it came to Ryan Moore, he’s such a great player and so widely recognized for his on-course style, that scruff or not he was the #1 guy on our list when it came to us signing a PGA Tour ambassador. Mr. Palmer is his idol, so it made sense for everyone involved.

Fashion on the golf course has really stepped out in the past few years. In your eyes, what made golf prime for the overhaul from pleated khakis and cotton shirts to tailored fits and new materials? Is there something about today’s golfer vs. the players in the 80s? Does it simply reflect style and fashion changes as a whole?

Golf has traditionally been a few steps behind mainstream fashion, but always seems to follow suit eventually. There are even some people in Mr. Palmer’s office that like a classic look and occasionally still wear pleated pants, but now that the new Arnie collection is available they’re starting to make the change. The new materials, fits and youthful attitudes are really making an impact. I remember hating the outfit I had to wear when working at St. Thomas Golf and Country Club where I grew up in Canada. The pants were pleated and way too baggy and the shirts were oversized and ugly.  That played a big role in the Quagmire brand idea – Let’s make something people actually want to wear and feel comfortable in.
 
What do you say to a guy who plays on the weekends, has 30 extra pounds around the waist and couldn’t fit into a “designer” shirt unless it was XXXXL? Are the white belt looks only for 19 year old, stick thin tour pros? How do you design in a way to fit the masses, but also stand apart from the Dockers look?

It’s really easy to lose your design focus if you try and create clothing for everyone, but it’s definitely possible to create pieces that work for most people. That’s especially true when your templates are the truly timeless pieces Mr. Palmer has always selected. We have a few solids, along with some more fashion-forward looks so you can make a selection based on your age, body type and personal comfort level. As for white belts and euro fits, they look good on some people, but even being fairly young and fit, I stick with black belts. You can make your fashion statement in other ways, even without putting on a pair of garish orange pants!

What’s next for Quagmire, Arnie and Geoff Tait?
 
I’m super excited about what lies ahead for both the Arnie and Quagmire Golf lines. We’re constantly expanding and looking for new opportunities, like pushing our distribution channels globally and growing our presence in the college golf market. We’re also expanding our custom apparel business – which has included partnerships with Coors and a bunch of other major brands – and driving even more sales for our red-hot Quagmire Kids apparel line.

The post Behind Arnie golf: Classic Arnold Palmer style gets an update appeared first on Metro.us.

Kanye West
1. To call Kanye West’s Paris Fashion Week debut last October a disaster is not exactly an understatement. The day after his top-secret collection premiered, critics politely complimented his music before skewering his clothes. But you have to give the die-hard fashion lover credit for perseverance. Because he came back with a (slightly) tighter show — and an even starrier audience, including Alicia Keys, Kim Kardashian, P. Diddy, Swizz Beatz, Anna Wintour, Givenchy creative director Riccardo Tisci and a long list of others. As for the improvements: Unlike his debut collection, this show had a clearer vision. The clothes weren’ all over the place, and they fit the models properly. Adopting the season’s color of the moment, black, he churned out monochromatic leather and suede looks that were a little bit fetish and a little bit Parisian party girl before mixing in a few daytime options in ivory and nude toward the end of the show. The problem is that the work still looked derivative. It was easy to pick out the influences (Givenchy, Azzedine Alaia, Gucci, the list goes on), but hard to pull out West’s actual point of view. That’s not a good thing when you consider his prices; a pair of Kanye West shoes are currently on sale at the Parisian boutique Colette for nearly $6,000 — yup, almost $6,000. Women who are prepared to spend that kind of money would probably rather do it on Givenchy instead.

Alexander McQueen

2. Sarah Burton once again created something marvelous with a collection of ethereal, futuristic android clones — clones because the platinum blonde hair, metal belts cinched tight at the waist and visors remained consistent throughout the show. That said, it was a collection that progressed in stages (as did the color palette of white, black, blush tones, cherry and red). Burton kicked off with jacquard-detail skirts, booties and knee-high socks, followed by leather dresses with pom poms — outlandish, but the wildest moments were yet to come. Her models morphed further into otherworldly creatures, with shaggy styles in fur, extravagant ostrich feathers and tiered organza pieces – all gently bobbing to the beat of the models’ walk. Burton’s latest offering was her most confidently daring show to date, all the while maintaining the house’s unmistakable artistry.

The post Paris Fashion Week reviews appeared first on Metro.us.

Our favorites:

Necklace, $50

Hat, $10

Cardigan, $80

Shorts, $50

Pants, $80

Jacket, $99, Skirt, $60, Shoes, $100

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Sonia Rykiel

Haider Ackermann
Haider Ackermann has been on an unstoppable creative streak that heightens with each collection.  His Saturday morning show took place against a backdrop of rumors that he would be getting the creative director job at Christian Dior. And based on the clothes he showed, which were an incredible thesis on the art of jaw-dropping garment construction, he could handle the role of couturier with no problem. He showed complex outerwear with curved, sinewy lines that demanded to be studied at every angle. Some came with elaborately gathered peplums, others with beautifully draped backs. These were clothes to be collected as contemporary art —but also to be worn. And that’s ultimately what makes jaded editors give him a standing ovation as they did on Saturday. Haider’s work is artful, complicated and high-brow, without over-intellectualizing things. The clothes ultimately do what most women want clothes to do: make them feel long, lean and  beautiful. That’s the kind of skill that can only be developed with time.

Givenchy
Givenchy is always one of the most anticipated shows of Paris. Riccardo Tisci didn’t disappoint with a collection inspired by the equestrian world and the work of photographer Guy Bourdin. Forget the sexless, tweedy hunting set — Tisci’s horsey theme was racy with an S&M sensibility. There were riding jackets cinched tight; riding boots, jodhpur pants and furs (from a successful hunt, maybe?) teamed with leather gloves running high beyond the elbow and hinting toward a different kind of horseplay. All that was missing was the whip. What followed were pleated skirts, camisoles and cocktail dresses with lace applique in striking colors such as blood red and sage green.

The post Paris Fashion Week reviews appeared first on Metro.us.

Giorgio Armani
1. The creased Bermuda shorts created for Emporio Armani popped up again here. And like with his secondary line, the designer made a similar case for how versatile the organza knee-length trousers can be (wear them with tailored jackets for the office and underneath skirts  for evening). But even within the context of the more sophisticated main line, the shorts were a conceptual challenge simply because the length and higher waist line will add pounds to anyone whose legs aren’t long enough. The collection could have used more of his chic, androgynous suits with long trousers that opened the show.

Roberto Cavalli
2. With the Oscars overlapping, Milan has been surprisingly light on celebrities this week. But Roberto Cavalli made up for it by closing out Italy’s shows with none other than one of fashion’s starriest models, Naomi Campbell. It was an appropriate ending for a show filled with flamboyantly opulent clothes for the biggest divas — fur-trimmed T-shirts over leggy python bell bottoms, massive fur ball gown skirts with graphic silk blouses and sweeping animal-print, chiffon dresses under tough leather jackets. Each  look was richer and more dramatic than the next.  

Jil Sander
3. “You can never leave without leaving a piece of you,” Billy Corgan sang as the models walked. It’s a testament to how Raf Simons made the label his own that the overall sadness about his leaving Jil Sander seemed to overshadow any buzz or excitement about the founder returning to her namesake brand. News that the Autumn/Winter ’12 collection would be Simons’ last instantly made the show the week’s hottest ticket. And afterward, people talked about it with an “I was there” type of reverence usually reserved for farewell concerts by big rock bands. The sentimentality of it all could have easily eclipsed the clothes, if they weren’t so sublime. For one, Simons worked with color, specifically romantic shades of red and soft pastels that gave some much-needed contrast to all the moody black, charcoal and wine we’ve seen this week. He also continued the outerwear story that has been dominating Milan, but with a lighter, more elegant touch — and thankfully not a dip-dyed fur sleeve in sight. His coats and corseted dresses came in voluminous, vaguely mid-century shapes, and seemed to be an evolution from the full skirts and dresses he showed for spring. The clothes were a continuation and yet, still a definitive end — at least for the house of Jil Sander. In the meantime, we can hope the rumors of his taking over the reins at Christian Dior are true.

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Then the London shows came along and things started to change. In Christopher Kane’s hands, the shade became sexually charged, gothic and a little dangerous on his leather-trimmed dresses, padded coat and cigarette trousers. To be frank, Kane used a shade that more so resembled freshly drawn blood than living room curtains with a tech-y, moire fabric that changed tones as the models moved. And that’s exactly what made it so memorable. The costume designers for “True Blood” should take note. Vampire Pam’s closet could use an update.

Acne, meanwhile, gave burgundy a futuristic sheen in glossy leather pieces such as sleek trousers, a belted sculptural coat and full skirt. They looked subversive, directional and, yet, timeless. You could wear these without looking like you’ve succumbed to the trend of the season and pull them out a few years later and still look modern.

Most memorable, though, were Sarah Burton’s sublime plays on texture at McQ. Burgundy looks best when done in rich, plush, touchable things and Burton exploited this to maximum effect. Take her V-neck dress made out of shaved mink on top and embroidered velvet on the bottom, accessorized with leather elbow-length gloves. It looked glamorous without reading old; it was romantic while still maintaining an edge  — a world away from the suburban living room.

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Philips’ Top 3 tips:
   
Invest in an eyelash curler:   “All women should have an eyelash curler. This also applies to women who don’t wear makeup. It’s not a dangerous tool, although a lot of people are terrified of it. One pinch to the lashes can work miracles as it opens up your eyes and makes you look fresh and awake. Add some mascara, and you’re ready to go.” 
   
Apply just the right amount:  “It’s a criminal offense to wear too much makeup, just as it is to wear too little. It’s all about striking a balance and wearing a look with confidence. Something that always looks wrong is not blending your foundation in so that you can see the line between the face and the neck. It’s so easy to avoid: Blend it out with your fingers and check the lighting in your bathroom.”
   
Remember, makeup can’t fix everything: “Every phase of your life has beauty in it. We all want youth, but at some point we have to realize that we’re getting older and it’s not all about foundation or mascara. If you eat and live wrong, it will have an impact on your looks. You know the tricks:?Eat more vegetables, stop smoking, drink water and cut back on alcohol.”

On color

“It took 24 tries in the lab before we got the right shade for Le Vernis in June. I wanted it to be the color of this plastic bag handle I got from some random shop in the States. The bag was black and the handle was this beautiful orange plastic. It had to be that exact shade, but in lacquer. It had to look just like the plastic, not transparent or pearly.”

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1. Ralph Lauren
Ralph Lauren is partly responsible for the feminine ’20s -inspired moment you’ve been seeing in the March issues of fashion magazines. So it came as somewhat of a surprise to see him go in the opposite direction for fall with classic, mannish tailoring. The collection was quintessential Ralph Lauren through the lens of British elegance — elongated three piece trouser suits in tweed and Prince of Wales check, chic tuxedos worn with top hats and canes and smartly tailored trousers paired with fair isle sweaters. The femininity emerged later through a series of bombshell gowns that came in satin, velvet and elaborate beading. They displayed a rich, decadent craftsmanship rarely seen in a week dominated by sellable sportswear. 


2. Calvin Klein
Sometimes a garment is so special that it demands to be in all black —all the better for the eye to focus on the technical prowess that went into making it without any distraction from color or print. This was the case with Francisco Costa’s mostly black plays on architectural shapes, volume and texture such as a midnight-glazed top in wool and mohair worn with cropped, contoured trousers. Each look was precise, confident, controlled — and intense. One could easily see any  of Costa’s dresses on Rooney Mara, who sat in the front row. To highlight the seriousness of it all, models speed walked down the runway like ambitious women with places to go, exactly the kind of shopper who would gravitate towards these clothes. 

3. Anna Sui
This was Anna Sui’s love letter to the ‘60s. Sui drew inspiration from various references from the decade, including mid-century modern legends Charles and Ray Eames and Alexander Girard, the designer best known for his colorful, folk-inspired textiles. She channeled them into her signature playful aesthetic, with results that included cuckoo clock prints, plaids and floras in bold sea foam, lime, orange and hot pink that appeared on just about every shift dress, jacket and blouse in the collection. There was also a school girl/secretary vibe. Models in oversized glasses wore cozy cardigans in mohair or chunky crochet patterns over sweet dresses with Peter Pan collars or chic, long plaid coats with matching skirts. But the best part was the feeling of happiness the show projected, from the models’ cheery demeanor (it’s like they were instructed to smile) to the jeweled unicorn applique to the cute owl-shaped hats and gloves. This letter was definitely sealed with a kiss. 

4. Proenza Schouler
We can all now safely declare Asia a trend. Lazaro Hernandez and Jack McCollough joined the growing list of designers who conjured up the Far East in their collections. The reference first surfaced in the impressively constructed white origami-like dresses, jackets, blouses and wide-leg trousers that opened the show, a cool subversion of the traditional karate uniform — almost as if an ass-kicking Japanime heroine went on a shopping spree at Barneys New York. Kimono sleeved coats and chinoiserie print dresses fleshed the theme out even more. It all made for a tougher, more cutting edge interpretation of Asia than the other versions we’ve seen this week — think “Kill Bill” vs. “The Last Emperor.” 

5. Michael Kors
Only Kors, who made financial headlines this week when he had a 27 percent jump in stock price this Tuesday, could make lumberjack plaid  ooze luxury. But his craggy theme saved the clothes from veering into the “Lifestyles of the Rich and Famous” trap that his collections have fallen in during seasons past. What the rugged elements did was add an urban edge to his conventionally glamorous look. For instance a Chesterfield coat with an oversize fur collar would have read totally differently if it had been done in Kors’ trademark gray or camel. But in red and black buffalo checks, layered over leather trousers, it looked modern and cool. Sometimes his outsize outerwear reached fashion victim proportions, though, such as the case with a belted Alpaca fringed coat that practically swallowed the model wearing it. 

6. Philosophy di Alberta Ferretti
Bring on the winter white! For those who think black is the only way to look chic, behold Alberta Ferretti’s fall offerings. The designer started her contemporary line in a palette of elegant bone, which enhanced the minimal, slightly futuristic affect she seemed to be going for with looks such as a skirted suit cinched at the waist with a clear plastic belt. In another look, a jacket came with a plastic overlay. But it was by no means an austere or tech-y show. There was a strong focus on officewear with a modern edge, such as her silver tuxedo suit, as well as plenty of sparkly pieces for when the computers get shut down. 

7. Alexandre Herchcovitch
It’s been a week of subdued elegance so far, and Alexandre Herchcovitch’s refined collection underscored that point. This is the guy, after all, who once sent models down the runway in giant, cage-like football shoulder-pads in hyper-bright colors. His work for autumn continued the experiment in ladylike dressing he started last season, but in a much less saccharine way. It was bold in color choice with a quiet autumnal palette of burgundy and saffron that quickly gave way to a range of shiny and matte golds. But the clothes were quiet in terms of the ideas he explored — simple suede dresses, tops and skirts with subtly curved lines. The best part was his use of fabric. Who knew lace and suede go so well together? These were dressy clothes for unfussy girls. 

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1. Marc by Marc Jacobs
Was it a mid-century Russian military moment? Or French student activists caught mid-protest? Or New York hipsters channeling ’80s Irish punks? It’s always an interesting exercise guessing which references go into a Marc Jacobs show. One thing we can say for sure, the austerity of his secondary line made quite a contrast from the evocative eccentricity he showed for his main line a few nights earlier. But the intelligent plays on volume and proportion were still there. His Marc by Marc Jacobs girls had an untouchable, buttoned-up seriousness to them with wide, knee-length skirts, oversized military jackets, boxy coats and crisp Oxford shirts that obscured the body to the point of almost de-sexualizing it. Hormonal club kids, they were not. Glossy officer’s drum hats; lace-up, high-top boots; and a color palette of mostly charcoal, black and white — with the occasional pops of red and blue — added to the overall intensity.

2. Tory Burch
Set in Alice Tully Hall’s floor-to-ceiling glass lobby, Tory Burch’s fall show stopped traffic on 65th Street yesterday morning. Commuters stood outside, mesmerized by the pretty young things and the lovely creations they wore. We suspect that’s the same reaction any woman wearing Burch’s ultra-feminine clothes will receive. Models with their hair pinned in French twists came down the runway in ladylike tweed cardigans; knee-length skirts; and dreamy chiffon, tulle and organza separates fit for a princess — or UES royalty. Maybe the Kate Middleton effect set into the subconscious of New York designers, because fall is all prim and proper. There were moments of this good girl gone bad, though — the show notes say Burch’s girl falls for the wrong kind of guy. Body-hugging silhouettes and skintight leather pants hinted at some naughty behavior — which is great, because nice girls like to have fun, too. 

3. J.Crew
The room was so crowded that editors could hardly get close enough to the models to see the clothes. That’s how big of a draw the J.Crew presentation has become. The main attraction was — as is always the case with J.Crew — Jenna Lyons’ unique take on sportswear, which famously includes a modern, offbeat mix of print, texture, color and ideas. This season, it was produced under Tom Mora, Lyons’ new head of women’s design, with Manolo Blahnik creating the special capsule collection of pumps. It all came together to create a rich-looking mix for work and play. The best moments from the collection were the most unexpected, such as a Fair Isle sweater tied casually around the waist of a glittery sapphire colored dress, which was worn quirkily over a crisp white button down. On paper it sounds bizarre and wrong, but styled together it made for a cool, fresh take on fashion’s proverbial day-to-night dressing. Meanwhile, a pair of spotted, tailored, black-and-white trousers worn with a contrasting mint-colored zigzag sweater and trim tan coat was classic J.Crew at its best. 

4. Sophie Theallet
Here’s a bright spot for fall: Sophie Theallet’s take on femininity played on a single Baroque print in a variety of rich colors and textures. The graphic appeared either as one layer of an ensemble or piled on with other pieces of the same print, such as a jade vest over a wine turtleneck with a purple satin pencil skirt — all in her Baroque pattern. It sounds a bit much, but looked artfully put together and yet carefree. You can see a quirky girl having fun and standing out among a sea of uniform grays and blacks. There were some noteworthy solid-color pieces, too: a bright red satin dress boasted sex appeal; cropped red or purple pants screamed “working girl’s best friend” (perfect with flats for the office or heels for after-hours); and an ivory halter dress played peek-a-boo, revealing red straps on an otherwise bare back. 

5. Diesel Black Gold
The first look in Diesel’s high-end line was a black-and-white sweater with a print of a woman crying. What followed was a collection with an “I’m not taking any crap” attitude. Sophia Kokosalaki sent out menswear-inspired separates in sleek black leather, leopard print and pony hair. There were cropped vests, slouchy pants, a denim shirt, boxy blazers and low-slung leather skirts. Jeans, when they did make an appearance, came in prints and cropped at the ankle. It was a cool, edgy collection of looks that Alice from “Resident Evil” would totally wear in her downtime. Or, you know, you, when you want to feel a little badass. 

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1. Marc Jacobs
Like the cold front that blew in this week from across the Atlantic, an undercurrent of Anglophilia swept through the shows yesterday. Marc Jacobs, New York’s most prominent and influential architect of trends, showed a directional collection of layered ensembles that made subtle nods to the Queen’s land. It capped off a day peppered with references to the United Kingdom. From the first look out — a giant, furry Stephen Jones-designed hat piled on an outfit that included a cape worn over a voluminous coat on top of a slick, tiled, opalescent dress over cropped trousers and pilgrim shoes — the show had an air of madcap sobriety to it. Each piece in and of itself was luxurious (richly embroidered skirts, lavish brocades and elaborately engineered patchwork coats), but worn in such a way that it created a sense of pathos. It was as if Jacobs’ muses were guarding themselves against brutally glacial, hard times — wearing their clothes as both creative statement and protective armor. This collection may have been wild, but it seemed to capture the current climate (both social and meteorological) in a way that few designers have this week. In terms of what that means for your wardrobe, expect Jacobs’ play on proportion and layering to trickle down to your favorite mass-market store faster than you can say Elizabeth II.

2. Donna Karan Collection
This show was really two in one. Karan opened with her Casual Luxe collection, which, according to the press notes, was “tailored for the streets of New York” but on the runway appeared to stem from Balmoral Scotland. These were heavily layered cold-weather looks with cozy, chunky, shearling outerwear; oversized tartan blanket knits; and sweeping kilts. It was a strong, covetable collection that, if expanded, could have easily been the main attraction. Instead, Karan segued into black-tie dressing for her main line. It featured mannish pinstriped suits and sexy twists on tuxedo dressing topped with perky little fedoras designed by Stephen Jones. The tailored looks impressively advanced the general feeling of polished sophistication in the air this week. But it was her rough and rugged plaid offerings at the beginning of the show that were the most memorable. 

3. Rodarte
Over the past few years, Kate and Laura Mulleavy’s following has grown considerably, thanks to their lower-priced collaborations with Target and Opening Ceremony. That might, in part, explain the increasingly wearable direction they nudge their line toward with each season. Their artful clothes were long the stuff of magazine editorials, gallery openings and movie premieres (Natalie Portman, Dakota Fanning and George Lucas all sat front row at yesterday’s show). But any one of the Outback-chic coats, rustic dresses and sweet separates the sisters showed for autumn could transition seamlessly to the street. Their beautifully constructed shearling coats — sure to be a hot item next fall — were the kind of winter item a girl could live in every day, while the laser-cut leather dresses that followed could easily and surprisingly go from a work day to night out. And yet all of the clothes maintained that cool, rarefied quality we associate with the brand. Let’s just cross our fingers that this new wearability leads to a secondary line that their growing legions of fans can afford. 

4. Betsey Johnson
Betsey Johnson has toned down the crazy. (OK, maybe just a little.) Inspired by England’s mod scene in the ’60s, she started the show with black-and-white houndstooth shorts and a floor-length black coat that were unaffectedly cool. In true Betsey style, an assortment of looks (casualwear, workwear and, of course, playwear) and prints (pretty florals, stripes, plaids) followed. But unlike seasons past, they were less busy and had a more mature and wearable sense to them. Don’t get us wrong — there were still plenty of cute, over-the-top elements: an orange coat with neon-pink, faux-fur trim; voluminous, strapless dresses; and one animal-print, skintight jumper that would make Catwoman blush. But this is a collection you can see on more than just purple-haired tweens with Hello Kitty lunch boxes. And in case you’re worried, she still ended the show with a cartwheel-into-splits on the runway. 

5. Ohne Titel
Technically, Flora Gill and Alexa Adams’ hyper-graphic woven knits were almost too good. Their checked jackets, scarves, dresses and skirts were the kind of impressive feat that looks so special on the salesroom floor that you feel compelled to invest in it. But then you take it home and realize it makes you look like a graphic design experiment. It was a specific look that requires a specific woman to pull off. The more subtly printed pieces that came toward the end of the show (striped, body-hugging dresses; sleek trouser suits and a streamlined leather shift) had a broader appeal. 

6. Jenny Packham
It felt like an Oscar night preview show at Jenny Packham — as per usual. Taking her cues from the vixens of film noir, Packham sent ’40s-inspired gowns down the runway. There were long, lean silhouettes and pencil skirts belted at the waist; short, sparkly, one-shoulder cocktail dresses; sleek, sexy jumpsuits; and just to shake things up, a voluminous, floral-printed showstopper. But any nominees worth the golden statue should choose the glamorous and slightly subversive oat-colored gown with the plunging neckline and crystal-embellished shoulders that snake up and around the neck like a choker. She would be a winner in our book. 

7. Erin by Erin Fetherston
Guests enjoyed cake pops and cocktails during Erin Fetherston’s fall presentation for her lower-priced line. The girl knows a thing or two about setting the scene for a party — and dressing for one. “You can never go wrong with a little black dress that has a hint of sparkle,” she told us. Her new collection of mostly evening looks featured whimsical whale and feather prints, sexy cutouts and, of course, some dreamy shimmer. But it’s not all fun and games — Fetherston is intent on running a successful business. When asked if she has plans to bring her signature line back, she responded, “Right now I am totally focused on the Erin collection. I really love designing a collection that has creative integrity and that is ultimately accessible.” Cheers to that.

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1. Diane von Furstenberg
The models walked out to Tina Turner’s cover of Al Green’s “Let’s Stay Together” for the finale. Then Diane von Furstenberg and her creative partner, Gucci alumnus Yvan Mispelaere, took their bow. He kept his arm wrapped around her waist as they walked the runway, von Furstenberg stopping to hug and kiss well-wishers. Perhaps the song was meant to send a message. Mispelaere has only been in his current role for three seasons, but he’s already made a noticeable mark, evolving von Furstenberg’s girl about town to a more grown-up place complete with slicked back buns; sophisticated, streamlined, body-skimming dresses; and elbow-length gloves. But was it too subdued for DVF die-hards? They may find themselves missing her trademark youthful prints when the collection hits stores.

2. Altuzarra
Ethnic prints, while great poolside, are rarely seen mixed in a cold weather wardrobe — that is until now. Joseph Altuzarra, the fashion darling who was championed by Carine Roitfeld early on in his career and won CFDA/Vogue Fashion Fund award last year, headed to the Far East and Morocco for the first part of his strong fall collection. Traditional red Indian prints covered dresses, and jodhpurs were embellished with gypsy-esque gold coins. Long knit sweaters with wispy fringe trimmings and neon pink pom-poms added to the bohemian undercurrent. Sound a little too hippie for your taste? Altuzarra grounded the looks with sleek tailoring, tough skinny cargo pants, chic black structured dresses, and ridiculously cool outerwear (there were black shearlings, fur-lined peacoats and luxe toggle options). Despite these different elements there was cohesiveness to the collection: maybe it’s just that its cosmopolitan free spirit vibe is a seductive look for any girl. Sign us up for one of everything. 

3. DKNY
Donna Karan’s team drew inspiration from the beat generation, but the reference wasn’t literal in the Jack Kerouac at a coffee shop sense. Rather, it surfaced in the nearly all black and navy color palette; trim, tailored jackets and trousers; and flouncy miniskirts. The clothes had a certain youthful seriousness about it that will work well for twentysomethings shopping for their first real job. And trend watchers, take note: The waist line seems to be a big focal point for next fall. The DKNY collection pushed this idea forward with wide bandeau leather belts that cinched jackets, coats and dresses. 

4. Thakoon
Set in the ornate grand ballroom of the Plaza Hotel, Thakoon Panichgul seemed to have created a collection for the ladies who lunch there. There was a polished sophistication to the clothes, best exemplified in the shift dresses and ruffled coats. But there were twists: a structured coatdress pinched at the waist seemed prim until the model turned the corner and sexy black leather cutouts in the back were revealed. Panichgul then kicked the feminine and playful factor into high gear with sweet peacock feather embroidery, bow details, and a palette of fuschia and cranberry. A few pieces even featured a pattern of anatomical hearts and lips. If you’re getting a toothache from just reading this, rest assured — the tailoring, beautiful construction and cheeky details saved the clothes from looking too girly or uptight. 

5. Tommy Hilfiger
Though the fall collection began with strong outerwear — handsome double-breasted coats, a burgundy patent leather trench and dark yellow moto jacket — it’s the second half of the show that wowed. Warning: If you don’t have access to a stable, the equestrian wears, such as the cable-knit sweaters with suede patches, jewel tone silky dresses printed with graphic reins and tweed separates, will make you consider going for a ride — or at least dress that way. 

6. Derek Lam
It can be tricky making sportswear basics read high fashion. They can’t be too earnest or simple. They need some kind of subversion, a sort of sartorial wink to let the world know that the wearer knows exactly what kind of statement she’s making. Lam did this in a way that fashion-obsessed career girls will love, ticking off all the boxes on both the list of office wardrobe needs and trends — a minimalist sweatshirt done in black leather; a streamlined dress covered in a black and white print that contrasted with its red graphic collar; or a skirt suit in florals with a bomber jacket instead of the requisite blazer. Like the large white frames that were arranged at contrasting angles on the runway, the clothes were clean and polished, with just the right amount of off-kilter.
 


7. Herve Leger by Max Azria
For fall, Azria made the classic bandage dress, which he reworks every season, a little less Kim Kardashian and more Naomi Campbell. In short, the bombshell factor was still there but slightly less overt. The clothes had a sense of restrained wildness and intrigue thanks to equestrian-like harnesses that came strapped around the dresses, longer hemlines and a darker color palette. Granted, this was an extension of the gladiator warrior queen collection Azria did for spring. But those body-hugging metallic dresses were still Hollywood Lite at heart. This season’s effort was more fully realized.  kh
 

8. Tracy Reese
It would be nice to see Reese’s nice girl go bad. Azealia Banks’ raunchy “212” (the song is everywhere this week) played throughout the soundtrack, but the clothes were more sweet than hard. Reese turned out much to keep her loyal fan base happy: fun, upbeat separates in a variety of jewel tones, luxe coats, covetable shoes and a series of richly embroidered dresses. It was classic, feminine, pretty Reese that will most likely do well on the sales floor. But a little edge to contrast the sweet could do much to broaden Reese’s audience even further.

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2. Padma Lakshmi and Susan Sarandon at Costello Tagliapietra

3. Arianna Huffington arrives at the Prabal Gurung show.
   

4. Gabourey Sidibe and Mena Suvari at Christian Siriano
   

5. The Courtin-Clarins girls
   

6. Zoe Kravitz at Alexander Wang
   

7. Julia Restoin Roitfeld and Carine Roitfeld attend the Alexander Wang show.

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1. Suno
Max Osterweis and Erin Beatty’s trademark prints got bigger, bolder and less overtly ethnic this season. The globe-trotting element they’re known for was missing, replaced instead with a kind of art world whimsy. Some of the most intriguing looks were surprisingly the least Suno-esque, such as a nude intarsia mock-neck sweater layered over a silk halter top and matching ruffled skirt, as well as a simple, oversized fisherman sweater paired with a black leather pencil skirt. The duo is clearly trying to figure out how to evolve from its African wax-print foundation. It will be interesting to see where they end up.  Kenya Hunt

2. Helmut Lang
In a lot of ways, Michael and Nicole Colovos’ autumn collection mirrored the audience — that slick, minimalist, all-black fashion editor’s look complete with sharply tailored jackets and trousers. Frankly, there will always be a market for a well-made moto jacket, but it doesn’t necessarily make for the most exciting runway show. Things got more interesting when they worked in color, such as an oxblood trouser suit (bur­gundy is big this season) and a variety of graphic-printed dresses.  Kenya Hunt

3. Richard Chai Love
The girls dressed like boys in masculine coats and laid-back trousers in Chai’s joint men’s and women’s wear show. And the guys wore voluminous parkas cinched at the waist — a shape-defining trick the ladies know well. The rest of the collection, however, was all masculine. Perhaps it has something to do with Chai’s recent appointment as creative director of Filson, the rugged outdoor clothing brand. The end result: practical separates in mostly gloomy charcoals, blacks and navy, with a smattering of floral chiffon pants and a slew of handsome outerwear. The oversized utility pockets found on some of the looks, however, should be left for hunting trips rather than the urban jungle.  Tina Chadha

4. Cushnie et Ochs
Though Carly Cushnie and Michelle Ochs started out their fall show with some body-con stunners (the dresses with cut-outs showcasing the decolletage were both provocative and elegant), there were some issues. Namely, we can’t see anyone bigger than a B cup gracefully fitting into these numbers. And second, the pencil skirts with the dangerously high slits in the back straddle the line between dark and sexy and just plain hoochie.  The duos use of zipper embellishments was a fun update to their edgy aesthetic. Tina Chadha

5. Rag & Bone
As temperatures in New York dropped down to glacial lows, Marcus Wainwright and David Neville’s dense layering didn’t seem like such a bad idea. Who wouldn’t want a chic and cozy blanket coat to toss over a trouser suit like the strong opening look? The only problem is that heavy layering — especially when it involves elements like, say, a printed wrap dress over a knit turtleneck and trousers — can only go so far before it starts to add awkward lumps. That said, look for their perfectly cool separates and coats in stores, but maybe think hard before imitating the runway styling.  Kenya Hunt

6. Costello Tagliapietra
Jeffrey Costello and Robert Tagliapietra have established a method that has worked well for them: soft, feminine, vaguely retro dresses that look great no matter what the trend of the moment. Still, one can’t help sometimes wishing for a bit more from the popular duo — a bigger dose of the unexpected to shock the senses. The digital prints they turned out came pretty close, adding a jolt of the future to their always pretty, vintage-flavored draped jersey dresses.  Kenya Hunt

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1. Alexander Wang
If fall 2012 is shaping up to be the season of outerwear, then Alexander Wang is owning it. He built his collection around one singular message: the coat. And not just any coat, but a lean, mean, glossy and slightly futuristic specimen that we predict will be one of the most photographed items of next season (second place goes to his covetable boots). Each look was a successful experiment in fabric manipulation, starting with the opener: a lacquered wool tweed raincoat that shone like plastic. But most interestingly, the collection seemed to signal a gradual progression toward a more grown-up, sophisticated look for Wang. His trademark model-off-duty was nowhere to be seen, though the show was heavy on top models — Karolina Kurkova, Shalom Harlow, Carmen Kass and Gisele Bundchen closed the show.  Kenya Hunt

2. Prabal Gurung
Prabal Gurung came out guns blazing for his fall outing, titled “uncursed.” Stating in interviews that a newfound confidence and internal journey from hell to heaven was his inspiration, he first sent models down the runway in strong, all black, dominatrix-esque separates including beautifully tailored, flared trousers, neoprene cocktail dresses with sexy sheer tulle inserts and luxe coats. Next came a blue series featuring more of the digital prints he used for spring before the finale of looks in softer ivory and gold. The last two series had some misfires — organza ruffles felt too precious and the show closer, an ivory gown with sequins and ostrich feathers, read Vegas showgirl. But if the black selections were his “cursed” looks, please cast a spell on us now.  Tina Chadha

3. Jason Wu
It was refreshing to see Jason Wu, who has built an impressive business on the polished, pretty and girly (just look at his upcoming Target collection), go tough for fall in such a smart and unique way. For Wu, the process of transforming his soft and uber feminine muse into a proper badass meant going back to his Chinese roots and exploring images of the country throughout history, from the Qing dynasty to the Mao jacket. That translated into a series of beautifully executed military coats and jackets loaded with rich Far Eastern details and innovative construction. They came in all manner of hybrids —  take for one the belted leather number in olive green, covered in black lace, with quilted leather shoulders and oversized pockets. Meanwhile, loyalists who like their Wu pretty and polished will want his embroidered dresses — though these weren’t nearly as intriguing as his hard-edged coat and trouser combos.  Kenya Hunt

4. Peter Som
Som’s brand of power dressing for fall was a step outside the average 9-to-5er’s realm in terms of luxury and glamour. He cleverly combined masculine tailoring and feminine details, taking inspiration from old Hollywood icons such as Katharine Hepburn and Marlene Dietrich — hardly new ideas in the fashion world. But he executed them in a way that was exciting. Take his treatment of the age-old peplum, which undulated in waves around the waist or came edged in ultra feminine frills. Other highlights included his patchwork dresses and fur coats and slouchy peg-leg trousers. If anything seemed out of sync, it was the kitten-printed silk separates, which seemed to distract from the untouchably cool tone he had established for the show.  Kenya Hunt

5. Rebecca Taylor
“Who’re you calling a girly girl?” seems to be the statement Rebecca Taylor is making with her fall outing. This season, her girl is swapping her signature silky camis and flirty frocks for an edgier look. To Azealia Banks’ “212,” Taylor sent out studded leggings, laid-back, cozy knits and — yup, we’re going to say it — dope outerwear. We see her slouchy herringbone coat, shearling motorcycle and quilted leather jacket being scooped up by uptown and downtown girls alike — such as Olivia Palermo and Zoe Kravitz, who were both seated front row.  Tina Chadha

6. Creatures of the Wind
Designers Shane Gabier and Chris Peters patched together a hodgepodge of prints, fabrics, colors and ideas in just about every look during their hot-ticket show (Anna Wintour and Jenna Lyons were two show-goers). Examples include a cotton top with black and white graphic-printed shoulders and a brown and orange plaid bodice with a purple and pink brocade and striped skirt. We could see a quirky bird like Bjork wearing these intricately constructed looks — but everyday shoppers, not so much.  Tina Chadha

The post Outerwear heats up New York Fashion Week (PHOTOS) appeared first on Metro.us.

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The Dream Team

Haus Alkire

Women’s Wear recipient
For Jason Alkire and Julie Haus,
life as a husband and wife design duo — he creates the color palette and
prints, she constructs the garments — has its advantages. “The great
thing is, if we are creative at 3 o’clock in the morning we just work
together at 3 o’clock in the morning,” says Alkire. “Our schedules are
always coinciding, so it’s very convenient for us.” Another perfect
setup: finding out you won the Ecco Domani prize while hanging out in
Central Park. “It was pretty much like a movie moment,” says Haus. “We
were ice skating. In that moment [it felt like] — I wouldn’t say beating
the city, but it can get you down a lot of time. It was amazing. It
was, by far, the biggest moment we’ve had in New York — and, I mean, in
our careers, really.”

The Independents

Correll Correll

Women’s Wear recipient
The Correll Correll workshop in the
Lower East Side is filled with knitting machines, sewing machines and
tons of yarn. “It’s very hands-on here,” says Vera Correll, who, along
with twin sister Daphne, started their handmade knitwear label in 2006.
“We either hand dye or hand knit the whole item — but we always add
something that makes the pieces look unique.” Individuality is something
that’s impor­tant to the sisters, who collaborate on the theme of their
collections but design separately. “Daphne is more more
geometric,”?says Vera. “For me, it’s more gradient colors and organic,
looser textures.”

Their aesthetic differences are celebrated in their fall collection,
in which they’re “thinking of contrasts,” says Vera. “There’s a tension
of two opposing things that we’re balancing.”

The Spitfire

Eighteenth by Alexa Galler

Women’s Wear recipient

Alexa Galler first landed on our radar for flipping our favorite
wardrobe staple — the T-shirt — into cool, asymmetrical creations that
could totally pass for cocktail attire. But for fall, she’s shaking up
another classic: khakis.

“I decided to take my dad’s uniform of khakis and checkered button
downs and blazers — that’s all the guy wears — and make different
silhouettes with it,” says the Atlantic City native, who actually named
the collection “My Dad’s Hair.” (The hair is in reference to her use of
various textures, such as longhaired alpacas and silk velvets). “They’re
contemporary and unlikely, but they’re still very feminine,” says
Galler of the pieces in the line, which includes dresses and lots of her
signature dreamy draping. “I really like this idea of taking an
everyday garment and doing more interesting things with it. That’s where
I come from — taking a basic and figuring out how I can make it not
basic.”

The Free Spirit

Dezso by Sara Beltran

Accessories recipient
“For anyone who’s creative, India
is like a candy land,” says stylist-turned-designer Sara Beltran, who in
2009 moved to Jaipur to pursue her passion for jewelry making and
expand on her line of sea-inspired baubles.

“I love India because of the architecture, the jewelry, the
textiles, the colors — and because every single corner of the country,
especially Rajasthan, is full of inspiration.” Another reason she loves
the country: its similarity to her native Mexico. “If you drill a hole
in the globe from Mexico, because of the latitude, you’d go straight to
India,” she muses. 

Beltran now melds her love for both worlds, as well as an affinity
for the ocean, into her line of earthy creations made with polki
diamonds, kyanite stones, fossilized shark teeth and sea shells cast in
gold.
“I’m going to call my presentation ‘Open Water,’” she reveals.
“I’m always inspired by the ocean, and [this collection] is kind of my
opening to the world.”

The Dreamer

Sunhee

Women’s Wear recipient
No stranger to the fashion world,
designer Sunhee Hwang first got her start when Alber Elbaz (now at
Lanvin) recruited her to work for Geoffrey Beene. For the next 15 years
she enjoyed a successful career designing for Elie Tahari and Anne
Klein, all the while dreaming of starting her own label. “When I got the
phone call [from Ecco Domani] I couldn’t believe it. I started crying.
It’s the first time I felt like I’ve been recognized for my work,” she
says.

It’s no wonder, then, that artist Dorte Jelstrup’s video, with its
themes of longing and desire, struck a nerve with the designer, who
cites the piece as her fall inspiration. “I went to a gallery and I saw
her video called — I love its name — ‘(You Are So Distant) It Would Have
Been Wonderful To Dance With You’ — which is about desire and
modernism, constructivism and Bauhaus.”  So for fall, Sunhee swapped the
ultra feminine, colorful dresses she created for spring and designed a
collection of structured pieces with a focus on knits — and dressy tops.
“My line is for the Upper East Side girl, [for] very cool girls who go
out. That’s my target. I’ve always wanted to do that, actually.” Well,
Sunhee — the dance floor is all yours.

The Guy’s guy

Tim Coppens

Men’s Wear recipient
Tim Coppens is definitely the man’s
man designer. No matter how stylish his garments appear, he knows that
at the end of the day “it’s a menswear line, so it has to be
comfortable.”

Though he was the design director of Ralph Lauren’s futuristic
street wear line RLX, don’t expect to see any high-tech clothing in his
presentation. “I do like to think more forward; I’m definitely not into
the vintage or preppy styles,” he admits. “But [the new line is] a
mixture of really classical materials like virgin wools, beautiful
cashmeres or really beautiful Italian leathers with more innovative, new
fabrics. That mixture is really important.”

For his fall collection — which will feature a neutral color palette
and a heavy emphasis on outerwear — Coppens looked to the modern-day
noir film “Drive.”

“I was very intrigued by the movie,” Coppens says. “That whole dark
vibe, the way they use color, [Ryan Gosling’s character] as that really
cool guy. He’s a little quiet, but there’s a certain arrogance to him
without being too outspoken. It’s this understated element.”

The eco rebel

Titania Inglis

Sustainable Design recipient
“I think I was into
sustainability before I was into design,” says Brooklyn-based designer
Titania Inglis. “I’m from Ithaca, and it’s a super hippie town.” The 32
year-old who apprenticed with avant-garde designers Camilla Staerk and
Threeasfour was at first reluctant to get into design because, as she
puts it, “I didn’t want to put more stuff in the world. As consumers, we
all have so much stuff. We have storage units filled with extra stuff
that we’re not even using.”

Her solution: Buy organic fabrics and enlist local craftsman to
create her eco-friendly yet edgy pieces. “The more designers who buy
organic fabrics, the more it encourages mills to continue [producing
it],” says Inglis. “It’s about creating a market for that, because
people will be buying clothes regardless. [I’d like] to help lead the
industry in this direction and show people that you can make clothes in a
sustainable way, and they don’t have to be burlap sacks.” 

The post Meet the winners of Ecco Domani’s 2012 Fashion Foundation awards appeared first on Metro.us.

Well, now I’m scared. I was fine until you said that. [Laughs] There’s no time to think about anything except your to-do list. It’s just crazy busy. I’m rapidly getting grey hair.

Well, you’ve got a lot of hair.

I do have a lot of hair. I’m going to have a lot of grey hair.

For 25, your clothes have a mature sensibility to them. Have you always been more sophisticated than your peers?

I’ve always been an old soul. When I was in preschool, I used to insist on wearing suspenders and ties to school. I definitely have an aesthetic emerging.

And it’s apparently going in a darker direction for fall. What influenced this?

Our collection this season is kind of Edwardian/“Dragon Tattoo” — like “Great Expectations” meets Rooney Mara, because we have a lot of interesting historical cuts, some great peplum shapes and long, floor- length coats. One of the nice things is that you get to design fall/winter collections when it’s cold out. So for a lot of it you’re walking around and it’s chilly and you think, “What do you want to wear?” You want something a little darker, something mysterious. A high collar standing around your face, a jacket buttoned, long sleeves that go down to your knuckles, something with attitude and edge. 

You’re often called an uptown or society designer. But do you ever just want people to say you have street cred, too?

I live on Bowery and Bond. I’m totally a Downtowner. [Laughs] We [are sold in] Kirna Zabete, which is a supercool store in SoHo, and we really have a diverse clientele. I’m grateful to anyone who buys anything, wherever they may live.

Jones New York wanted you to update their classic workwear line. How did you tackle that?

The idea was to take a little bit of what I do in terms of tailoring and cool materials, and to do a collection that addresses how the modern young woman wants her wardrobe to look. What she wants to wear to the office, what she wants to wear on the weekends.

So what does she want to wear to the office?

Well, that’s interesting. It’s one thing to work in fashion where you have such creative freedom. But someone at a bank has a strict dress code. So we came up with options like a short sleeved, pencil skirted suit. There’s almost a Gwyneth Paltrow, “Great Expectations” clean vibe to the line.

Speaking of work, how would you like your line to advance?

My goal has always been to build a company that stays relevant. Going to art school in London I was around a lot of cool girls. You see them dressing in, like, Zara leggings and a vintage T-shirt and they’d throw on a vintage YSL jacket that they got from their mum or a flea market. And I think that’s so cool — the blazer that someday a woman’s daughter steals from her. There’s something to these pieces. I think that if you can make something elegant, it stays elegant forever.

So what’s the five-year plan?

Growing the collection, we’re going to do resorts and pre-fall, accessories, and hopefully  menswear, so that I can steal some clothes from the office. I want to do furniture, you name it — I want to do everything.
 
You grew up in Atlanta. How do your Southern roots influence your design?
   
When a plane lands in Atlanta I get a little Southern accent back. It’s really an aesthetic culture in the South. There’s definitely a romance there. Everyone’s yard is a work of art. The gardens are beautiful, the houses are beautiful; there’s just something very pretty about it all. I love it.

Hanging on his inspiration board

“A face up on my wall is Rooney Mara. Then I have an amazing picture from World Of Interiors magazine of this great room in a house in England that is kind of dilapidated with old wooden plank floors and a big, high, grand ceiling with an old chandelier hanging from it. I like to look at this and think, “Who’s about to walk into this room? What is she wearing in this kind of abandoned, slightly eerie, but romantic grand country manor in England?”

The post Wes Gordon: A designer at the top of his game appeared first on Metro.us.

Leandra Medine - Manrepeller.com

Alexander Wang red fur cape shoes    
“They’re the season’s inevitable stop-and-street-style-snap-me shoes … and so reminiscent of a certain Carrie Bradshaw.” $895, www.alexanderwang.com

Chanel two-tone leather boots
“Absolute showstoppers and comfortable.” $678, www.chanel.com

Marni penny loafers
“There’s always a point when I just can’t torture my feet with any sort of heel.” $480, www.marni.com

Elin King Stylebykling.com Nowmanifest.com

Alexander Wang ‘Annette’ sandal 
   
“I love this shoe for how fresh, basic and super-simple it is. It’s not something you’d wear to show off. It’s practical and oozes confidence.” $350, www.alexanderwang.com

Givenchy pale pink leather flat sandal
   
“The hardest shoe to design is the simplest. I love the boldness of these shoes.” $780, www.givenchy.com

Nowhere steel cap stilettos in black
   
“These are super-soft and easy to walk in. Plus, they don’t come with a hefty price tag.” $96, www.nelly.com

Garance Dore Garancedore.fr

Chloe leather ballet flats    

“They are a different kind of ballerinas, going high up on the foot, and the colors are really amazing. I just bought a pair of green ones. They really feel super-precious on.” $485, www.chloe.com

3.1 PhiLlip Lim transparent high-heeled sandals

“They look like you have nothing on your foot, like the emperor’s clothes. Magic!” $625,  www.31philliplim.com

Kanye West beaded shoes   
   
“I always love ornamented shoes, and these are pretty cool!” Price upon request,
www.kanyewest.com 

The post Trademark accessory: Bloggers share their favorite shoes appeared first on Metro.us.

Welch — she of the critically adored, monstrously successful Florence and the Machine albums “Lungs” and “Ceremonials” — is only 25. But she has the war stories of an aging rock star. And in certain ways, she comes off like one, too — more 1960s Rolling Stones than Adele. It’s a mesmerizing wildness that you don’t see with groomed pop idols anymore.

And yet Welch’s joie de vivre coexists with a kind of well-worn pragmatism that comes with the weight of life and responsibility.

“I ended up deciding to drink less while I was touring,” she says. “It was for my voice. It’s really hard to sing and keep up the pace that we were going at. It’s OK for the first bits, when you don’t know where you’re going. But now that I have more of an idea of the longevity of it, I’d like to have a career like PJ Harvey or Bjork who are still producing albums and have these voices. I realized if I wanted to have a career like theirs, I’d have to temper my indulgences.”

The vintage rocker side of Welch comes, in part, from her dad, who made his career in advertising but tried his hand at music when he was young. He introduced little Florence to bands like Velvet Underground and Love — and it paid off. He got to live vicariously through his daughter when he drove her band’s van around Europe during their first tour. (Florence’s siblings and step-family, whom she’s really close to, often accompany her on the road and her sister works as her PA.) “We definitely didn’t have to tone things down when he was around,” she says.

Then there was her round of toasts with Beyonce backstage at the Isle of Wight festival: not quite a bender, but a memorable party moment for Welch nonetheless. “I was on just before Jay-Z and she passed me and went, ‘Ah!’ And I went, ‘Ah!’ And she was like, ‘It’s such an honor to meet you!’ And I was like, ‘Oh my gosh, it’s such an honor to meet you!’ Then she, Kanye and I went, ‘Cheers!’ and it was so surreal,” she says.

It’s difficult to get to the heart of a person during a blind date interview, hastily arranged at a South London pub. But seeing Welch light up when telling her stories, you get the sense that she’s happiest when doing things and going places rather than sitting still. In a revealing moment before our chat, she looked especially vulnerable during a seated photo shoot, which seemed to visibly tax her. When the photographer took the last shot, her shoulders slumped over, and her fingers, covered in chunky gold Baroque rings, curled into a ball. “Today has just been …” she sighed heavily and slouched her shoulders even further.

After becoming a global success very quickly after “Lungs,” Welch reportedly had a bout of depression. But today, she’s not in the mood for self-examination. And she’s not necessarily haunted by the demons and angels she sings about. “Though I do believe one can have them internally,” she admits. And she could care less whether her glass is half empty or full: “I’d rather drink the glass and figure it out.” 

Florence and the (fashion) Machine
   
Welch on working with Lagerfeld
“Karl [Lagerfeld] photographed my promo shots. I had spoken about how I had been influenced by Art Deco artists, and we just began scrapbooking together. It was the strangest situation I’ve ever been in, cutting and pasting with Karl Lagerfeld. He does it all himself, sticking things down and basically making a mood board. And we took the inspiration for the photographs from that.”

Walking the walk
“When I sang [‘What the Water Gave Me’ at the Chanel S/S ‘12 show] it was incredible. There was a moment when I was walking out hand-in-hand with Karl and I was like, ‘What am I doing here?’ I don’t know how to walk. But it was a beautiful experience.”

Get the look

Nail Welch’s pre-Raphaelite style with these romantic colors and foolproof skin and hair perfecters.

The wind-swept hair
  

1. Erdem floral print silk headband, $140, www.netaporter.com
   

2. Bumble and bumble Hair (Un)dressing Creme, $33, www.bumbleandbumble.com

The natural glow
   

3. Benefit Sugarbomb Sugar Rush Flush face powder, $28, www.benefitcosmetics.com
   

4. Dior Diorskin Crystal Nude Natural Matte Skin Perfecter, $40, www.dior.com

The vampy nails and lips
   

5. Chanel Le Vernis N.18 in Vamp, $25, www.chanel.com
   

6. Tom Ford Lip Color in Scarlet Rouge, $48, www.tomford.com

The mysterious eyes
   

7. Kjaer Weis eye shadow in black, $44, www.kjaerweis.com
   

8. Max Factor Earth Spirits eye shadow in Onyx, $6, www.maxfactor.co.uk

The post Florence Welch: Angel & Demon appeared first on Metro.us.