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 14, 2013.
CORRIERE DELLA SERA
By: Paola Pollo
Date: February 16, 2013
La donna si scopre Spalle nude e short
U ultimo giorno di sfilate newyorchesi, dedicato alle donne che non soffrono il freddo. Dopo una settimana di cappotti e pellicce e pullover, d’altronde è la moda per il prossimo inverno quella di cui si parla, ecco le spalle scoperte da Calvin Klein e addirittura un paio di topless da Marc Jacobs. Comincia Francisco Costa. Lo stilista brasiliano, da dieci anni designer per Calvin Klein, fra paletot e braccia nude racconta il suo show restando coerente alla storia della griffe che da sempre gioca fra maschile e femminile servendosi di materiali e proporzioni. Così l’over addolcisce i tessuti operati e tecnici, il tono su tono (per esempio per un’originale scozzese a tinte neve) alleggerisce le immagini e infine la pelle nuda, a tagli e porzioni geometriche, rende sensuali forme e lunghezze. Le gonne sono al ginocchio, diritte o a ruota. I pantaloni maschili, le giacche morbide e strette da cinture marziali come gli stivali. Gli abiti dalle profonde scollature a «V». Nappa tanta, vernice pure. Non incombe la sera ed è una scelta moderna. Bianco, avorio, blu e nero sono i colori d’ordinanza. Cuciture e dettagli in metallo stemperano un minimal in realtà apparente, perché nulla è semplice. Un enorme sole illumina la cupa e maestosa sala del 69th Armory Regiment, storico edificio primi ’900 sulla Lexington. Il grigio del cemento si fa giallognolo e pare di stare dentro a una vecchia foto seppiata. Le modelle cominciano a uscire e gli abiti paiono sbiaditi, incolori. Poi le luci si alzano, le ragazze rifanno il tour ed ecco che gli stessi capi riprendono vita: i colori si accendono, i tessuti brillano, le forme si definiscono. C’è sempre un prima e un dopo, spiega la sua performance Marc Jacobs, direttamente ispirata a quello che è accaduto qualche mese fa quando l’uragano Sandy distrusse la sua casa nel West Village: «Tristezza e ottimismo, ecco la vita». Gli abiti sono semplici, pezzi basici: cappotti over impeccabili, maglioni a trecce, un trionfo di short (pure in versione topless!), il tailleur pigiama. Il vocabolario preciso di una moda che ha un suo perché fra malinconie, modernità e praticità. E con Jacobs la fashion week di New York chiude. Una settimana non di grandi acuti stilistici, pure con qualche punta di noia e delusione, ma di molta concretezza e attenzione. Al Lincoln Center, il luogo della città che ha sostituito Bryant Park come quinta per la maggior parte degli show, mai visti tanti giovani aggirarsi da una sfilata all’altra, studenti, per lo più. O appassionati di moda. Era da tempo che mancava un interesse così allegro. Solo a Londra, di solito, accade. E proprio in Inghilterra si sposta il carrozzone del fashion. Da oggi e fino a mercoledì.
DIDASCALIA FOTO Sempre borse a mano Si confermano un must anche per l’inverno 2014. Qui una busta Narciso Rodriguez Il ritorno dei cappelli A tese larghe, come questo di Giulietta, in perfetto stile Seventies Calvin Klein Maschile e femminile
FINANCIAL TIMES
Ft.com
By: Vanessa Friedman
Date: February 14, 2013
Link: http://www.ft.com/intl/cms/s/2/1dda6e32-767b-11e2-8569-00144feabdc0.html#axzz2KuDlF8W9
New York: runway report five
Forget tea leaves and tarot cards: on Wednesday in New York the fashion crowd was attempting to read the runway – not just because they are mostly coffee or green juice folks (though they are), but rather because the day before Michael Kors-the-company had released staggering third-quarter results, sending its stock price soaring (it is now trading at 34 times projected earnings), and thus the Michael Kors show offered a prime opportunity for scrutiny. What did he know that everyone else didn’t?
Apparently that what every woman wants is haute athletic wear: tux-cum-track serge pants in marigold with a rubberised strip up each side; quilted leather A-line skirts that also came in perforated electric blue felt; and rubberised cable knits – not to mention camouflage mink coats and LBDs with a bit of a lift: brightly coloured silk peplums that descended into billowing trains trailing behind.
“Urban life is moving faster and faster; you have to be an
athlete to live in today’s world,” said the designer, by way of explanation pre-show. Fair enough; the proof will be in the sales, though since like-for-like sales were up 40 per cent, presumably he knows what he is talking about.
Perhaps the more abstract answer, however, lies in the consistency of his approach: whatever season it is, whatever is happening in the world, Mr Kors can be relied upon to focus on luxuriously straightforward separates. Though this can occasionally seem banal (and is often criticised) it is to Mr Kors’s credit that he stays true to himself and his vision, and lately everyone is, literally, buying into that.
Of course, to do this you need to be very clear on your own aesthetic identity – designer, know thyself! – a subject Reed Krakoff, in year three of his eponymous company, is still refining. This season he came closer than ever to distilling his work in a signature way, with rich shades – sapphire and deep grey and peridot – in richer materials (cashmere, satin, python, nappa, velvet) but grounded in wholly practical reference points: school uniforms, cut with the slight asymmetry of adult life.
So, for example, a navy ribbed sweater was topped by a navy alligator vest and worn over a sheeny brushed velvet skirt cut with a touch of asymmetry, and a leather V-neck dress with a dropped waist came under a perfectly tailored matching cashmere coat. Silks printed with tanzanite-shaded alligator “skin” were combined with cashmere knit and leather arm patches in a super-luxe sweatshirt, and a satin mac was lizard-embossed for texture.
The combination was intelligently alluring, and felt highly relevant – more so, certainly, than Marchesa’s 24-carat evening looks inspired by Goya’s “Portrait of Maria Teresa de Vallabriga”, aka a 17th century aristocrat. Duchesse satin coats swagged with floral embroidery; a black sheer gauze shirt over a corset and black trousers with a gold embroidered “flap” at the waist (that’s what they called it; it looked sort of like a cummerbund slung low); and an enormous strapless fuchsia ball gown have a limited audience, though to be fair, that audience, aka the red carpet/benefit ball-going/wannabe-principessas of the world, does exist.
It’s just that the nude tulle one-shouldered gown embroidered in flowers that fell in tiers to the ground seemed so much more broadly alluring in its (relative) simplicity. But then, often the clothes that look the simplest are anything but. This is a signature of Jack McCollough and Lazaro Hernandez at Proenza Schouler, who have a remarkable consistency of vision for themselves – and consistency of ambition, marked by the desire to take generic fashion clichés and render them startlingly new.
So what began as quite basic little black and white bouclé 1960s secretary suits became slightly oversized versions in ostrich skin, and then moved on to white ponyskin with black dots mixed with black ponyskin with white squiggles, which then mixed devoré leather knit tops with black and white ostrich feather skirts, concluding with two terrific shifts covered in what looked like vertical black or silver chain that acted as a scrim over a black and white lining rendering it fuzzy and indistinct.
And there was a point: there are no simple answers to anything. Even fashion. Even (especially) fashion success.
IL GIORNALE
Ilgiornale.it
By: Daniela Fedi
Date: February 14, 2013
Link: http://www.ilgiornale.it/news/interni/vita-vespa-e-gonne-ruota-revival-anni-cinquanta-885719.html
Siamo al venticinquesimo piano di un edificio affacciato sulla New York Public Library. A pochi passi da qui, sulla Quinta strada, c’è una sede di Chabad-Lubavitch, uno dei più grandi movimenti religiosi del giudaismo chassidico. Inevitabile pensarci visto che il geniale designer di Gibilterra è stato licenziato in tronco da Dior nel 2011 per aver lanciato insulti antisemiti e inneggiato al nazismo in stato di ubriachezza molesta. «Tutti meritano una seconda opportunità, specie le persone di talento» dice de la Renta dopo lo show. «John non è un cavallo pazzo – continua – ma una bravissima persona che ammiro da 25 anni. Abbiamo imparato tante cose l’uno dall’altro. Mi piacerebbe rimanesse ma finora non abbiamo avuto tempo di parlarne seriamente. Vediamo, que serà serà». Per il momento è stato bellissimo rivedere quelle aggraziate silhouette anni Cinquanta che de la Renta ha sempre fatto, ma che Galliano ha traghettato con prepotenza nella modernità. Nella parte giorno c’è una giacchina in pelle dal collo a scialle che è la cosa più bella vista finora sulle passerelle americane, dei fantastici cappelli a cloche calzati bassi sulla testa stile streghetta, doppi e tripli guanti di tulle e tanti tailleur con vita segnata sulle gonne a ruota oppure a matita. Gli abiti da sera tolgono il fiato con ricami degni di Versailles sui vividi colori: rosso Magenta, verde mela, azzurro zaffiro, viola cardinale. Il bello è che non si capisce bene dove finisce Oscar e dove comincia John: c’è il glamour Hollywoodiano che nessuno sa fare bene come de la Renta e c’è l’irresistibile profumo della couture parigina che Galliano ha reso frizzante oltre ogni dire. «Noi creativi siamo tutti contenti del ritorno di John e gli auguriamo ogni bene» dice Natalie Ratabesi deliziosa designer di 34 anni che Alberta Ferretti ha nominato direttore creativo della sua linea Philosophy. Nata a Londra ma cresciuta a Roma da dove è ripartita ad appena 17 anni per studiare stilismo alla Saint Martin, Natalie ha poi lavorato a Parigi con Galliano da Dior, quindi a New York (prima da Ralph Lauren, dopo da Oscar de la Renta) e infine a Milano da Gucci. Un curriculum di tutto rispetto che le ha permesso di trasformare la donna Philosophy in una convincente principessa della Mongolia catapultata non si sa come negli anni Cinquanta. L’immagine più forte è la gonna a ruota anni Cinquanta sotto al pullover di sapore etnico anche se il modello che ci fa sognare è un sottile tailleur pantaloni con blusa allacciata dietro. Da Michael Kors è di scena il lato atletico di Park Avenue con un’apoteosi di giacche e cappotti fantastici come l’indimenticabile giaccone da marinaio blu con schiena di visone blu elettrico. «Se hai un bel paltò e una bella borsa sotto puoi anche metterti la tuta per fare joga e sei impeccabile lo stesso» sostiene lo stilista. In fondo ha ragione ma qualunque donna di buon senso indosserebbe con gioia anche la gonna dritta con il motivo pied de poule floccato in vernice, il pullover in cashmere gommato, la stola di visone mimetico: quel suo stile inconfondibile che le americane chiamano «sporty, sexy, luxury».
INTERNATIONAL HERALD TRIBUNE
iht.com
By: Suzy Menkes
Date: February 15, 2013
Link: http://www.nytimes.com/2013/02/16/fashion/16iht-fralph16.html?ref=suzymenkes&_r=0
Hiding Craft Behind a Smooth Facade
NEW YORK — As I crouched over a tablet at the airport, watching the models walk the screen, New York Fashion Week ended for me as it had begun — virtually.
But this time it was not a blizzard that had grounded the plane, but a decision by Marc Jacobs to delay his show by three days.
I watched a sun rise as a golden bauble at the back of the circular set and then strained to see the models in the slim coats and dresses typical of the designer. The lights came up for another circle of the rotunda set, the better to see the identical quiffs of wig, the fur stoles, some apparently with fake fox heads — and to note that those shawls and the underpants as bottom halves looked very “Prada.”
However, the pajama shirts and slender dresses in shimmering fabrics had just the clean lines and sophisticated sportswear silhouettes that were once the essence of American style. Mr. Jacobs, as ever, gets to the heart of what is contemporary.
In general, the New York shows for autumn 2013 seemed overcomplicated and like an amalgam of current trends.
Those who followed their own paths — the intense and impressive craftsmanship from Proenza Schouler or the ongoing fabric research at Calvin Klein — offered no game-changing vision of fashion in the 21st century.
The two figures of the Vogue editor Anna Wintour and the coat hanger-in-chief Anna Dello Russo made the statement of the season in their Prada furs worked with flat Japanese flowers. Fancy furs were everywhere.
From Michael Kors came pattern in vivid colors, defying the original purpose of camouflage. Those coats, in both fabric or printed fur, were examples of powerful and streamlined outerwear that accompanied über-sports looks. “You’ve got to be an athlete to manage in this city today,” said Mr. Kors, referring to his dash uptown to escape Hurricane Sandy in late October.
The result was typical of the designer: upbeat colors like deep sky blue and burning-sun yellow. Stylish scuba-style dresses for daytime contrasted with evening dress that seemed too athletic: long skirts billowing behind ultrashort skirts at the front. The show came through as dynamic but predictable.
“It’s emphasizing the idea of softness from leather,” said Jack McCollough backstage, showing the work behind the Proenza Schouler collection. That included perforated, printed and woven wools, satin-back crepe bonded to jersey and needle-punched leather sweaters. His partner, Lazaro Hernandez, said with a smile that the design duo “drove mad” their Italian suppliers.
What did these complex creations look like if you were Liv Tyler, sitting front row? The answer was: pretty simple, as all the craft was hidden behind the facade of tailored coats and jackets, cut in rounded shapes. The textures showed up as tweed-look fabrics, made from the perforated leather. Full marks to the duo for research and technique although sometimes it was at the expense of lightness and ease.
A sleek austerity but with intense fabric research has always been the focus of Francisco Costa’s work at Calvin Klein. The designer called his silhouettes “art meets urban culture,” which translated as taut-waisted coats and dresses, inserted with leather and cinched with metallic buckles. The hardware was in contrast to the liquid-looking leather — the two elements balanced by feminine bandeau tops and masculine drop-crotch pants.
The silhouette was graphic and refined, the work exceptional, offering lacework inside leather pleats — and all this set off by stark silhouettes and straight hair. But sometimes simple ideas are the best. A faint plaid pattern or the same idea worked in perforated holes were some of the few pieces that seemed to fit Mr. Costa’s backstage promise of sexuality “charged with urban femininity.” Expect to see the 21st-century plaid on Jessica Chastain, sitting front row in a slim bordeaux dress.
In a jungle of influences that have obscured any clear “American” look, Ralph Lauren has to be applauded for the absolute certainty of his vision. Under chandeliers decorated with stag antlers — and with the entire Lauren family in their ritual positions — walked a naval parade: models wearing jaunty berets with narrowed-down sailor pants, smart duffel jackets and white shirts with full sleeves that had just the Lauren mix of fashion pace and grace.
But to where were they sailing? To Dr. Zhivago’s Russia, where lush velvets in purple, teal and olive introduced a different and more romantic world of fur hats and Persian carpetbags.
“I thought of it like a movie,” said Mr. Lauren, who appeared in a cream cabled sweater tough enough for the Russian steppes.
The show was essential “Ralph” with its sporty daywear in richly textured fabrics. The evening’s romantic elegance was worthy of a Tolstoy heroine.
The use of fur as if it were fabric is the essence of its fashionable return. No one understands that better than J. Mendel, whose modern, sporty looks included mink shaved like corduroy, broadtail trimmed with leather, color-blocked mink coats cut close to the body and a big fox fur bag. Gilles Mendel also has a light-handed couture touch with slithering evening dresses. But it is in fur that he excels.
Reed Krakoff took the motifs of alligator and python, printing them on pony skin or on cashmere. That was a smart way to give depth to the streamlined, military-cut clothes of the designer, who uses the most luxurious of fabrics from bonded leather to double-faced cashmere — but always with a sophisticated sense of stealth wealth.
Fabulous fake fur was just one way that Anna Sui played with a show that was already lit up with originality and wit. Taking the French cinematic “Nouvelle Vague,” or “New Wave,” of the late 1950s and ’60s as her inspiration, with music to match, Ms. Sui reinterpreted jacquard cardigans, dresses in crepe de Chine or jersey, and her favorite colorful socks. Witty, too, were Chanel-style bags — with all the accessories giving a sense of energy to a designer who knows how to stay on her own track — yet move ahead.
At Philosophy by Alberta Ferretti, part of the Aeffe empire, a new designer gave a fresh feeling to simple knits, blouses and skirts and what can best be described as feminine sportswear. That kind of simplicity looks stunning when made with Italian skills for tailored and more fluid pieces.
Rachel Zoe has a passion for the 1970s that engulfs her work — but that is not necessarily a bad thing. Making pantsuits or scrape-the-floor skirts in camel fabrics, she gave those hippie styles a touch of modern classicism. The front-row guest Miley Cyrus witnessed current seasonal trends like black and white plaid checks — with that idea even translated to patchy fur.
The Marchesa brand seems so enthralled by the Academy Awards that each outfit seems destined for the red carpet — but there is a difference between being part of the Oscar ceremony and a movie costume designer. Georgina Chapman and Keren Craig don’t seem to make a distinction. Their inspiration from a Goya painting produced swathes of fabric that suggested Scarlett O’Hara making a dress out of curtains, rather than styles from the Hollywood couturiers they might like to be.
LA REPUBBLICA
Repubblica.it
By: Laura Asnaghi
Date: February 15, 2013
R2 MODA Sulle passerelle newyorkesi sfilano donne forti e indipendenti, che non sanno rinunciare al romanticismo Calvin Klein insiste con il minimalismo, ma si rinnova scegliendo particolari che danno il senso del lusso
Eroina tempo senza
I fasti di Ralph Lauren stile Anna Karenina – Velluto blu di Prussia, nero e melanzana per abiti filiformi e boleri militari – Torna la pelle in mille varianti, dalle gonne svasate agli inserti speciali fino al pizzo
Ralph Laurene il fascino di Anna Karenina, le zarine della grande madre Russia e le poetesse rivoluzionarie. Lo stilista più amato d’ America e famoso in tutto il mondo, sfila a ridosso dei docks, nella zona a sud di Manhattan, ma una volta superato l’ austero ingresso di uno dei tanti magazzini che un tempo venivano usati per lo stoccaggio delle merci, si viene accolti da un ambiente che rievoca i fasti della corte russa, con enormi corbeilles di fiori e lampadari giganteschi con trionfi di cristalli e corna di cervo. «La mia donna – spiega – è una rivoluzionaria romantica, una eroina senza tempo, indipendente e audace. Una donna sicura di sé, dotata di stile».E con una vita intensa, che richiede un guardaroba ben rifornito, sia per il giorno che per la sera, ricco di abiti da sogno per le notti a palazzo, tra ricevimenti e gran balli. Elegante e sempre molto esigente, di giorno ama vestire con giacche e pantaloni che si ispirano alle divise della marina russa, con marsine chiuse da alamari, stemmi e fregi ma anche nappe dorate che decorano gli stivali dai tacchi alti. Ma quando vuole essere più romantica, allora sceglie abiti filiformi in velluto blu di Prussia, melanzana, avorio e nero, con boleri militari e grandi borse fatte con i tappeti antichi. Ma è di notte che la donna Ralph Lauren mostra le sue mise più strepitose, portate con colbacchi e orecchini preziosi. Gli abiti, tutti prodotti da abili artigiani italiani, sono capolavori di sartoria. Quello fatto con piccole strisce in pelle che si apre con una enorme gonna ha richiesto 150 ore di lavorazione. Ma altrettanto savoir faire c’ è voluto per realizzare gli abiti in organza e taffetà con drappeggio “effetto corteccia d’ albero”, quelli dalle eteree trasparenze sorretti al collo da collane incorporate nell’ abito. Per il gran finale, giacca-cappa di pelliccia color della neve, con abito e colbacco coordinati. Ralph Lauren usa solo pelli di animali “allevati per scopi alimentari”, come la capra o il montone che poi fa lavorare a imitazione delle pellicce più sontuose. Il pubblico di Ralph Lauren applaude incantato da queste magie, che alla maison americana fruttano un giro d’ affari pari a 5,2 miliardi di euro con 399 negozi, un grosso piano di espansione in Asia e l’ apertura di una bou tique anche a Roma, città che lui adora. La moda newyorkese conclude le passerelle con il defilé di Calvin Klein, fedele a un minimalismo capace però di rinnovarsi sempre. Per il prossimo inverno, Francisco Costa, lo stilista della linea donna, ha proposto cappotti-trench dalle ampie proporzioni, con tagli decisi, pantaloni con le pinces in vita e la rivisitazione del tessuto scozzese in chiave minimal, nei toni del nero, blu e verde foresta. A dare un forte impatto e senso del lusso alla collezione, ci sono le placche oro che compaiono sui tacchi e le fibbie delle cinture. La seduzione di Calvin Klein è sempre molto cerebrale, algida e netta, anche quando l’ abito è in pizzo di pelle. E di pelle ne fa un grande uso anche Proenza Schouler: le gonne svasate sono in cavallino o struzzo, e con speciali intagli al laser viene simulato l’ effetto maculato. Omaggio alle luci di New York per Milly, il marchio di Michelle Smith, con gonne e maglie “ologrammate” iper femminili. Rachel Zoe si conferma una stylist capa ce di vestire le star di Hollywood con un guardaroba che spazia dallo sportivo al super chic. Mentre Narciso Rodriguez resta un maestro degli abiti lavorati in sbieco. © RIPRODUZIONE RISERVATA
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 15, 2013
Link: http://madame.lefigaro.fr/style/in-english-1-150213-350634
Oscar de la Renta
The British took over 42nd Street on Tuesday night: with adding a new stylist, soundtrack and interlocutor in the person of John Galliano to the house of Oscar de la Renta. And the UK connection worked sweetly, as Oscar pulled off his most accomplished show in years. Galliano’s bohemian touches – mesh gloves, circled by bracelets with amaranth crystals; demi-monde cloche hats or gold necklace chandeliers – radically rejuvenated the whole look.With Bryan Ferry crooning “As Time Goes By,” opened with a series of impeccably draped cashmere and flannel jackets cut almost like scarves and held by nonchalantly tied with Nile alligator belts and sauced up with suggestive lace booties. For evening, de la Renta’s atelier wowed with Toile print jacquard dresses, and charming tulle jackets with lustrous gold embroidery, as Oscar’s showed off his skill matching bright colors: citrine with teal. And squadron of screen goddess climaxed the show from a nude tulle column with snazzy beading to a shocking pink grand guignal gown. Once again, the Galliano touch added that vital soupcon of panache – a Pharaoh’s eye for makeup, seductive jelled back hair. Park Avenue but with Gypsy Egyptian touch. “It was a beautiful conversation,” commented Diane von Furstenberg, in a widely shared view. An ebullient De la Renta, looking tanned and showing little evidence of recent reports of ill health, took his bow alone to considerable applause.
He told Le Figaro that three quarters of the collection had been completed when Galliano arrived in his studio three weeks ago. “But it’s been a very enjoyable exchange, where we both brought something to the show, and learned from each other,” said Oscar. Asked if he intended to continue the collaboration, he slid backstage smiling, “well…” Security was heavy, with dozens of security staff for a show barely 200 guests. Sweaty PR staff at first denied Galliano was backstage, but after the Briton was spotted going to the bathroom, said he was unavailable for comment. However, the collection was an undoubted success, meaning that it looks like Galliano’s long exile may well be over.
Narciso Rodriguez
This Cuban-born designer has long been associated with American minimalism. And one the weaknesses has been the similarity of too many collections. Not this season, where the lush colors and sharp angular cutting and light layering made for a new fashion vision. A recent trip to Sao Paulo, where he discovered the architecture of Oscar Niemeyer, has unleashed a new burst of creative energy as evidenced in this colorful, tropical twisting collection. Sleek cocktail dresses in bonded crepe and charmeuse, bustiers spouting fabric petals and peplum beaded tops had great punch. But the heart of the collection was tropical hued fleece coats and geometric crepe dresses in tangerine or wasabi. As often in New York, the key backstage talent was French, in this case stylist Ludivine Poiblanc – who toughened up the aesthetic, and French music producer, Frederic Sanchez, whose drum and base soundtrack gave the show a great sense of drama.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 15, 2013
Link: http://madame.lefigaro.fr/style/in-english-2-150213-350636
Diesel Black Gold
What a difference a designer makes. In his first show for Diesel Black Gold, Norwegian-born Andreas Melbostad got things just right – with a steamy biker chic chick collection, blending trendy tailoring wit sexy finish. Composed almost exclusively in black, white and factory gray – his best looks were combinations. Coats dresses where the top half was a biker jacket, or tuxedos elongated into cocktails dresses. Using lots of wool waxed to look like aged denim, and completed with quilted zippers, snap details, precision piping the collection had great punch. “Industrial but embroidered,” smiled Melbostad, as a score of Italian editors surrounded him, lauding the New York-based. Adding to the good vibes was a brilliant set, where a roof of fluorescent lighting racks in hanging baseball fences and 80-meter tubes meant the audience was warm well lit in the giant warehouse on the chilly shores of the Hudson, courtesy of French show producer Thierry Dreyfus. In the wake of buying Marni, it’s clear that Diesel founder Renzo Rosso has learned the lesson from LVMH and PPR of investing in talent. “And I may be about to sign the biggest deal of my career. You will know in two weeks,” said an excited Rosso.
Vera Wang
Few New York designers made more arty fashion than Vera Wang. The dramatic shapes of ballooning bishop sleeve cutaway boleros or the aerodynamic lines of metallic kimono tops had great distinction. Plus, few creators understand layering better than Wang, where combos of coats with hyper wide armholes over shift dresses or guipure bras grant a great sense of the unexpected. “Construction, volume and technique,” smiled Wang, who introduced bold splayed flower prints in jacquard bodices and peplum magenta gowns to take her oeuvre somewhere very new.
Rodarte For all the indisputable talent of Los Angeles-based fashion design duo, sisters Kate and Laura Mulleavy, their brand Rodarte feels that it has not, and may never, fulfill its potential. Their latest dresses were eye-catching – assemblages of mega tie-dye prints, muddy abstract cotton and twisting bands of chiffon – yet ultimately overpowering. Apart from their own runway or a fashion victim’s revival ball it was hard to work out where many women would wear these clothes.
Zac Posen Last season a dispute about seating and a slap in the face led to a one million dollar law suit between Zac Posen’s PR lady and L’Officiel France. This season it was all peaceful in the Hotel Plaza. Posen knows his fashion history, as his grand swirling gowns in mauve or burnished underlined. But Zac is best when he avoids the grandiose – like his beautifully refined chiffon dresses with twig and bud embroidery. A lack of self-editing remains his Achilles Heel.
Edun
Rock and Roll ruled at Edun, with founders Bono and Ali Hewson applauding the live presentation in on a stage with concert lighting. Many of the looks had clubbing credibility – off the shoulder metallic dresses, tartan stretch tops and masculine blazers with mini chains for women or crumpled leather jerkins and plaid bomber jackets for the guys. But for a brand founded on sustainable employment in Third World and a sense ethnic chic it seemed a long distance from Edun’s apparent DNA.
J Mendel
It’s a season dominated by fur. Much of it aping Miu Miu abstract dyed skins of last October in Paris. Which is what made J Mendel’s collection so impressive – it carved out its own aesthetic. Mink coats cut to resemble herring bone, degrade vests in muskrat and black and white fur coats with surgically inserted zippers were appealingly heroic. Designer Gilles Mendel, who in recent seasons has struggled, to create stylish ready-to-wear, this season sent out wonderfully shimmering skinny columns of silky velvet and dazzling crepe, inspired by the paintings of Gerhard Richter. Cut with single shoulder straps, finished with spiral seams and embellished with abstract lace seams, they made for a smart total look. Though little heralded in the fashion press, it needs to be remembered that Gilles is the most successful French-born designer living outside of France whose fashion is worn by the stylish global elite. This was him at his most assured and elegantly decadent best.
Veronica Beard
New York’s most talked about new uptown brand is Veronica Beard, from two sisters in law, Veronica Swanson and Veronica Miele, who married Beard brothers. Their mannish take on Wasp chic – frontiersman plaid jackets, forgivingly cut raccoon vests and washed silk western blouses were gutsy and cleverly addressed a demand from modern women for tough practical sportswear. And this brand has momentum – social queen and beauty empire heir Aerin Lauder hosted their post-presentation dinner and everyone from Saks to much-watched boutique Montaigne Market retails their collections.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 15, 2013
Link: http://madame.lefigaro.fr/style/dynamique-de-manhattan-150213-350628
Oscar de la Renta rajeuni par le punch de John Galliano, Narciso Rodriguez boosté par un voyage à São Paulo, Diesel Black Gold stimulé par son nouveau créateur… À New York, l’énergie est au rendez-vous.
Sécurité maximale chez Oscar de la Renta avec une douzaine de vigiles pour un défilé comptant à peine deux cents invités. Les responsables de la presse, en sueur, nient la présence, en coulisses, de John Galliano venu en renfort sur cette collection. Le Britannique, aperçu furtivement néanmoins, refusera de s’exprimer. Le créateur américain va livrer ici son défilé le plus accompli depuis des années. Les touches bohèmes de Galliano – des gants en tulle, des chapeaux cloche de demi-mondaines ou des colliers en pampilles d’or – rajeunissent radicalement l’allure générale. Bryan Ferry chante de sa voix merveilleuse As Time Goes By, tandis que le défilé débute avec une série de vestes en cachemire et flanelle impeccablement drapées et tenues avec nonchalance par des ceintures en crocodile. Les bottines aguichantes à dentelles donnent du punch.
Pour le soir, le studio de la Renta impressionne avec des robes en jacquard imprimé et d’élégantes vestes en tulle et broderies en or. Mais c’est bien dans l’association de couleurs vives qu’Oscar montre tout son savoir-faire. Le défilé atteint son point d’orgue avec une escadrille de déesses, vêtues d’un fourreau de tulle transparent brodé de perles ou d’une longue robe rose flash pleine d’allure. Là encore, la touche Galliano ajoute un vrai panache, avec des yeux noircis de pharaons et des chevelures plaquées en arrière.
Très Park Avenue, un twist gypsy-égyptien en plus. « C’était une conversation magnifique entre les deux hommes », commente Diane von Furstenberg. Une opinion largement partagée. C’est un de la Renta pétillant, bronzé, ne montrant aucun signe des problèmes de santé récemment évoqués dans la presse, qui vient saluer le public, seul, sous des applaudissements nourris. Il confie que les trois quarts de la collection étaient déjà terminés quand Galliano est arrivé il y a trois semaines. « Mais ça a été un échange très agréable, nous avons tous les deux apporté quelque chose au défilé et nous avons beaucoup appris l’un de l’autre », indique Oscar. À la question de savoir s’il poursuivra cette collaboration, il préfère esquiver et s’éclipse backstage avec un sourire. Sa collection est incontestablement un succès.
LE FIGARO (4 of 5)
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 15, 2013
Rodarte et Vera Wang
Malgré le talent indiscutable du duo de stylistes de Los Angeles, les sœurs Kate et Laura Mulleavy, leur marque Rodarte a dernièrement donné l’impression de ne jamais être à la hauteur. Les robes de la fin du défilé attirent le regard – des assemblages d’imprimés tie and dye, de coton aux motifs abstraits et de bandes de mousseline qui volent –, mais elles sont au final trop écrasantes. Mis à part sur ce podium, il est difficile d’imaginer à quelle occasion des femmes pourraient porter ces vêtements.
Peu de designers new-yorkais créent une mode plus artistique que Vera Wang. Les formes théâtrales de boléros parfaitement coupés à manches longues bouffantes ou les lignes aérodynamiques de hauts métalliques style kimono sont d’une grande distinction. Peu de créateurs comprennent mieux les superpositions qu’elle, chez qui les combinaisons de manteaux à emmanchures très larges au-dessus de robes droites ou les soutiens-gorge de guipure donnent un formidable sentiment d’inattendu. « Construire du volume et de la technique », sourit Wang, qui introduit des imprimés à grandes fleurs sur des corsages en jacquard et des manteaux magenta pour mener son œuvre vers une toute nouvelle destination.
Zac Posen
La saison dernière, une dispute à propos de places assises le jour du show, suivie d’une gifle mémorable, dégénérait et se terminait devant un tribunal. Rien de tout cela, cette saison, avec un défilé au Plaza Hotel remarquablement paisible. Zac Posen connaît l’histoire de la mode comme le soulignent ses grands manteaux tourbillonnants mauve ou brun. Mais il est meilleur quand il évite le grandiose – comme ses robes en mousseline brodées de branches et de fleurs en bouton.
Edun
En présence des fondateurs de la marque, Bono et Ali Hewson, qui applaudissent la présentation live sur une scène éclairée comme pour un concert, Edun livre un défilé très rock’n roll, avec beaucoup de looks très clubbing – des robes métalliques laissant les épaules nues, des hauts écossais en Stretch, des blazers masculins avec des minichaînes pour les femmes, ou encore des blousons en cuir froissé et des vestes d’aviateur en tissu écossais pour les hommes. Cependant, on se sent très loin de l’ADN d’Edun, une marque fondée sur des emplois durables dans les pays du tiers monde, plutôt ethnique chic.
J. Mendel
C’est une saison dominée par la fourrure. Beaucoup imitent celles teintées de Miu Miu, vues en octobre dernier à Paris. Mais si la collection de J. Mendel impressionne, c’est parce qu’il a façonné sa propre esthétique. Les manteaux de vison monté en chevrons, les gilets de loutre en dégradés et les vestes de fourrure noir et blanc avec fermetures Éclair sont à la fois attrayants et majestueux. Le styliste Gilles Mendel, qui eut du mal à créer un prêt-à-porter élégant lors des saisons précédentes, a montré cette fois-ci des robes droites près du corps éblouissantes en velours de soie et crêpe, inspirées de peintures de Gerhard Richter. Bretelles asymétriques, coutures en biais, dentelles appliquées forment un look global très élégant. Même s’il est peu cité dans la presse, rappelons que Gilles est le styliste français vivant hors de France qui connaît le plus de succès. Sa mode est portée par l’élite de l’élégance partout dans le monde. C’était lui dans ce qu’il sait faire de mieux, montrant une assurance et une décadence élégante.
Veronica Beard
La nouvelle marque du New York chic dont on parle s’appelle Veronica Beard, créée par deux belles-sœurs, Veronica Swanson and Veronica Miele, qui se sont mariées avec les frères Beard. Aerin Lauder, la reine de la vie mondaine et héritière de l’empire Estée Lauder, accueille leur dîner après le défilé. L’approche masculine du chic wasp des deux créatrices - des vestes de pionnier à carreaux, des gilets en raton laveur et des chemisiers western en soie délavée - est osée et répond de manière intelligente à la demande de la femme moderne pour des vêtements de sport inusables et pratiques. Cette griffe crée une dynamique, et tout le monde, de Saks à la très remarquée boutique Montaigne Market, vend leurs collections.
LE FIGARO
Lefigaro.fr (English & French)
By: Godfrey Deeny
Date: February 15, 2013
Link: http://madame.lefigaro.fr/style/narciso-rodriguez-diesel-black-gold-150213-350630
Narciso Rodriguez et Diesel Black Gold
Le styliste d’origine cubaine, Narciso Rodriguez, a longtemps été associé au minimalisme américain. Une de ses faiblesses étant invariablement la trop grande similitude de ses collections d’une saison à l’autre. Pas cette fois, où les couleurs luxuriantes, les coupes asymétriques et les superpositions légères offrent une nouvelle vision de son travail. Inspiré par un voyage récent à São Paulo, Narciso Rodriguez livre une proposition particulièrement colorée et créative. Robes de cocktail en crêpe et charmeuse, bustiers incrustés de pétales et hauts péplum brodés de perles dégagent beaucoup d’énergie. Le cœur de la collection est constitué de manteaux en molleton multicolore et de robes géométriques en crêpe, mandarine et ocre. Comme souvent à New York, un talent français veille en coulisses. Ici, il s’agit de la styliste Ludivine Poiblanc, qui a renforcé l’esthétisme, et du producteur de musique Frédéric Sanchez, dont la bande-son drum and bass a donné une belle dimension dramatique au défilé.
Ce styliste fait la différence. Pour son premier défilé Diesel Black Gold, le Norvégien Andreas Melbostad fait parfaitement les choses – avec une collection féminine style bikeuses chic, mélangeant des coupes branchées et des finitions sexy. Composés presque uniquement de tons noir, blanc et gris acier, ses meilleurs looks sont des combinaisons à l’instar de ces robes-manteaux dont la partie haute est une veste de motard, ou ces vestes queue-de-pie allongées en robes de cocktail.
Cette collection déborde d’énergie, grâce à l’utilisation de la laine cirée qui donne l’impression du denim vieilli, de fermetures Éclair rembourrées, de détails qui attirent l’œil et de formes très ajustées. « Industriel mais brodé », déclare Melbostad. La mise en scène fantastique, signée par le Français Thierry Dreyfus, contribue certainement à la bonne ambiance. Un toit formé de lumières fluorescentes accrochées à des clôtures de terrain de baseball et des tubes de 80 m plongent dans une ambiance chaleureuse les spectateurs installés dans cet énorme entrepôt des rives froides de l’Hudson. Dans la foulée du rachat de Marni, il est clair que le fondateur de Diesel, Renzo Rosso, s’inscrit dans la lignée des LVMH et PPR qui ont démontré l’importance d’investir dans un créateur. « Je vais peut-être signer le plus gros contrat de ma carrière. Vous allez le savoir dans deux semaines », lance un Rosso enthousiaste.
LE MONDE
Lemonde.fr
By: Carine Bizet
Date: February 16, 2013
New York, Prêt-à-porter automne-hiver 2013-2014
L’Amérique face au modèle européen
A l’heure où la mode est une industrie globale, les créations de Londres, Paris ou Milan restent une référence à laquelle la scène new-yorkaise doit se mesurer
Face à la « culture couture » du vieux continent, la mode américaine a su construire sa propre identité. Sans complexes. Des marques comme Calvin Klein, Ralph Lauren, Mickael Kors ou Donna Karan lui ont donné un visage dynamique, mi sportif mi minimaliste. Et les moyens de partir à la conquête du monde. Ces labels dont l’impact stylistique et économique n’est plus à démontrer ont ouvert la voie à des créateurs originaux qui ne craignent pas de sortir du moule américain classique : Marc Jacobs puis Alexander Wang, Proenza Schouler, Philip Lim et d‘autres écrivent l’histoire du « made in USA » pour le 21ème siècle. Avec l’arrivée d’Alexander Wang chez Balenciaga, deuxième new-yorkais à conquérir Paris après Marc Jacobs à la tête de la création de Louis Vuitton depuis 1997, on pourrait même penser que l’Amérique a pris la main. Pas si simple : beaucoup des collections de l’hiver prochain présentées à New York souffrent d’accès « Balenciagisme » ou de « Célinisme » tant elles empruntent au vocabulaire de ces deux griffes parisiennes influentes ; le travail avant-gardiste de Nicolas Ghesquière (Balenciaga) et de l’anglaise Phoebe Philo (Céline) (re) pose la question de l’indépendance stylistique. Comment se construire face à des modèles qui ont changé les codes de la mode contemporaine sans se dénaturer? A chacun de trouver sa voie, avec plus ou moins de réussite. Chez Calvin Klein, le directeur artistique Franscisco Costa ne se pose pas de question. Arrivé en xx, il a depuis longtemps trouvé son ton, imperméable aux tendances. Son élégance est aussi rigoureuse qu’originale. Les lignes structurées de ses manteaux (en cuir ou alpaga) et de ses jupes sont animées de plis creux, d’a-jours géométriques ou d’effets de textures subtils. Les bustiers croisés sur les cotes et les dos découpés ajoutent une note plus sensuelle à une collection ultra-chic. La petite musique esthétique est bien réglée aussi chez Narciso Rodriguez, champion discret d’un chic efficace qui a séduit aussi bien Caroline Bessette-Kennedy (il a dessiné sa robe de mariée) que Michelle Obama. Les formes simples de sa collection hiver (soutenues par des coupes impeccables) servent de cavenas à des compositions de couleurs sophistiquées. La modernité anti-ostentatoire de l’ensemble emporte l’adhésion. La collection dynamique de Mickael Kors passe du futurisme (lignes et lunettes spaciales) aux effets sports (jogging en cuir perforé, blouson façon néoprène) ou encore à l’allure de Lady Manhattan en tailleur de tweed moucheté à jupe crayon. Ca part dans toutes les directions, mais l’énergie saine et sans prétention propre au style Mickael Kors suscite inévitablement la bonne humeur. Plus complexe est le cas de ceux qui gravitent naturellement dans l’orbite d’un style ultra-répertorié, comme le duo Proenza Schouler, instinctivement proche de l’esprit Balenciaga (on les a un temps pressenti pour le poste). Arrivés sur la scène new-yorkaise en 2002, ils ont prouvé leur inventivité moderne. Depuis deux saisons, on compare beaucoup leur travail à celui de Nicolas Ghesquière. Avec une obsession assez injuste. Certes, leur façon de pousser vers l’extrême des pièces classiques (voir les tailleurs de leur collection hiver) est un exercice dans lequel le créateur français excelle. Mais ils ont leur façon à eux de faire glisser le propos. La monochromie, le travail des matières et des textures font basculer leur histoire dans une version plus sport et plus urbaine que la mode abstractisante de Ghesquière. Leur défi, désormais, est d’échapper à cette comparaison. C’est aussi la malédiction qui menace Reed Krakoff. Peu connu en France, ce designer est réputé aux Etats-Unis pour son minimalisme chic. Problème : au jeu de la génétique de la mode, Phoebe Philo qui a gagné le test de paternité (maternité ?) du retour en force de ce courant. Les professionnels observent donc ses grands manteaux souples et non doublés ses débardeurs de fourrure rasée sur jupes portefeuilles géométriques à travers un filtre qui biaise le jugement. Comment s’en défaire et prendre du recul ? Voilà une nouvelle équation à résoudre pour un marché sur-référencés. Elle ne concerne pas ceux qui ont construit leur style en suivant la tradition du genre couture que l’on dit haute de l’autre côté de l’Atlantique. C’est le cas de Ralph Lauren, dont la collection cinégénique est à mille lieux de l’esprit Polo de ses débuts. Veste d’officier aux coupes sinueuses, chemises blanches à jabots, maille torsadée pur luxe, longues jupes volantées, puis fourreaux bijoux asymétrique, et robe de bal à bustier : l’aventurière Ralph Lauren se transforme avec aisance en princesse. Il partage ce sens du luxe avec une créatrice moins connue en France : Caroline Herrerra. Ses blouses de satin à manches parées de fourrure et les longues jupes à micro boutons soulignées d’une ceinture gainée de vison invoquent une élégance intemporelle pleine de charme bon genre. Version glamour et calibrée pour le tapis rouge des Oscars ce style néo-couture s’exprime en version extrême chez Marchesa. Les silhouettes d’amazone corsetée de la collection, inspirée d‘un portait équestre de Francisco Goya tiennent du pure fantasme vestimentaire. Un parti pris osé mais bien tenu dans un climat de « Realfashion ». La proposition la plus charmante vient d’Anna Sui, créatrice fantasque que l’on a un peu délaissée. Son interprétation pop de la Nouvelle Vague française et de la mode des années 60, est un petit délire sucré drôlissime. Comme quoi un peu d ‘humour et de décalage peut tout changer.
Marc Jacobs fait la fermeture
Habitué à régner sur la mode new-yorkaise, le créateur a usé de ses prérogatives pour modifier les dates de ses deux défilés. Sa seconde ligne, marc by Marc a donc été présentée lundi dernier tandis que son show le plu attendu, Marc Jacobs était repoussé à vendredi soir ce qui obligeait théoriquement les invités à retarder leur départ. Rien de scandaleux (même s’il empiète sur le début de la session londonienne) : le designer a simplement pointé du doigt le désordre occasionné par la tempête de neige de début de fashion week. Pourtant, Marc Jacobs a négligé quelques données. Il doit désormais partager sa couronne de « roi de New York » avec Alexander Wang, nouveau maître à bord du vaisseau amiral Balenciaga. Puis, à l’heure d’internet, nul n’est plus tenu d’assister absolument à un défilé. Une grande partie du public a donc embarqué comme prévu en début de soirée laissant au web le soin de les informer après coup. Le temps d’un New-York Paris, l’affaire est entendue. En ligne on découvre une collection qui n’a rien de révolutionnaire. Une bonne cuvée du style Marc Jacobs, portée par un effet arty comme il les aime : un premier défilé sous une lumière jaune qui désature les couleurs des vêtements. Puis un bis sous un éclairage classique pour mieux apprécier un vestiaire faussement classique. Grands manteaux à cols droits, shorts culottes et maille retro, tailleurs de fausse secrétaire, fourreaux à paillettes ou l’étole de fourrure….. ce ton rétro respire l’ironie, celle que l’on lit souvent dans les défilés Prada. Intrigant et familier à la fois, tout comme le pyjama arboré par le créateur, au moment du salut-griffé Prada parait-il…..
MF FASHION MAGAZINE
Mffashion.com
By: Stefano Roncato
Date: February 13, 2012
La virata super rock di Diesel black gold
«Ho immaginato una gas station, seguendo un’ispirazione biker e utilizzando dettagli che avessero un touch industrial», ha spiegato Andreas Melbostad alla sua prima collezione per il marchio vedette del gruppo Otb-Only the brave. Capelli dirty raccolti in una coda. Décolleté strette da lacci e da anelli metallici. Una pioggia di borchie. Il debutto di Andreas Melbostad come direttore creativo della donna di Diesel Black gold ha un incipit molto chiaro. Rock. «Ho immaginato una gas station», ha spiegato a MFF il designer, «seguendo un’ispirazione biker e utilizzando dettagli che avessero un touch industrial. È creando dei crossover tra le lavorazioni del denim e quelle di lana e tessuti più eleganti». Il panno viene spalmato nei cappottini asciutti dall’anima mannish. Il tuxedo diventa un mini abito, la giacca da smoking si indossa con pantaloni di lana lavorata effetto pelle. Mentre un diluvio di leather vera si usa per giubbini da moto che vengono cosparsi da borchie di diverse fogge e dimensioni. Come sui pant dangerous, come sulle maglie e sui little Black dress. «Siamo molto soddisfatti di come sta andando la collezione», ha poi detto a MFF Daniela Riccardi, ceo di Diesel worldwide, «dopo il negozio di New York, abbiamo già in serbo altre cinque aperture per l’etichetta Diesel black gold nelle principali piazze fashion del mondo». Nell’obbiettivo strategico ci sono città come Londra, Parigi, Tokyo, Shanghai e una tra Milano o Roma.
Giudizio. La collezione Diesel black gold sembra aver trovato la sua strada. Sicuramente forte e rockish, con pezzi strong e di carattere. Borchie all over, very Melbo-stud viene da dire. Venderà. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2012
Kors e l’active chic
Lo stilista americano gioca tra atletismo urbano ed eleganza uptown. In versione überluxury.
Urban athleticism meets uptown polish. Energia allo stato pure, in un continuo rimando tra eleganza misurata da signora dei quartieri alti e il dinamismo dello sportswear alta quota. Quindi il top boxy blu elettrico si porta con la gonna dallo spacco-zip scuba. Il pantalone da sci, in pelle guanto traforata e con la coulisse, va con la maglietta di neoprene, con le maniche a contrasto arancio Stabilo boss. La sensazione è di comodità estrema, in capi perfetti per una giornata in città, come sulle piste di Telluride, località sciistica in Colorado, dove le miliardarie di Michael Kors passano i mesi freddi. Le superfici sono piene, lucide e ludiche, sempre croccanti sia quando sono doppiate che se tagliate al laser. Solo a tratti interrotte da due trame quasi giocose: il pied de poule in una versione in paillette per i completi total pattern dal pantalone a matita, e poi il camouflage divertissement blu, nero, grigio e bianco, pronto a diventare un intarsio nel cappotto di visone o impresso a stampa fotografica sul completo due pezzi di nappa bonded. Ma se nel primo blocco le donne del designer sembrano appena saltate giù da uno skilift, poi sono più urbane nei completi con le gonne a ruota di microfibra, e i dress body conscious a strizzare la figura esplosi in baschine appena sopra i fianchi, spesso di leather come i corsetti sagomati con le coppe rigide. La figura è sempre lineare e allungata, anche per la sera, dove gli evening gowns sembrano semplici canotte da palestra con ancora una baschina di taffettà accesa di colori elettrici pronta a mutare in strascichi da tappeto rosso.
Giudizio. Show dalla produzione hollywoodiana quello di Mr. Michael Kors. Ci sono le top model del momento, una colonna sonora da notte degli Oscar e il parterre delle grandi occasioni. Non è un caso se il marchio, fresco della quotazione a Wall Street, ha archiviato lo scorso 29 dicembre il terzo trimestre con un fatturato di 636,8 milioni di dollari (pari a circa 473,9 milioni di euro al cambio di ieri), in crescita del 70%. La collezione è super divertente, desiderabile e spinge l’acceleratore sul quel mondo glamour da super ricchi che piace al designer. La sequenza però subisce alcune sbavature per la voglia di inserire alcuni outfit forse di rottura e poco in armonia con il resto della collezione. Un editing preciso avrebbe amplificato meglio la forza di un messaggio chiarissimo. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2012
De la Renta con un touch Galliano
Sfilata hot ticket per la fashion house americana tra stile ladylike e grandi abiti da sera, pensati per un sontuoso red carpet.
A fine sfiata esce lui, mister Oscar de la Renta. Stretto da due modelle in abiti monumentali, blu elettrico e fucsia, cosparse di fregi dorati. E chiaramente ci si ricorda subito di John Galliano, che dopo l’uscita da Dior è stato invitato per tre settimane a collaborare con la fashion house a stelle e strisce. La sua mano c’è stata? Forse. Ma lo stile ladylike appartiene già al dna de la Renta. Tra abiti stretti in vita, tailleur con linee po’ bar, ricami preziosi e scelte floreali. Arriva il red carpet style, tra sete accese dal colore e décor ipervisivi. Il trucco si incupisce sul finale, le silhouette si allungano. E spunta qualche modella che in effetti era sempre stata una sua prediletta.
Giudizio. Il primo obiettivo è stato sicuramente raggiunto ossia quello di far parlare. Sarà la suggestione, ma un tocco di Galliano sembra esserci. Anche se In effetti, non interessa molto sapere chi abbia disegnato cosa in questa sfilata. Ma magari sarebbe bello capire se questa intesa continuerà, portando a ulteriori sviluppi. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2012
Nuova vita cool per Philosophy
Alla creatività debutta Natalie Ratabesi, che modula una femminilità educata con un touch irriverente e grunge.
Beata innocenza. Quella persa per sempre dalla griffe Philosophy, al suo passaggio di testimone da Alberta Ferretti al nuovo direttore creativo Natalie Ratabesi. «Ho voluto preservare e conservare quello spirito femminile e flerty che contraddistingue il marchio da quando è stato fondato. Ma ho cercato di dargli un twist da strada, più metropolitano, da guerriera cittadina», ha spiegato a MFF la designer. Il sapore è in qualche modo 50s, ma irretito da un gusto da Balcani hard rock. Audrey Hepburn meets Axl Rose. Nel contrasto delle gonne a corolla lunghe sotto il ginocchio e di lane croccanti, abbinate alla maglia da front woman operata di perline. E quando diventano di chiffon e bordate da una crinolina sul fondo, sbucano dal biker a stampe ikat sormontato da velli selvaggi. Il punto vita alto e segnato è la chiave della silhouette, sia quando è a clessidra, che asciutta e allungata per i completi tubolari. L’attitude nuova, subito percepita, è meno borghese e genuinamente cool. L’influenza di Ratabesi si sente, crea una donna tosta, cosmopolita con la sua vita in girovagare tra Londra, Parigi e New York, e una passione per mostri sacri della musica come i Guns N’ Roses. L’insieme è pudico e castigato. «Come designer», ha concluso, «ma in particolar modo come donna, mi piace l’idea di un guardaroba scomponibile. Che dia a ogni cliente la possibilità di smontare e rimontare ogni singolo look a piacimento, per adattarsi a personalità e gusti differenti».
Giudizio. Partendo dalla location, la nostalgica Roseland ballroom, passando per la colonna sonora, November rain dei Guns N’ Roses, si percepisce subito una forte inversione di marcia. È tutto preciso, educato, ma con qualche elemento rilassato e sovversivo. La delicatezza di Ratabesi, unita a certi elementi di recupero quasi vintage piace e conquista. I singoli capi sono bei vestiti da desiderare senza riserve. (riproduzione riservata)
MF FASHION MAGAZINE
Mffashion.com
By: Fabio Maria Damato
Date: February 13, 2012
Betsey Johnson rinasce con il suo activewear
Betsey Johnson is back. La designer 70enne torna sulle passerelle newyorkesi con la sua esplosione di energia per presentare la sua nuova collezione di activewear. Una routine di allenamento fashion, probabilmente la stessa pozione magica che ricarica la stilista ad ogni stagione, accende i riflettori su tute giallo fluorescenti e completi gym lucidi & stretch.
Giudizio. Le modelle che utilizzano bottiglie di champagne come pesi e collant come corde di resistenza riflettono l’audace spirito della designer e la sua corsa faticosa nella moda.
La diva vintage di Marc by Marc Jacobs
Capelli vaporosi, come una nuvola su una silhouette allungata. Geometrica, accesa da incastri cromatici e da fantasie ipervisive. Con quel tocco di vintage che non manca da Marc by Marc Jacobs, la linea giovane dello stilista americano che ha compiuto uno switch finale tra le date delle sue sfilate. In scena le sue dive urbane un po’ 70s un po 40s, tra Lauren Bacall e Lauren Hutton ma dal touch edonista anni 80. Tubini printed e pantaloni morbidi alla caviglia, giacconi oversize e mini camicette con tartan. Lunghi capospalla dalle linee importanti e pattern floreali squillanti. Come il rosso che accende i completi, come la seta peccaminosa che trasforma il tailleur.
Giudizio. Sempre molto stylish. Marc Jacobs sembra divertirsi sempre molto con la collezione Marc, creando un universo di ragazze che amano giocare e trasformarsi ogni stagione. Capricciose ma assolutamente cool.
Rodarte e la Emo revolution
Neri fluidi in un groviglio di drapes. La sequenza dei carne resa spigolosa dai cappotti/giacche boyfriend. Una felpa dalla stampa psichedelica, il vestito nudo da ballerina di flamenco Un evening dress in un accrocchio di stampe e pizzi, e poi ancora una maglia dal sapore peruviano. Come successo nelle ultime tre stagioni, la sequenza della sfilata invernale di Rodarte è schizofrenica. L’innocenza di un tempo è perduta per sempre, e in cerca di una nuova identità il marchio di Kate e Laura Mulleavy scopre un sapore Emo, a tratti London punk. Le tracce dell’estetica che ha reso famose le due sorelle californiane a volte si ritrovano, ma il resto è un non sense che brancola nel buio.
Giudizio. Provare ad evolvere il proprio gusto è una prova di coraggio e talento per ogni designer. Esame che le sorelle Mulleavy dovranno superare al più presto per evitare di essere considerate creativamente defunte.
Le donnine snob di Victoria
Victoria Beckham e la passione per gli abitini. A tubo o super striminziti e corti a scoprire le gambe. Di panno di lana tagliati a vivo o nei tessuti tecnici, specie quando diventano un combination di felpa, casacca e gonnellina, che sembra un ensemble ma sono un unico dress cucito insieme. Perché la vera trovata funny della collezione young Victoria by Victoria Beckham sono i completi, non completi, a prima vista composti da più pezzi, ma in realtà assemblati in un unico capo. Belle anche le borse geometriche e gli stivali da cavalcata, meno le décolleté con il tacco tranciato.
Giudizio. Una carrellata di abiti desiderabili da ragazze per bene e pacate. La linea young della Beckham però perde quella leziosità divertita e divertente di un tempo, cedendo il passo a donnine un po’ spocchiose e a tratti boring.
La diva vintage di Marc by Marc Jacobs
Capelli vaporosi, come una nuvola su una silhouette allungata. Geometrica, accesa da incastri cromatici e da fantasie ipervisive. Con quel tocco di vintage che non manca da Marc by Marc Jacobs, la linea giovane dello stilista americano che ha compiuto uno switch finale tra le date delle sue sfilate. In scena le sue dive urbane un po’ 70s un po 40s, tra Lauren Bacall e Lauren Hutton ma dal touch edonista anni 80. Tubini printed e pantaloni morbidi alla caviglia, giacconi oversize e mini camicette con tartan. Lunghi capospalla dalle linee importanti e pattern floreali squillanti. Come il rosso che accende i completi, come la seta peccaminosa che trasforma il tailleur.
Giudizio. Sempre molto stylish. Marc Jacobs sembra divertirsi sempre molto con la collezione Marc, creando un universo di ragazze che amano giocare e trasformarsi ogni stagione. Capricciose ma assolutamente cool.
THE DAILY TELEGRAPH
Telegraph.co.uk
By: Luke Leitch
Date: February 14, 2013
Old Europe inspired New York’s fashion aristocracy as the city’s fashion week wound down before its final show – the delayed Marc Jacobs mainline collection – this evening.
Marchesa produced some magnificent, enormously skirted pieces that proved irresistible catnip for the catwalk photographers. Lashings of gold embroidery and a red-heavy colour palette meant that these mostly satin dresses looked sumptuously rich and almost a little regal. Little wonder that Marchesa’s designers, Georgina Chapman and Keren Craig, have become firm favourites amongst actresses in search of headline-grabbing Hollywood gowns.
At Ralph Lauren, the designer left a box of chocolates and a billet-doux on the seat of every editor in his audience. His Valentine’s Day charm offensive continued on the catwalk in a collection Lauren said was: “inspired by the spirit of a romantic revolutionary.” As so often with this designer, there were plenty of references for cinephiles to unravel. The lushly heavy knitwear and Cossack trousers would have been perfect on Julie Christie for Doctor Zhivago. Following an evening section of ushanka hats matched with darkly toned velvet and chiffon dresses Joanna Coles, the British Editor of US Cosmopolitan, tweeted: “Anna Karenina meets the Upper East Side.” Lauren, though, is never too literal with his allusions; so there were black Breton caps, gorgeous velvet tea dresses and one long fitted flamenco skirt with no fewer than 20 flounces to mix things up a little.
Now New York becomes old news as London Fashion Week begins. Following what has been a reportedly rather flat few days of US shows, the American fashion trade paper Women’s Wear Daily today hailed this as a “golden moment” for British fashion. Innovations on the London calendar include the first catwalk presentation by Tom Ford for nine years and a Topshop Unique show at which cameras will be embedded into the models clothes. Samantha Cameron will host a reception at Downing Street tomorrow to mark beginning of London shows.
THE GUARDIAN
Guardian.co.uk
By: Jess Cartner-Morley
Date: February 13, 2013
Link: http://www.guardian.co.uk/fashion/2013/feb/13/new-york-fashion-week-eight-trends
New York fashion week: eight trends to take home
Layering is back, beanies are big, matchy-matchy just got matchy-matchier and burgundy, we mean ‘madder carmine’, is everywhere: just a snippet of what we’ve learned from the collections in New York.
When New York fashion week controversially upped and moved its position in the catwalk season running order, so that rather than happening after London, Milan and Paris it took an early slot before any of the others, the idea was to give the city’s fashion scene some breathing space out of the shadow of Europe. No longer could London claim New York was copying its ideas; no longer would buyers arrive weary.
It was a good plan, and for many seasons it worked; this week, however, it backfired. New York isn’t over. Shows go on until late Thursday. But so far, despite some strong shows and very nice clothes, it has felt like a cocktail party that passes without incident, ending with taxis called at a civilised hour rather than a highly charged all-back-to-mine rave-up.
A few examples: Alexander Wang’s show was strong, but the drop-waists and softly voluminous silhouettes – along with the choice of the ticketing hall of the Cunard building as a venue – framed it clearly as a precursor to Wang’s much-anticipated debut at Balenciaga next week, more a wave to Paris than a bow to New York. And then there was Oscar de la Renta, colossus of American fashion, whose show was dominated by chatter about his infamous intern from across the Atlantic, John Galliano. More than anything else, the rescheduling of Marc Jacobs‘ mainline show to a graveyard slot on Valentine’s night – a delay caused by the non-arrival of fabrics following the Nemo blizzard – set the week off-kilter, as if someone had moved Christmas Day to 30 December at a few days’ notice, leaving you unsure when to don your party hats and pull your crackers.
There was something inevitable about the fact that the undisputed model of the week was a Brit. If there’s one thing you need to do to be on-trend right now, it is to become obsessed with Cara Delevingne, whose caterpillar eyebrows stomped down almost every catwalk this week. With a Twitter feed featuring snaps of her snogging Rita Ora and eating packets of Monster Munch, she did her level best to liven up New York.
The next big thing: Menswear fabrics
Last season’s big womenswear noise was around a mannish silhouette; for autumn, it’s all about menswear fabrics. Tommy Hilfiger gave preppy style a kooky Hogwarts twist by layering up houndstooth, Prince of Wales checks, and pinstripes. See also: windowpane plaid at Victoria Beckham and Philip Lim, houndstooth at Thom Browne, herringbone at DKNY and J Crew.
The comeback: Layering
Remember how we were all, “layering’s so over, it’s all about the crisp simple pieces”? Well, scratch that. Your outfit isn’t happening unless there’s a shirt collar and tails poking out at neckline and cuff (just one symptom of the general Céline-ification of the modern runway). This is Philip Lim; for a cuter, cleaner take on the same idea see J Crew.
The accessory: The beanie
It felt symptomatic of the way this New York fashion week never quite caught fire that the much-hyped grunge revival was not as clear a catwalk trend as expected. The exception was the beanie, the undisputed catwalk and streetstyle key look of the week, seen everywhere from Victoria by Victoria Beckham to Tommy Hilfiger.
The retro trend: 70s glam
“It’s not about going to a party, it’s about life as a party,” said Diane von Fürstenberg backstage. Who’s going to argue with that? Von Fürstenberg and Marc by Marc Jacobs both reached back to a glorious era of NYC history, the late 70s, to inject some feelgood rock’n'roll glamour into the week.
The new matchy-matchy: Matchy-matchy-matchy-matchy
Seriously. At DKNY, a pink-tinged leopard sweater was worn with a skirt, bag and shoes – all in the same print. Fashion is about finding new ways to make matching modern, right now. At J Crew there was a new kind of trouser suit: matching sleek, tailored tracksuit bottoms and sweatshirt in upscale fabric. Just don’t call it a tracksuit.
The silhouette: The round shoulder
If you change one thing, change this: the sharp shoulder is dead. It doesn’t really matter whether you take the Alexander Wang route (a Paul Poiret, kimono-ish silhouette) or the sportier, DKNY/Victoria Beckham/J Crew raglan sleeve route. What matters is that the shoulder is soft and rounded, not Gaga-sharp. Got it?
The name to drop: Thom Browne
He is known for two fashion moments: instigating the cropped-trouser trend as a hipster-menswear motif, and dressing Michelle Obama in a necktie-inspired dress for the inauguration. His show this season confounded those who expected him to use the inauguration as a commercial springboard: all exaggerated silhouettes and theatrics, it was bonkers and utterly brilliant.
The new phrase: Madder carmine
I won’t lie, I had to look it up. Turns out, madder carmine is a purplish red. In the parlance of the British school uniform, we know it as burgundy. Burgundy is making an early attempt to oust navy this season, cropping up everywhere from Victoria by Victoria Beckham to Diane von Fürstenberg.