INTERNATIONAL REVIEWS ON CFDA.COM
The CFDA has launched a new service-driven platform to support their member designers and American design houses this New York Fashion Week. These are the International Reviews as of February 12, 2013.
CORRIERE DELLA SERA
corriere.it
By: Paola Pollo
Date: February 12, 2013
Le sfilate di New York I ricami di Custo Barcelona, il colore di Diane von Fürstenberg
Da Twiggy a Harry Potter Vestite per il college
Hilfiger, la scuola del maghetto e gli anni 60
NEW YORK — Ci sono Hermione Granger e Mirtilla Malcontenta, Ginny Weasley e Lavanda Brown, ma anche Luna Lovegood e Cho Chang, sì la prima fidanzatina di Harry Potter. Già perché l’altra sera pareva proprio di essere nell’enorme biblioteca della più famosa scuola di magia al mondo, Hogwarts, fra scaffali di libri e volte di mattone. Ogni riferimento è casuale, ma anche no perché lo spirito di Tommy Hilfiger è stato proprio quello di ricreare l’atmosfera di certi college inglesi perbene ma pure un po’ eccentrici e global. Il titolo: quando Savile Row incontra la Ivy League, sartorialità british con l’attitudine sportiva delle università americane. Il tutto shakerato con gli anni Sessanta e Settanta e certe icone alla Mary Quant e Twiggy e Marianne. Tanta roba. Più a dirsi che a fare. Perché il risultato è un riuscito potpourri di mondi con barra ferma sull’ésprit college: giacchette smilze in principe di Galles e cappotti over di montone stampa pied de poule, gonnelle corte svasate e calzerotti di camoscio. E ancora. Maglioni norvegesi spalmati che sono anche miniabiti. Cappe e giubbotti. Trench e giacconi marina. Short e dolcevita. Camicioni e pull a rombi. Nero, bianco, blu e bordeaux d’ordinanza college e Tommy Hilfiger.
Coerenza di stile ma con un bel lavoro di pulizia e ordine per Custo Barcelona che tiene a freno la mano su patchwork, mix&match e inserti e cerca in ricami e materiali nuovi, e più contenuti, abbinamenti per la sua «La bella e la bestia». Dove la prima è una giovane donna in romantiche t-shirt di maglia color cammello con eccentrici ricami sui bordi, la seconda è una più selvaggia creatura in cappottini di cavallino e pelliccia a pelo lungo. Il lavoro sulle bluse e sulla maglia è sempre il più interessante dello stilista catalano. Di maglia sono gli infiniti pantaloni e le felpe e i giubbotti e gli short e le tute. Colori invernali, scuri. Nessun azzardo, anche qui. E se c’è il metallo è un oro sottotono. Bello.
«La mia donna non si veste per andare ai party perché la sua vita è un party». E’ su di giri Diane von Fürstenberg, la donna che fu la ragazza dello Studio 54 degli anni d’oro, indimenticati. La sua moda di conseguenza per una donna sfavillante, il capello fluente, lo sguardo ammiccante e la bocca che fa le smorfiette. Pantaloni di pelle metallizzata, tailleur avvitati, giacchette a effetto coccodrillo, sete a stampa catena. È uno stile più che una novità. Interessanti i wrap dress (gli abiti vestaglietta che resero famosa la Fürstenberg) in camoscio.
Un grande lavoro di contenuti lo sta portando avanti Martin Cooper da Belstaff, la griffe acquistata un paio di anni fa dal gruppo Labelux che ora ne sta tentando il rilancio in grande stile. E non senza risultati. La forza commerciale ha già individuato Paesi e luoghi dove aprire i primi monomarca con il nuovo concept. Il ritorno alle radici, quelle del mondo delle moto e dell’avventura, è sempre il focus. Con una bella storia da cavalcare per la prossima stagione invernale: la leggendaria vita di Sammy Miller, eclettico motociclista nordirlandese, precursore dell’enduro. Dagli archivi ecco che esce la Wax Jacket, alias la cerata, rivista in proporzioni e pesi. Poi i trench con le maniche pelle, la gonna a ruota corta di cerata, i montoni rovesciati e invecchiati, i parka ancora in montone come i giubbotti doppiopetto. Nuovi volumi, over, con le spalle arrotondate. Una donna tosta ma che conserva un non-so-che di romantico e civettuolo, tant’è che non guida la moto, lei, preferisce stare dietro, abbracciata a lui…
In un decadente capannone la Y3 di Yamamoto, linea fashion di Adidas, è per certe giovani tribù metropolitane di contaminazione Japan, con drappeggi e sovrapposizioni e coulisse e nero e grigio scuro e tocchi fluo.
CORRIERE DELLA SERA
corriere.it
By: Paola Pollo
Date: February 12, 2013
NEW YORK — La nuova collezione JBrand, nome in codice «i jeans seconda pelle», perché in fatto di silhouette ma pure di tessuto al tatto sono veramente unici, sono stati presentati l’altra sera allo Swiss Institute Contemporary Art of New York alla presenza di Jeff Rudes, ceo e fondatore, e Donald Oliver, direttore creativo della linea donna, nuova terra di conquista della griffe, senza dimenticare le origini. Così ancora focus sui pantaloni, concedendo inusuali rilassatezze al capo in contrasto con la storica forma skinny. Linee maschili (giacche e montoni e pull) e super femminili (jeans in pelle lucida).
FINANCIAL TIMES
Ft.com
By: Vanessa Friedman
Date: February 12, 2013
Link: http://www.ft.com/intl/cms/s/2/2593b198-74f9-11e2-a9f3-00144feabdc0.html#axzz2KjQakmZR
New York: runway report three
Generational change, papal and otherwise, was a conversational accessory on Monday of New York Fashion Week. The industry is still dominated by a handful of megabrands that became huge in the 1980s, while younger names can struggle to make themselves heard beyond Seventh Avenue. When the torch will be finally passed is a perennial question; Pope Benedict’s resignation just brought it to the fore once again (when you are waiting for shows to start, everything seems to come back to fashion).
In any case, the answer on day five of the A/W 2013 womenswear collections was “wait some more and see”. Another coincidence of timing had paired up assorted duos of old and new designers who happened to work from the same aesthetic catechism, and the juxtapositions made clear that while there are some wobbles, both up and down, the balance of power has yet to shift.
So, for example, at Carolina Herrera, the trademark elegance of one of fashion’s grande dammes was on display in not quite 50 shades of caramel, brown and tobacco, worked into fur-trimmed fluid tweed suits, dandelion prints and 1940s-esque gowns – slinky yet covered up, so a black sequinned shirt had long sleeves and a cowl hood, and was tucked into a black fishtail skirt curvy enough to make Joan Crawford proud. These clothes look grown up without also looking old, a balance 20-something Wes Gordon, who is making a name for himself as an uptown couturier with a rocker edge, hasn’t quite perfected, though his gold beaded trousers under a white cable knit and black peacoat, brocade trouser suits and neat white wool coat with shaggy goat’s hair trim came close. (The gold empire bustier over leather flares was too Dior for comfort and the black ballgown with gold panniers was just too too.)
Meanwhile, on the more Zen end of the scale, Donna Karan noted “you can only be who you are” (think of it as a fashion koan), which in practice meant a familiar parade of draped jersey stretched Venus de Milo tight over the waist and hips and paired with sheer leotards and billowing jersey capes, all in black and grey and rust, often leather-trimmed; aside from some shaggy yeti knits, very Donna, if not very new. One of the problems with being the establishment is your reference point is usually yourself, which can create the impression of stasis.
Still, running in place has a certain energy of its own, unlike the meditation-room-ready collection of The Row. Designers Mary-Kate and Ashley Olsen sometimes seem so keen to prove they are no longer the tween stars of yesteryear that they veer too far in the “mature” direction.
The thigh-skimming coats were elegantly Edwardian cool – and one oversize aran knit was terrific – but the more tricksy Japanese-meets-raj inspired obi folds and sari jacquards of asymmetric jackets and strapless dresses were unnecessarily complicated. It’s fine to adopt such age-neutral signatures as an elongated layered silhouette, but to express it as an ankle-length cashmere tunic trimmed in mink just looks frumpy. Serenity is one thing; a luxury schmatta another.
Admittedly, it’s hard to create your own doctrine, even if it’s a doctrine of dress, which is perhaps why Maria Cornejo said her collection was “all about paring down to what is essential”. For her, a teal-blue-black palette of printed geometric jacquards cropped trousers and car coats, easy leathers and her trademark curving cocoon-shapes.
Functional and intelligent, they also felt alive, as did the 18th century biker gear of Serkan Sarier, whose Brood line is in its infancy, but has a consistent originality. Combining a Venetian floral print and op-art polka dots on cotton faille garments that can be transformed by the use of embedded strings to raise or lengthen hems, he married the seemingly antithetical ideas of extreme romance and techno sportiness. As a result, like Ms Cornejo, he is developing a loyal fan base.
Or what is more generally called a devoted following.
IL GIORNALE
Ilgiornale.it
By: Daniela Fedi
Date: February 12, 2013
Per gli americani essere inglesi è come essere longilinei in tutto il mondo: un vantaggio immenso. La moda non sfugge a questa regola anche perché nessun alto Paese fornisce così tanti stimoli creativi e poi alle varie tradizioni vestimentali britanniche corrispondono innumerevoli contraddizioni che rendono tutto più affascinante. Esemplare in questo senso la bella collezione di Tommy Hilfiger che ha sfilato l’altra sera nel salone del Park Avenue Armory trasformato nell’austera biblioteca di un college tipo Cambridge oppure Eton grazie a una serie di mastodontici pannelli fotografici piazzati ovunque. Il simpatico stilista di Elmira ha fatto una fusione a caldo tra la tradizione sartoriale maschile di Savile Row e lo stile “preppie” (tipico cioè delle preparatory school americane) che proprio lui a suo tempo ha trasformato in un piccolo impero dei segni modaioli. Il risultato era sorprendente soprattutto nell’uso dei materiali: persino la pelliccia di cavallino oppure il montone con la stampa Principe di Galles avevano l’aspetto di un solido tessuto maschile. Tutti i tagli erano chiaramente ispirati dalle asciutte proporzioni del cosiddetto “Three piece suite”, ovvero il completo giacca, pantaloni e gilet confezionato su misura per spiriti ribelli come Mick Jagger, David Bowie oppure Serge Gainsbourg. Poi c’era la sensualità della minigonna resa sportiva e soprattutto portabile dalla creazione di uno speciale calzettone in pelle o camoscio elasticizzato che, dentro ai mocassini con frangia metallica e tacco squadrato, sembra il gambale degli stivali. Anche Belstaff, storico marchio dell’abbigliamento inglese da moto su cui è in corso un’operazione di rilancio internazionale, s’ispira alla tradizione britannica delle gare di motocross partendo dall’idea di un campione come Sammy Miller che negli anni Settanta vinse nove medaglie d’oro alla sei giorni internazionali di enduro, per costruire un credibile guardaroba femminile. “Non voglio una donna che guida la moto, ma una che si appoggia dolcemente alla schiena del suo fidanzato abbracciandolo stretto per non cadere mentre si godono la velocità sulle due ruote” spiega Martin Cooper, direttore creativo di Belstaff poco prima di far sfilare giacche e gonne in cotone cerato, uno stupendo montgomery in shearling color cognac, gli stivali da motocross a tacco alto: la versione motociclistica del lusso stile Hermès. La collezione di Diane Von Furstemberg dimostra invece che è vero il detto: “Puoi tirar fuori una ragazza dallo Studio 54, ma è dura tirar fuori lo Studio 54 da una ragazza”. La stilista è ancora lì, alla fine degli anni Settanta, quando lei era una delle donne più belle e sexy di New York ai party con Andy Warhol e David Bowie. Il suo inconfondibile wrap dress (cioè l’abito incrociato con cui ha fatto fortuna) in una nuova versione di sottilissimo camoscio resta comunque una delle cose più desiderabili tra quelle viste finora sulle passerelle americane. Sfiziose oltre ogni dire le nuove sorprendenti pellicce di Custo Barcelona, irresistibile designer spagnolo che di nome fa Custodio e di cognome Dalmau. Stavolta la sua estetica bionica, da super eroina dei cartoon si mixa con qualcosa di etnico e allo stesso tempo favolistico: la bella e la bestia in chiave nordica, il senso grafico inteso come necessità. Davvero interessanti le forme dei capispalla (vere e proprie architetture alla Gaudì con cerchi, triangoli e rettangoli assemblati in prospettiva) per non parlare del mix di materiali: pelle, broccato, pelliccia ecologica, cristalli, pizzo e maglia effetto pelo. La solita storia ma una gran bella storia da Y-3, collezione che da 10 anni il grande Yohji Yamamoto disegna per Adidas. Anche stavolta il divino designer giapponese gioca con le asimmetrie, la grafica delle tre strisce del marchio che delinea la forma degli abiti, il vestire a strati tipico dello sport attivo. In un mondo perfetto i giovani sportivi si vestirebbero esattamente così.
IL GIORNALE
Ilgiornale.it
By: Daniela Fedi
Date: February 13, 2013
La segretaria perfetta degli anni Settanta, vero anello di congiunzione con la working woman di successo degli anni Ottanta, approda sulle passerelle di New York facendoci riscoprire il fascino dell’efficienza, dello stile quieto ed educatamente sexy, della praticità senza sciatteria. Merito di quel geniaccio di Marc Jacobs che per la linea Marc by Marc Jacobs ha costruito un sensazionale guardaroba di gonne a quattro teli con blusa assortita nello stesso jersey a macrofantasie geometriche, pantaloni larghi a mezzo polpaccio sotto al caban doppiopetto, deliziosi scamiciati di linea scivolata, stupende borse a bauletto in vernice luccicante e solide scarpe a decolleté fascianti sul malleolo. Tutte le modelle avevano i capelli sciolti e gonfi di Melanine Griffith in Una donna in carriera, le labbra laccate di rosso e i grandi occhialoni con le lenti colorate: un’immagine deliziosa. Il pubblico in sala stava per decretare la standing ovation ma lo stilista è scappato via di corsa perché pare sia molto in ritardo con la collezione principale. Non a caso la sfilata di Marc Jacobs è stata rimandata a giovedì sera con la scusa del maltempo che nei giorni scorsi ha provocato notevoli disagi alla fashion week newyorkese. Detto questo da noi sarebbe impensabile una cosa del genere: scoppierebbero inutili polemiche per via di quel clima da tutti contro tutti che non produce mai niente di buono. Sarebbe invece tempo di fare fronte comune e lavorare sodo anche perché gli americani stanno crescendo tanto e a volte molto bene. E’ il caso per esempio di Tory Burch, quarantasettenne signora dell’Upper East Side che ha costruito un piccolo impero del lusso e della femminilità partendo da un paio di ballerine con il logo a medaglione dorato sulla punta. La sua collezione per il prossimo inverno in passerella ieri mattina nei saloni barocchi dell’hotel Pierre, era un perfetto abbecedario sull’arte di decorarsi delle donne. La signora è infatti partita dall’oro di Gustav Klimt e dalla grafica del secessionismo viennese, poi ha fatto un’incursione nel mondo incantato dell’art Nouveau prendendo soprattutto in esame il bestiario fantastico di Renè Lalique per costruire un’immagine di donna impeccabile con lo stesso vestito dal mattino alla sera. Anche in questo caso c’è il pratico ensemble di gonna e camicetta impreziosito però da straordinari bijoux con soggetti tipo lo scarabeo riprodotti anche sulle stampe degli abiti oppure trasformati in fibbie-gioiello delle magnifiche borsine da sera o, ancora, evocati dalla pelle luccicante di alcune scarpe nello stesso verde iridescente del guscio. Il tutto con molto buon gusto e misura soprattutto nel dosaggio degli accessori. Molto diversa ma sempre interessante, la collezione di Donna Karan è una specie di partita a scacchi in sette mosse per vincere un premio chiamato sensualità. “Ci vuole un body in jersey, un poncho di camoscio, dei bellissimi pantaloni, l’abito scolpito addosso, i tacchi alti, la giacca ben tagliata e un uomo da amare” recita la grande stilista americana abbracciando Uma Turman che deve aver incontrato un chirurgo plastico armato di k atana come Kill Bill. Fantastica la collezione MM6 di Margiela con un’ispirazione surreale che parte dalle olimpiadi invernali di Helsinki nel 1953 e arriva al mosaico sul pavimento parigino della maison. Hache, marchio italiano disegnato da Manuela Arcari, mescola lo stile grunge con lo skateboarding degli anni Novanta. Non si capisce bene cosa voglia dire ma il risultato è molto carino con i pantaloni sotto alle gonne e i cappotti con un inserto staccabile di montone rosa preso dall’interno degli Hugg.
INTERNATIONAL HERALD TRIBUNE
iht.com
By: Suzy Menkes
Date: February 12, 2013
Link: http://www.nytimes.com/2013/02/13/fashion/exquisite-images-versus-taxi-tv.html?ref=fashion&_r=0
Exquisite Images Versus Taxi TV
NEW YORK — With its ranks of photographers, posing and preening performers, brand promotions, blaring music and an army of crowd controllers, could any one argue that fashion has become an arm of the entertainment business?
At the lowest level comes “Taxi TV” — which requires a collection bland enough to fit the small screen affixed to the back of the taxi driver’s seat here in New York. Too many forgettable shows seem to be in that category.
Yet this week of Winter 2013 shows here is proving that stepping outside the box is the way to go.
There could not have been two more opposite shows than the gentle, strokeable, exquisitely detailed show of The Row, held with grace in an Upper East Side town house; and the scenario presented by Thom Browne of smart- suited males, trussed with scarlet ribbons and lying as if dead, while women in fantastical outfits wafted by stroking them with long-stemmed red roses.
But the two shows had this in common: vision, imagination, and no desire to be on Taxi TV.
At The Row, Ashley and Mary-Kate Olsen ran their fingers through the shadow-patterned surface of a “cross” mink coat, pointed out the milky pearl buttons buried in alpaca and the Ottoman pattern pressed into a sweater surface and said simply, “It’s supposed to be personal.”
The design duo’s offering is like an exquisite meal blending different tastes. So the hint of Victorian men’s tailoring in strict black coats was balanced by pale brocades and jacquards that introduced a tinge of the Orient. The story was in the delicacy of anything from spindly pearl jewelry to the fluffy boudoir slippers flowering at the feet. An exquisite offering.
For Thom Browne, known for his obsessive men’s wear image of shrunken shapes and constricting tailoring, Michele Obama’s choice of his smart coat and dress for the inauguration’s daytime event last month gave the designer a new reach.
So did the first lady cram into an industrial elevator at the downtown venue? Did she sit front row as models with kabuki makeup and hose decorated with flowers showed off their huge, flat boxy jackets? She did not.
It was as though, having proved his skill in making “normal” clothes, Mr. Browne took everything to extremes, like the huge square cuts, slightly reminiscent of Rei Kawakubo’s “two-dimension” collection. But the stand-away, boxy clothes were still striking and beautifully realized.
“I was obsessed with shoulders and hips,” said Mr. Brown. But that did not express the delicate details of the collection, including its frizzy Elizabethan hairstyles, embossed lace and bags and shoes with patent leather effects, as if dripping with shiny paint.
It is always good to see a designer letting his creative juices flow. And all the more credit to Mr. Browne for following his first lady scoop with such a full-on fashion treat.
Pruning the wilder branches of fashion, for reasons economic or technical, can be good. And the success of Theyskens Theory proves that Olivier Theyskens, once on the wilder side of Paris couture, can make a difference to relatively affordable clothes.
Within the constraints of nonfancy fabrics and a sensible sportswear wardrobe, the Theyskens Theory collection offered a new silhouette, standing away from the body: quilted dresses, the oversized tailoring that opened the show and the short skirts, which were A-line shapes, gleaming in pony skin or its effect.
“I was thinking about futurism and about the comfort of padding,” said Mr. Theyskens, who pulled off in this show something that approached a bold fashion statement — but would fit into a small screen.
There was something missing from the show Marc Jacobs sent out at Lincoln Center in the time slot usually reserved for his eponymous show further downtown. Instead of an imaginative stage set and the excitement of a new season’s vision, that signature Marc Jacobs show was pushed to Thursday because of time restraints.
So the audience for Marc by Marc Jacobs on Tuesday saw a nice commercial show of separates with a 1970s tinge, pieces as trim and streamlined as the hair was wild and bushy. Some vivid flower prints underlined a fine mix of colors and everything from the A-line skirts through the cropped pants to the rounded brogue shoes looked in the Jacobs spirit. Yet no one but Miuccia Prada, with her MiuMiu collection, seems able to pull off the idea of two parallel collections each with an equally powerful personality. Verdict: Looking good for Taxi TV.
The 3.1 Phillip Lim collection was smarter at capturing the perky individuality of the way women dress today: a magpie mix of color and fabrics, as layers of Neoprene in bubble gum pink would be stirred in with fur, leather, camel coating fabrics, motor bike peplums and angora knits.
What could have looked a mess instead had a kooky personality, with the clothes suggesting that, as in the real world, people can have the same things in their closets but wear them in quite different ways. Even big Indian-style earrings added a dimension of decoration that emphasized a sense of quirkiness.
As for his men’s collection in January, Mr. Lim’s show came under the broad heading of “Sonomama” — a Japanese phrase that roughly translates as “the way you are.” That individuality is the essence of modernity.
Donna Karan’s vision for Donna Karan was fluid in her favored jersey, draped to the body. The cut was both revealing and energetic, as a leg strode forward through an open split. Yet in another way the designer’s style is as rigid as the gilded sculpture at the back of the runway.
“It’s very signature,” Ms. Karan said, explaining that the collection celebrated the aesthetic of her late husband, the sculptor Stephan Weiss, and was linked to the sculptural fragrance bottle for DKNY Woman, designed by the architect Zaha Hadid.
But where those artists might have turned their artistry into simplicity, Ms. Karan was on the opposite route. She took the ease of a camel coat or the streamlined effect of a simple black dress and then wrapped the designs up into a welter of pleats, drapes, capes, splits and lattice weaves. The effect was as complex as the ponytailed hair, swinging along, giving a modern sense of freedom.
Belstaff is going forward as a brand, moving from the motor-racing circuit to the smart city set. The takeoff might be slower than in motocross contests, but the chief creative officer Martin Cooper caught the essence of tough chic in the shiny, black waxed-cotton jackets with a flirty short skirt filling in some of the leggy gap down to black leather boots.
Mr. Cooper might have been referring to tense sporting moments or to more sensual concepts when he described “the split second when fragility and danger collide.”
He might have spoken equally about the measured clash between tough outerwear fabrics, like oiled suede and techno twill, with the softness of shearling and silk georgette. The essence of the collection was luxury in its rich oxblood colors and its many tactile surfaces. This is definitely a collection to be appreciated by the fashion cognocenti, not glimpsed on a small screen in a taxi.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/in-english-1-120213-347780
Alexander Wang – Elevating The Everyday
It felt half way to Paris at Alexander Wang in his last New York show before his Balenciaga debut in France on February 28th. Curved backs, low and loose waists, voluminous collars all evoked a half century ago, when Cristobal was in his prime. A gloomy palette – anthracite, steel and battleship gray – but expensive fabrics – hairy cashmere skullcaps and ankle warmers, scratchy astrakhan cabans and mohair tops almost blinking with semi-hidden pailettes. A designer famed for casual street chic went very posh, even mature. “Nostalgia, hair, roundness, volume and tucking. Evening silhouettes of the 30s and 40s, translated into T-shirt and sweatshirts,” said Wang, who – good news for PPR – showed a fantastic new bag – an electrician’s multi-flap tote. And – in a clever clin d’œil – a Yetis’ boxing glove in shaggy black mink. “It was about elevating the everyday,” smiled Wang backstage in the Cunard building, the former destination for indulged cruise liner passengers. Transatlantic chic.
Chloë Sevigny – Protest and be chic
New York’s first happening this week was the Chloë Sevigny for Opening Ceremony presentation. Inspired by Sixties Protest movements, backed by five live girl bands, the mix of pencil skirts with nylon intarsia, intello platform mules and powder blue A-Line flannel dresses looked cool and anthoriative. Plus, Sevigny is a hit. “We retail in 250 stores,” beamed Opening Ceremony’s Humberto Leon, in his day job away from Kenzo.
Hervé Léger – Lovingly Les Lalanne
A welcome return to form at Hervé Léger. The engineered jacquard cocktails, animal print leggings and puffa bandage zip-front skirts all toughened up by naughtier black leather peplum harnesses made for an arresting show. An homage to artist duo Les Lalanne, this was Léger as it should be – an arrestingly sexy yet still subtle look.
J Brand
Los Angeles’ hottest jeans label J Brand tage dits first full ready-to-wear presentation just before winter storm Nemo struck. “Easy understandability,” commented dapper founder Jeff Rudes, posed before precision cut shearling biker jackets, volume menswear semi-dhotis and alluringly sleek biker pants in luxurious suede. Call it a logical and cool brand extension. J Brand, which has partnered brilliantly with stellar young talent like Christopher Kane and Proenza Schouler, is in talks with a new designer. “The next partner will be in Paris. It’s the ultimate city in fashion,” smiled Rudes, before jetting off to London for a soiree with edgy Notting Hill multi-brand boutique Matches.
Rag & Bone
Its name is meant to be ironic, but Rag & Bone – in French solderie – was literally so this season. All pretty grim – from rubberized tweed “Coco” homage jackets, to awkwardly smeared and chopped up Prince of Wales blazers. American sportswear’s limits exposed in the dank basement confines of a disused post office.
Moncler Grenoble
New York’s one great fashion moment on Saturday was Moncler Grenoble. A cast of 365 in ski visors, icy crystal-pattern sweaters and the brand’s signature puffa jackets, stood like sentinels, posed in four oval circles, high above the heads of the audience in Gotham Hall. A truly brilliant Sci Fi fashion image. No wonder Instagram and Twitter Moncler hash tags went crazy globally. “A forest of Moncler,” winked CEO Remo Ruffini at dinner with Bryan Ferry and a bevy of beautiful socialites post-show in Beatrice Inn. “A very impressive wood, then,” smiled Ferry.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/in-english-2-120213-347782
Altuzarra – Aggressive, cool and sexy
New York’s most admired collection after four days of shows and a heavy blizzard has been by Joseph Altuzarra. His wardrobe of pinched waist leather Marilyn Monroe “Misfit” dresses or leather trench-coats so body conscious they looked like elongated corsets, all anchored by checkered print bootees, were a great statement of aggressively sexual chic. “The idea of spring, but much purer. Pushing the tailoring so it was pure but also extreme,” Altuzarra told Le Figaro. Clearly exhausted by all his hard work; fully meriting a major creative director job in Europe. A Continental finish is all that is lacking to make Joseph the star he appears destined to become.
Victoria Beckham
A brave attempt by Victoria Beckham to develop her brand into tailoring; though ultimately a complicated first step. Her overly, thought out combinations of color block felt wool dresses; to-the-knee, schoolmarm skirts or silk shirts with 8 cm wide front slashes were all rather tricky to wear. Victoria did show one stellar outfit, a chess piece felt wool cocktail of great poise. Overall, however, this show felt far too imitative. “Celine de serie B,” sniffed one Italian editor, while a French colleague snorted: “Celine pour les Nuls!” after a show that felt as quiet and discreet as the faux aged catwalk in the New York Public Library where the collection was presented.
DVF
“What women really want from me is my classics,” insisted Diane von Furstenberg, who took her first solo bow in almost a decade this Sunday. Eschewed of any major designer assistant, Diane delivered precisely that: variations on her wrap dress. Her contrasting double C print, used in her very first season, toured the catwalk at DVF, which celebrates 40 years of business next year. Entitled “Glam Rock,” the collection evoked von Furstenberg’s own past from the turquoise halter-neck maxis dresses to the brilliant coats finished in metallic snake patterns.
Tommy Hilfiger
No designer was more on message this past weekend in Manhattan than Tommy Hilfiger, whose menswear and women’s pret-a-porter shows – separated by two days – were both marriages of American Wasp dandyism and Anglo fabrics. “It’s Savile Row meets Harvard,” Tommy told Le Figaro, after showing jagged Prince of Wales check blazers, suits, cabans and redingotes; Argyle print silk blouses and endless colorful Varsity scarves. For both men and women! Though surely, these were sassy ladies, the sort that fit into white leather pants with a wool felt lining – in hounds tooth check. Staged in a virtual library, like that where the Book of Kells is kept in Trinity College Dublin, which Tommy visited last year, the look was preppy, polished and charmingly nostalgic. “It’s all thanks to him,” smiled Hilfiger, pointing to a mood board starring Tommy Nutter, the Swinging Sixties London tailor who dressed both the Beatles and the Rolling Stones. And also the first designer to spawn the key retail phenomena of New York this last half decade – girls wearing their boyfriend’s clothes.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/mode-contre-blizzard-120213-347660
Alors qu’une tempête de neige s’est abattue sur la ville, les défilés new-yorkais ont commencé avec une avalanche de fourrure, de cuir, de duvet et de maille. Luxueux et sexy.
Ce week-end à Manhattan, aucun designer n’était aussi focalisé sur le message à délivrer que Tommy Hilfiger, dont les deux défilés de prêt-à-porter homme et femme – à deux jours d’intervalle – mariaient le dandysme américain wasp et les tissus anglais. « C’est Savile Row qui rencontre Harvard », explique Tommy, après avoir montré des blazers en prince-de-galles à bords effilés, des costumes, des cabans et redingotes, des chemisiers en soie Argyle et d’interminables écharpes Varsity colorées. Pour homme comme pour femme ! Bien qu’ici, il s’agisse sans doute de femmes effrontées, de celles qui peuvent porter des pantalons en cuir et laine feutrée en pied-de-poule. Le show se déroule dans un décor de bibliothèque identique à celle qui abrite le Book of Kells au sein du Trinity College à Dublin, que Tommy a visité l’année dernière. Une atmosphère chic, propre et teintée d’une charmante nostalgie. « C’est grâce à lui », indique Hilfiger, en montrant un mood board sur lequel figure Tommy Nutter, le couturier londonien des Swinging Sixties qui a habillé aussi bien les Beatles que les Rolling Stones. Et aussi le premier styliste à avoir incité les filles à porter les vêtements de leur petit copain, une tendance qui booste à nouveau les ventes à New York depuis cinq ans.
LE FIGARO
Lefigaro.fr
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/alexander-wang-altuzarra-moncler-grenoble-120213-347662
Alexander Wang, Altuzarra et Moncler Grenoble
Lors du défilé d’Alexander Wang, on se sent déjà en route pour Paris où le créateur fera ses débuts chez Balenciaga, fin février. Dos courbés, tailles basses et amples, cols volumineux, tout évoque un retour en arrière de plus d’un demi-siècle, quand Cristóbal était dans la fleur de l’âge. Une palette de couleurs sombres (anthracite, gris acier et gris foncé) s’épanouit dans des tissus précieux (calottes et guêtres en cachemire, cabans en astrakan et hauts en mohair qui, avec leurs discrètes paillettes, scintillent presque). Le designer, connu pour son chic casual streetwear, est devenu élégant voire mature. « De la nostalgie, de la fourrure, des rondeurs, du volume et des plis. Des silhouettes de soirée des années 1930 et 1940, traduites en T-shirt et sweat-shirt », explique Wang, qui – bonne nouvelle pour PPR – a dévoilé un fantastique sac, un fourre-tout d’électricien à multiples soufflets. Clin d’œil amusant, il fait également défiler des moufles de yéti qui ressemblent à des gants de boxe en vison noir. « C’est une manière d’élever le quotidien », ajoute Wang en souriant dans les coulisses du Cunard Building, l’ancien terminal des riches passagers des paquebots de croisière. Du chic transatlantique.
La collection la plus admirée à New York, après quatre jours de défilés et une forte tempête de neige, est celle d’Altuzarra. Sa collection de robes en cuir cintrées façon Marilyn Monroe dans The Misfits ou de trench-coats en cuir sculptant tellement le corps qu’ils ont l’air de corsets allongés, le tout souligné par des bottines avec un motif à damiers, est une fantastique déclaration d’un chic agressif et sexy. « Mon but est de pousser le tailoring à un point tel qu’il soit pur mais aussi extrême », déclare Joseph Altuzarra, visiblement épuisé par ce travail acharné, et méritant clairement un poste de directeur artistique en Europe. Une consécration de l’autre côté de l’Atlantique : voilà tout ce qui manque à Joseph pour être la star qu’il est destiné à devenir.
Moncler Grenoble offre un grand moment de mode, samedi à New York. Immobile comme des sentinelles, une troupe de 365 mannequins portant des lunettes de ski énormes, des pulls glacés à motifs cristaux et des vestes de ski doudounes, iconiques de la marque, posent en quatre formations ovales, loin au-dessus des têtes du public du Gotham Hall. Une image de science-fiction de la mode vraiment géniale. Pas étonnant qu’Instagram et Twitter débordaient ensuite de références au show. « C’était une forêt de Moncler », explique avec un clin d’œil, Remo Ruffini, le PDG, lors du dîner donné au Beatrice Inn après le défilé, en présence de Bryan Ferry et d’un groupe de beautés mondaines. « Faite d’un bois très impressionnant alors », corrige Ferry avec un sourire.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/victoria-beckham-diane-von-furstenberg-120213-347664
Victoria Beckham et Diane von Furstenberg
La tentative courageuse de Victoria Beckham pour développer sa marque vers le tailoring se révèle finalement une affaire complexe. Ses combinaisons trop réfléchies de robes en laine feutrée color block, ses jupes style maîtresse d’école jusqu’aux genoux ou celles en soie fendues sur le devant étaient toutes plutôt compliquées à porter. Pourtant, Victoria a montré une tenue extraordinaire, une robe de cocktail en laine feutrée à motif échiquier d’une élégance parfaite. Globalement, ce défilé donne un sentiment d’imitation. « Céline de série B », dit d’un ton hautain un éditeur italien, pendant que son collègue français grogne « Céline pour les nuls ! » Finalement, on garde de la collection une impression aussi calme et discrète que le podium faussement vieilli de la Bibliothèque publique de New York où le show a eu lieu.
Ce que les femmes recherchent vraiment chez moi, ce sont mes classiques », insiste Diane von Furstenberg, qui a dévoilé ce dimanche sa première collection solo depuis une décennie. Libérée de tout assistant styliste majeur, Diane célèbre ses 40 ans d’activité en montrant principalement des variations de sa wrap dress. Sa robe contrastée imprimée double C, utilisée lors de sa toute première saison, a fait le tour du podium. Intitulée Glam Rock, la collection évoque l’histoire de DVF, de ses maxi-robes turquoises « bain de soleil » aux manteaux brillants avec des motifs de serpent métallique. Pas de surprise alors quand elle fait le tour du podium après le défilé sur l’air disco de I’m Every Woman.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 12, 2013
Link: http://madame.lefigaro.fr/style/aussi-120213-347776
Chloë Sevigny
« Proteste et sois chic ! » semble affirmer l’actrice et it girl à l’origine du premier événement de cette semaine new-yorkaise, avec la présentation de sa collection pour Opening Ceremony. Inspirée des mouvements de protestation des années 1960, soutenue en live par la musique de cinq groupes de filles, l’association de jupes étroites en Nylon intarsia, de mules à plate-forme avec des robes de flanelle ligne A bleu poudré donne un air cool et autoritaire. En plus, Sevigny cartonne. « Nous vendons ses modèles dans 250 magasins » , rayonne Humberto Leon, fondateur d’Opening Ceremony, pour l’occasion éloigné de son quotidien avec Kenzo.
Rag & Bone
Le nom de cette griffe – qui signifie solderie en français – se veut ironique, mais il doit être traduit sans nuance cette saison… L’ensemble est peu reluisant, des vestes en tweed caoutchoutées hommage à « Coco » aux blazers prince-de-galles maladroitement enduits et découpés. Les limites du sportswear américain, exposées aux confins du sous-sol humide d’un bureau de poste désaffecté.
Hervé Léger
Le créateur rend hommage au duo d’artistes Claude et François-Xavier Lalanne. Les robes cocktail structurées en jacquard, les leggings avec des impressions animales et les jupes avec Zip frontal et bandes incrustées, le tout renforcé par des harnais en cuir noir style péplum, donnent un spectacle saisissant. C’est Léger comme il se doit, un look captivant et sexy mais toujours tout en finesse.
Extension du domaine de J Brand
Juste avant que la tempête de neige Nemo ne touche New York, la marque de jeans de Los Angeles la plus en vogue a fait défiler sur scène sa première collection de prêt-à-porter. « C’est une sophistication facile à comprendre », commente son pimpant fondateur, Jeff Rudes, posant devant des vestes en peau de mouton style motard à la coupe soignée, des semi-dhotis (indiens) amples et fluides pour homme et d’élégants pantalons de motard en daim luxueux. Une extension logique et cool de la marque. J Brand, qui a déjà collaboré brillamment avec de jeunes talents d’exception, comme Christopher Kane et Proenza Schouler, est en train de négocier avec un nouveau designer. « Ce partenaire sera à Paris car c’est la ville ultime pour la mode », affirme Rudes avant de s’envoler pour Londres afin d’assister à une soirée organisée par Matches, la boutique multimarque branchée de Notting Hill.
LE MONDE
Lemonde.fr
By: Carine Bizet
Date: February 12, 2013
Les nouveaux codes de la mode américaine
En plein phase de croissance, la scène mode new-yorkaise délaisse peu à peu ses racines sportswear pour se concentrer sur un vestiaire plus urbain et sophistiqué
Longtemps, la mode américaine a bâti son succès sur de silhouettes athlétiques chic et saines. Le mythe de l’amazone des Hamptons au sourire étincellant et au gout impeccable s’est incarné dans plusieurs générations de Kennedy et dans des créateurs comme Ralph Lauren. Mais depuis le début des années 2000, de jeunes designers comme Proenza Schouler, Alexander Wang, Philip Lim, Rodarte sont venus changer les règles du jeu et pousser la mode américaine sur une nouvelle voie. Son « code génétique » a muté. Plus urbaine et sophistiquée, décontractée mais adulte elle diversifie ses effets. A chacun de trouver sa formule et même les créateurs les plus confirmés profitent de cette dynamique pour faire évoluer leur vocabulaire. C’est le cas deTommy Hilfiger : incarnation du look « preppy » (étudiant chic et sportif) depuis les années 80, son style se nourrit cette saison d’anglicismes policés. Le new-yorkais emprunte au style tailleur britannique ses tissus Prince-de-Galles, ou pied-de-poule pour habiller tailleur mini jupe, grand manteaux d’homme, mini robes en soie ou en maille. Elargir son horizon sans se trahir est aussi le défi relevé par Belstaff, un label anglais spécialisé à l’origine dans les tenues pour automobilistes. On retrouve cet héritage dans des vestes renforcées, joliment sculptées. Mais elles sont taillées dans des cuirs ou des nylons laqués ultra chic, portées avec des mini jupes et des bottes cavalières, complétées par de gros pulls en maille (elle aussi renforcée) et de grands manteaux plus adaptés au bureau qu’à la route de campagne. L’ensemble s’apparente à la catégorie « contemporary », une mode de créateurs abordable, au style marqué mais facile à porter qui occupe des étages entiers des grands magasins américains. Dans cette « case » en pleine expansion, Theyskens’ Theory est une des réussites les plus brillantes. Dessinée par le belge Olivier Theyskens, cette ligne lancée il y quatre saisons à peine est déjà un succès grâce au vestiaire moderne et séduisant qu’elle invente. Au programme de l’hiver prochain : des vestes longues à carrures tombantes juste ce qu’il faut, de grands pulls à manches longues gracieux et confortables, des pantalons larges mais pas baggy, des robes soufflées futuristes mais pas spaciales…. Le « contemporary » est aussi une affaire de style de vie, celui d’une génération de femmes qui aiment la mode, le confort et leur carrière. On retrouve cet état d’esprit chez Philip Lim, dans un style plus composite où les variations sur le blouson de moto se portent avec des pulls en mohair duveteux, des leggings en patchwork ou des sweat-shirts XXL zippés. Sa silhouette d’amazone grunge a beaucoup de charme et ses effets de superpositions donnent au passage des idées de stylisme pour la vie de tous les jours. Au quotidien, justement, certaines préfèrent des tenues plus typées comme celles imaginées par Marc Jacobs pour sa ligne Marc by Marc ; Nourrie de références aux années 30-40 (vestes à tailles marquées, robes en satin couleurs bijoux) et aux années 70 (imprimés géométriques, combinaisons pantalons, camaieu orangé), sa collection qui délaisse les penchants grunge du créateur pour un style plus féminin, séduira les jeunes branchées qui écument les boutiques vintage. Celles qui préfèrent un répertoire plus rock, en revanche seront ravies par la première collection d’Andreas Melbostad chez Diesel Black Gold. Le designer norvégien multiplie les effets de matières sophistiqués sur le thème «biker ». Laqués comme un asphalte huilé, les draps de laine, cuirs et denims habillent des silhouettes carénées et/ou cloutées. Des mini jupes graphiques ou des pantalons étroits extra longs dézippés sur le pied complètent cette ligne sexy où chaque pièce pourra se fondre dans une garde-robe plus classique. Aujourd’hui, plus aucune femme n’achète de tenues complètes et pour réussir les créateurs doivent inventer des pièces suffisamment stylées pour faire la différence et suffisamment évidentes pour s’adapter à toutes les vies. Un équilibre pas si évident.
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2012
The row, gli angeli e i demoni delle sorelle Olsen
Le gemelle star, vincitrici dell’ultimo Cfda awards e alla guida di un gruppo fashion da 1,15 miliardi di euro di fatturato, portano in scena un raffinato mix di semplicità e purismo castigato
Angeli e demoni. Acerba verginità e castità clericale. Donne giovani e algide. L’estetica di Ashley e Mary-Kate Olsen è sorprendentemente distintiva, sperimentale, che rifugge qualsiasi velleità e vanità ostentata. Forse in reazione alla sovraesposizione mediatica alla quale sono sempre state esposte queste due giovani di talento, capaci di creare un gruppo fashion da 1,5 miliardi di dollari di fatturato (vedere box a pagina II). Un abito-tubo di seta lavata azzera ogni forma femminile, e si concede come decoro un bavero appuntata su un collo dolcevita. La maglia di grosse trecce si ripiega su se stessa, e riscopre delle maniche gonfie quasi elisabettiane. Il bianco e nero sono colori assoluti e utilizzati in tutte le loro plausibili sfumature. I completi sono a incastro. Il giubbotto breve di pelle cruda sormontato da un colletto bianco, che fa sbucare una giacca di panno, che svela un pantalone. Il blazer dalla vita segnata, dal quale sbuca una gonna, che nasconde un pants maschile. Con flair vittoriano. Tra abiti punitivi bordati di pelliccia e l’innocenza di ricami geometrici, concessi solo nell’opalescenza di sfavillii tono su tono. Anche all’abito da sera senza spalline, con il back side rubato alle geishe imperiali è severo, autoritario. Unicamente leziose sono le calzature basse, decorate da boccioli di rose scarlatte e peccaminose. A dimostrare che un piccolo, licenzioso, oggetto di vanità è ancora lecito.
Giudizio. Un gusto intimista ed esclusivo, fuori da qualsiasi influenza proveniente dalle passerelle di altre capitali della moda. Le gemelle Ashley e Mary-Kate Olsen sono un caso unico di talento spontaneo, che rifugge qualsiasi approvazione o riscontro di plurale portata. Avanguardia per una collezione, ovviamente, di nicchia per definizione, che rischia di diventare uno tra gli show più attesi dell’intera settimana della moda di New York. Tutto assolutamente stunning, location inclusa: una raffinata town house nell’Upper east side, tra Madison e Park avenue, arredata con pezzi di modernariato. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2013
Le vestali noir di Donna Karan
La designer americana immagina amazzoni notturne, dagli occhi bistratti e vestite di cappe misteriose.
Angeli della notte. Sacerdotesse spettrali. Cappe-mantello fatte librare nei gelidi venti dell’oscurità sono l’arma di seduzione delle amazzoni notturne di Donna Karan. Gli occhi bistratti di nero, come le mise da sera, sempre intente in un gioco della seduzione tra epidermide scoperta e poi nascosta, e intarsi di pelle lavorata come armatura rigida e sagomata. Il drappeggio è il punto focale di una collezione che rispecchia appieno il gusto della stilista Usa. Tracce di tribalismo africano, si susseguono e si mimetizzano in quelli che sono look liquidi, innamorati della figura, pronta a ritrarsi per poi farsi prominente in punti strategici, come gli omeri scoperti, l’alto ventre svelato, le cosce ostentate. Per un estremo senso di leggerezza, primordiale, da contrastare con i capospalla sagomati e arrotondati, quasi a deformare il corpo. E se nella prima parte si percepisce l’anima noir di una lady cittadina, il finale diventa nostalgia di mete lontane ed esotiche, pur risultando estremamente elegante nella sua essenza metropolitana. Bizzosi gli abiti di satin lucido accostati al corpo, poi trasformati in patchwork di velli a pelo corto e rasi a tratti lavorati, da portare con strani piumini con scollo a scialle, a stridere con una mirata eleganza.
Giudizio. Nostalgia e rigore. Anima dark e tracce di Africa nera. Karan fa meglio della scorsa estate e ritorna all’essenza di un gusto che pratica con sicurezza e nobiltà d’animo. Lo show piace, e se nel primo e nel terzo blocco conquista, la seconda parte che propone eccessive divagazione sul tema. E lascia un po’ scettici. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2013
La doppia anima di Wu
Severa come un generale o discinta come una vestale. Doppia anima per la donna di Jason Wu, pronta a giocare su due fronti: un daywear military, da guardia rossa deluxe, e una notte da alcova. In un guardaroba che per la terza stagione, perde la sua innocenza uptown, per insistere su una sexyness quasi feticista. Dove la figura ha tre punti forti: le spalle sagomate, la vita steccata e le gambe lunghissime. A dare importanza al giorno fatto di giacche e giacconi, ci pensa un tocco di volpe argento a rinvigorire la figura.
Giudizio. Jason Wu continua a esplorare il su universo. Ma non si capisce perché un designer come lui abbia abbandonato quel touch da miliardaria algida e vezzosa di Park avenue, che lo aveva fatto eleggere a erede di Oscar de la Renta.
Fiaba dark per Browne
Brande da manicomio dove legare uomini oggetto. E donne paradossali. Thom Browne, per la sua prima sfilata donna con tanto di seat, calca la mano su una femmina grottesca, sempre caricaturale. Per un new look all’ennesima potenza, a tratti ridicolizzato, per dame alla Helena Bonham Carter. Fianchi floridi e gonne a ruota. Spalle assurdamente spigolose come quadri d’autore o ingobbite con brandelli di stoffe. L’uso dei tessuti maschili resta una costante. Ingentilito dal tema della rosa rossa, come ricamo floreale o decoro di petali.
Giudizio. Le trovate di Browne piacevano perché divertivano, ma vista la forte prevedibilità ora sembrano annoiare. I look sono sempre troppo eccessivi, maschilisti nel costringere la donna in mise improbabili. Forse è arrivato il momento di tornare alla sostanza dei vestiti.
MM6, look in progress
Un look sbilenco, con sempre qualcosa di volutamente sbagliato. Facile, forse troppo, il guardaroba MM6 di Maison Martin Margiela, è pensato per le sue giovani consumatrici. La felpa con il gonnellone bianco e panna, il vestito con la cappa-cardigan di maglia o di piumino, la T-shirt con la stampa fotografica e il cappotto con pezzi riciclati. In una eterna sensazione di look in progress, spesso come se revocata da capi posseduti da sempre, ma mixati con un’attitude sorprendente e street. Must-have il duvet a stampa pelo di volpe che sembra una pelliccia.
Giudizio. Fedele a se stesso ma forse troppo. La label del gruppo Only the brave sa bene chi è il suo pubblico di riferimento, ma non si sforza per riuscire a stupire.
Blockbuster Phillip Lim
Se voleva essere denominato beniamino dei buyer, Phillip Lim con il suo inverno ci è riuscito in pieno. Una carrellata di pezzi da avere, e assolutamente in tendenza con lo spirito del tempo. Super young oriented. Very street style. Capi che intercambiabili che strizzano l’occhio alle tendenze delle ultime stagioni, ma rilette in chiave pop. Un cappotto rosa di lana trapuntata con la chiusura a sbieco. Una felpa over dai fianchi tagliati. Il maglioncino breve di lana orange e una camicia-casacca che spunta dall’orlo. E poi lo stivale fino a sopra il ginocchio con il parka bonded.
Giudizio. Una collezione super riuscita. Tutta da comprare senza esitazione. Lim fa centro e risveglia uno spirito commerciabile sopito nelle scorse stagioni. Bravo. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2013
IL DECÓ DI TORY BURCH
La stilista cita il Grande Gatsby. Nel 2014 lancerà gli orologi con Fossil e il beauty
Velluti devoré e sete leggere. Spesso ricamate, operate di paillettes percorse da stampe decò. Come fossero lampade di Tiffany o cristalli Lalique per uno spirito very ladylike. I completi di Tory Burch hanno la gonna con la piccola balza sempre sotto il ginocchio, la giacchina da tailleur puntuale e i cardigan leggeri e pelosi da infilare sotto. L’opalescenza, dei tessuti 24 carati e delle superfici diamantate si alterna all’opacità della lana, interrotta dalla trasparenza dello chiffon e del tulle. I ricami sono tanti, spesso piazzati sulle gonne a tubo, molto Grande Gatsby. La sensazione è educata, rigorosa e borghese. A tratti forse, troppo grandma. Il vero must have sono le borsine rigide con la piccola catena sali/scendi, intarsiate di decori rubati all’Empire state building. Intanto il marchio dopo il debutto dell’ecommerce in Uk a dicembre, si prepara a tagliare il nastro virtuale a marzo in Italia, Francia e Germania. A settembre, poi, arriverà il primo flagship a Monaco di Baviera e, nel 2014, la fragranza con Estée Lauder. Nello stesso anno debutteranno gli orologi creati con Fossil, gruppo che ha chiuso il quarto trimestre dell’anno a 947,7 milioni di dollari (circa 830,8 milioni di euro) in salita del 14,1%.
Giudizio. Bella e completa, specie negli accessori must-have. La pecca è l’eccessiva patina fané dell’insieme. I singoli capi, e i look sono impeccabili, sia chiaro. Ma il risultato è una perenne sensazione vintage. Che però conquisterà le fan della designer. (riproduzione riservata)
THE GUARDIAN
Guardian.co.uk
By: Jess Cartner-Morley
Date: February 12, 2013
Link: http://www.guardian.co.uk/profile/jesscartnermorley
The J Crew formula is to the 21st century American fashion industry what the secret Coca Cola recipe was to the fast food wars of the last food wars. Everybody loves the taste – but only a few people know the secret, and they’re not telling.
J Crew has claimed wardrobe bragging rights over the American zeitgeist to a degree not achieved by any high street store since the Gap in the 1990s. (It is no coincidence that Mickey Drexler, who masterminded the Gap in its khaki-and-white-shirt heyday, is now CEO of J Crew.) Michelle Obama and her daughters are famous fans, while Anna Wintour describes the brand as “a force to be reckoned with, and anyone who tells you otherwise is insane.”
Later this year, J Crew comes to Britain, with a 17,000 square foot store slated to open on London’s Regent Street, the brand’s first outside of the USA.
The J Crew look – bright colours, jazzy costume jewellery, rich eveningwear textures used in daywear – could not be more different from the Gap look, but the dynamite secret is the same: the label has found a way to make casual clothing aspirational. In America, where folksiness is next to godliness, J Crew’s accessible brand of glamour is a winning formula. (“Don’t forget to smile. Mickey wants the girls to look friendly,” a stylist with a lint roller in his jean pocket could be overheard reminding the models.) “The colours, the mix and the styling” are how Tom Mora, head of womenswear design, pinpointed the appeal of the label at the New York Fashion Week presentation of the autumn collection, which will be the first to go on sale in the UK. Colour is key to the J Crew look. (Drexler is said to insist on yellow always being in eyeline when a customer enters the store, not because it sells but because it is a cheerful and eyecatching shade which sets the tone for the shopping experience.) Purple, burgundy, pink and cobalt dominate for autumn, with rich saturated colour mixed with intricate pattern and delicate embellishment. Mora credits a trip to Marrakech with inspiring the collection: “the deep colours against the desert landscape…stood out in my mind. We created bold prints, used lush fabric textures and intricate beading and applied them to our idea of classic American sportswear.”
The mix is a crucial element of J Crew’s appeal. At the show, navy cropped trousers with an orange windowpane check were styled with a midnight peacoat slung over a grey cashmere knit, layered over a white shirt with diamante collar. The sparkle of the collar was echoed by silver ankle strap shoes; the lip gloss shade picked out that of the burgundy envelope clutch. The formula of mix-and-match is carefully calibrated for maximum effect, and enhanced with tips borrowed from the modish streetstyle blogs: the messy bun, the statement sunglasses, the shoulder-robed jacket.
The high level of design looks likely to impress British customers. A lilac wool coat combined Donegal tweed with a tonal herringbone used on the sleeves and lapels, the use of two similar fabrics adding a level of interest and texture to make the piece stand out from other high street offerings.
THE GUARDIAN
Guardian.co.uk
By: Jess Cartner-Morley
Date: February 12, 2013
Link: http://www.guardian.co.uk/profile/jesscartnermorley
Oscar & John/Jess Cartner-Morley
The name on the invite, as the audience took their seats for the most talked-about show of New York fashion week, was Oscar de la Renta – but the name on everyone’s lips was John Galliano. Since news broke last month that the 80 year old godfather of American uptown fashion, had invited the disgraced ex-Dior designer for an internship, the industry has been curious to discover whether this was merely a generous gesture, or a mouthwatering creative collaboration between two wildly different designers. The timing of the placement – taking place in the crucial month before fashion week when a collection is brought to life – was intriguing.
Shortly before the show, news filtered from backstage that Galliano was in situ, working alongside de la Renta. Yet his name did not appear among the eleven design assistants credited on the program. On a front row which included Diane Von Furstenberg and Valentino gossip centred around one question: would Galliano accompany de la Renta on his final bow, acknowledging a degree of authorship of the collection, or would the internship turn out to be a mere footnote in the de la Renta story?
As it turned out, Galliano did not make a catwalk appearance. But then, he didn’t need to: by the end of the show, the British designer had, to all intents and purposes, made his comeback. Any questionmark over the British designer’s influence on this collection was purely academic. While the show remained recognisably de la Renta, Galliano’s handwriting was clearly visible in many elements: from the confident eccentricity and sinuous movement of the jewel-coloured stretch flannel skirt suits topped with theatrical lampshade-cloche hats, to the liquid slink of a bias cut velvet gown in poison green. Furthermore, as the show progressed, there were deliberate winks from the hair and make-up team, surely designed to emphasise links with Galliano’s past collections: oiled and lacquered 1940s curls, and mouths painted into rosebud Kabuki-kisses of blood-red crimson.
It was a comeback by sleight of hand, and one that would be a feather in the hat of the most highly strategic spin doctor. By making his reappearance at intern level, Galliano has shown a humility which will help smooth his rehabilitation – but under the wing of de la Renta, he has been able to offer his creations at a blue-chip show, without the necessity of an ugly tussle to persuade the industry to attend his show. The blessing of de la Renta, who this year marks his 50th anniversary designing clothes in New York, has given him a foothold into a world from which his infamous anti-semitic drunken rant in a Parisian bar had cut him adrift. Crucially the de la Renta brand, an adored favourite of First Ladies and Hollywood stars, is redolent of two qualities Galliano sorely needs to recover: respectability, and class.
But Galliano’s comeback was a collaboration, not a coup. The Oscar de la Renta flag flew high throughout the show: in the perfectly judged, immaculately cut sleeves ending slightly above the elbow; the chic cut of skirts hemmed just at the knee; the mink sweaters. The fabulous embellished gowns in sumptuous organzas and tulles embodied de la Renta’s distinctive eveningwear style, a kind of Manhattan Baroque. Indeed, there was a sense that what made the Galliano elements in this collection sing was that de la Renta, with his innate sense of chic and propriety, imposed an aesthetic structure in which the Galliano madness was never allowed to spiral out of control. There was a nice balance of looseness and restraint; of drama and discipline. After all, as even the most amateur student of psychology will tell you, all of us benefit from us boundaries.
In an interview in the current issue of New York magazine, de la Renta gives an open-ended answer to the question of whether Galliano’s placement at the house might be extended. “I would love for him to stay. Will he? I cannot tell you that today. Because we haven’t gone that far in really discussing it…So the answer is we don’t know. We’re still exploring.” At 80 years old, the designer is aware there is the delicate issue of an eventual successor in the air. Asked for his feelings on the situation, John Galliano himself told the interviewer simply: “I love it here.”