The Beautiful Fall...

I have to admit that when I saw the first image from the Spring Summer 2011 Vuitton campaign it left me a bit underwhelmed. Besides not looking quite how I pictured it, I kind of felt like it could have been even more over the top than they were. I guess my attitude has always been if you're going to do gaudy, then do it big, you know? But I kept going back to that first image, and I suppose by the time the rest of the campaign made an appearance it had really grown on me. Now having seen the entire set (or what I assume is the entire set) I actually kind of love it.

For starters it perfectly captures the spirit of the collection, which was wonderfully flashy, fun and decadent. I love the kind of Tony Duquette-lite vibe, all of that glamorous chaos going on in the background. Combined with the sort of louche poses that Kristen, Raquel and Freja are striking and the lurid clothes the photos remind me of vintage Yves Saint Laurent Opium ads. There aren't any blatant similarities, just the hint of both the 70s and Orientalism in the styling, but there's still something similar about the feel of this. Going back to the poses, I like that they seem somewhat candid. I mean obviously they're not, but they don't seem as deliberate and precise as, say, the poses in the Gucci campaign. I have to say though that the one thing I'm not completely thrilled about was the choice to publish two separate images with the same clothes. There were a lot of looks shown in this collection, so it seems silly not to use different looks for each of the shots, but I guess that's a pretty minor complaint. Much as I've grown to like this campaign though I can't help wondering what Mert & Marcus would have done if they had shot this. I'm not necessarily saying that I wish they had, but I am curious about what it might have looked like if they did. Still, that doesn't change the fact that this is the first of Steven Meisel's campaigns for Vuitton that I've actually liked. I also have to say that these images don't do the photos justice. They look much better in print.

images from facebook.com/louisvuitton

Camp Out...

Louis Vuitton

Well, Paris fashion week has come and gone ending yet another season's worth of shows. I have to admit that this week in Paris has been sort of low on emotional reactions from me. That's not to say I haven't liked any collections, but there's a world of difference between liking something and having a visceral response to it. God bless Marc Jacobs for managing to stir something in me, and not a moment too soon. His collection for Louis Vuitton, always a must see, turned out to be just the high note I was looking for. Like his eponymous collection shown in New York which was easily one of my favorite collections this season, Marc's collection for Vuitton was positively brimming with glamour, color, sex appeal and fun.

The mix of colors, shiny fabrics, pop art-y animal prints, fringe, sparkle, transparency and a heady whiff of the Orient makes for a collection that's deliriously, deliciously over the top. All of the different ideas, all of the design elements and influences that Jacobs crammed into the clothes were cranked up to their loudest decibel resulting in a collection that's almost defiantly campy and excessive. Looking through the pictures and watching the video all I kept thinking was that this is kind of the idealized fantasy version of fashion that people who don't follow it have. In fact this is the idealized version of fashion that likely draws people in to begin with. It's so completely ridiculous and glamorized, so flashy and downright decadent, but most of all it's above the every day. I think that's what really draws me to it, that deliberately fantastical artifice. I'll be honest, following fashion with any kind of dedication can remove a bit of the glamour and fun from it. When you become very familiar with it some of the mystique is inevitably lost and when that happens you start to see that fashion can at times be really boring, which makes a show like this, loud, gaudy and ridiculous as it may be, a welcome dose of fun and frivolity. I don't know if I truly love the clothes themselves as much as I love the message of the show as a whole, but I will say that for the second time in a single season Marc Jacobs has made me, an ardent fan of black, absolutely adore bright color. That's no small feat, believe me. Say what you will about the level of taste or practicality shown in this collection but Marc is that rare designer who is so utterly attuned to the zeitgeist that he can give people, including me, what they're craving before they've even realized they were craving it.

all images from vogue.com

Love to love you, baby...

Marc Jacobs

One can always rely on Marc Jacobs to provide a solid jolt of electricity when fashion week is off to a slow start. It's not that the collections shown so far have been bad necessarily, it's just that most of them have been lacking a point of view. I guess it's not really a surprise that Marc's should stand out; it's just about as different from everything else that's been shown this week as it could possibly be. Everyone else is showing tons of white and barely-there pastels, Marc goes all out with rich jewel and spice tones. Everyone else does sharp, streamlined silhouettes, Marc does volume. And while I wouldn't go so far as to call the collection maximal, compared to the recent movement towards minimalism fashion has been experiencing there was a sense of frivolity and fun on Marc's runway that I just don't think you can achieve when you're stripping clothing down to their most basic form. I don't think this collection is such a departure from the beautifully restrained collection Jacobs showed last season. Yes this is louder and far more extroverted, but just like last season the focus here is primarily on the clothes. There's nothing conceptual about it, no message to decode, no figuring out what is and isn't meant for retail. Really the only difference, except for the surface stuff like color, shape and fabrication, is the mood. In that way this collection is last season's polar opposite. Whereas fall was sedate, soulful and romantic spring is sexy, vibrant and very, very glam.

While I was watching the live feed I kept thinking of "The Beautiful Fall", author Alicia Drake's non-fiction account of Karl Lagerfeld's and Yves Saint Laurent's individual but parallel rises to fame, a large part of which took place in Paris during the early 70s. In the book there is quite a cast of supporting characters, including model Donna Jordan who was something of a muse to both Lagerfeld and illustrator Antonio Lopez, and whose look must have inspired this collection to some degree. I also see bits of Donna Summer, Loulou de la Falaise, Pat Cleavland, Bianca Jagger and Jodie Foster's character in "Taxi Driver", not to mention vintage Saint Laurent and Chloe designed by Lagerfeld himself. Those are just the references I myself can spot, I'm sure I'm missing some. It's no surprise that the clothes are unmistakably retro when you can see style icons of the decade so clearly in the show, but that doesn't really bother me. Maybe it's because this particular look that calls to mind the transitional period between the early 70s bohemian and late 70s disco eras isn't something that's been big on the fashion landscape recently. There have been hints of it in stores with items like high-waisted flared denim and printed maxi dresses, but it hasn't been a main theme in fashion of late. Even though a lot of the clothes are fairly literal interpretations of the past I can still see a great deal of them appealing to women of today. Of course the styling, from the frizzed out Bourdin hair and vampy makeup to the flower and feather chokers and those fantastically kitschy parasol hats, really help make the look as fabulous as can be, but I accept the fact that those things probably won't catch on with the public. All in all this was a wonderful shot of energy in what's been a fairly lifeless New York season so far.

all images from style.com

The Big BANG...

I was excited when I read about Marc Jacobs' new masculine fragrance release earlier this summer. To be completely blunt I detest his original men's scent and regretted wearing it each time that I used my sample. Something in there, and I'm still not sure what, just did not agree with me. But even with the knowledge that the one MJ fragrance I've ever worn made me want to jump into the closest shower, I was looking forward to trying out his sophomore effort named BANG. Of course with the news of the new fragrance and a preview of it's fantastically ridiculous bottle that looks like some pretentious piece of abstract sculpture you're supposed to stare at very meaningfully while secretly not getting it, there was the very first glimpse of the ad campaign. Shot by Jacobs' go-to lensman Juergen Teller and starring Marc himself the ad is quite possibly the gayest thing I've seen all year, and trust me, that that's saying something. It's been floating around the net for a few months now, but for anyone who's not yet seen it, it's high time you did.

It's got all the essential ingredients for an Out editorial; abs, body oil, shiny stuff, random mismatched tattoos, stubble, a come hither expression (which is, ironically, not at all lust inducing) and a complete lack of clothing and shame. Now I know the ad is probably supposed to be at least partially tongue in cheek, but to me it just reeks of desperation and, oddly, insecurity. Once upon a time Marc was this nebbishy little downtown dude who just happened to be the coolest of the cool kids and didn't seem to care about fitting in. Over the last few years he's made himself over, and while I'm still a great fan of Marc the designer I honestly can't stand Marc the Chelsea scene-queen/pop culture icon. Something about his new image seems wrong to me, and this ad is just a glaring example of that. When I first saw the ad I remember saying something to the effect of "the old Marc would have found this ridiculous".

As for the scent itself I was intrigued by the list of notes that accompanied the announcement of it's impending launch. With an opening act of black, pink and white pepper and a combination of woods, benzoin, vetiver, moss and patchouli in the heart and base, it sounded like something I might be into. I managed to snag a sample while visiting the fragrance counter in late July when Bloomingdales was previewing it and I have to say, I'm not feeling it. The top notes are exactly what the name of the fragrance suggests, a big bang of dry, scratchy, spicy pepper. It's a bit like sticking your nose directly into a container of the stuff and taking a deep breath. That's how realistic it is. While it does have an appealing zing to it, and as unusual as an all pepper top is for a fragrance it gets to be really overbearing after the first minute or two. Thankfully it does chill out (eventually) and moves into a mellow spiced woods groove. With the traces of pepper it has an almost pine-y kind of vibe to it. Then again, since some of the notes are just listed as "woods" it could very well be pine. Or it could be that the mix of notes is playing a trick on my nose and creating the illusion of it. Whatever the case I'm not really a fan. For whatever reason pine is a smell, be it natural or synthesized, that I have never liked, so it's for damn sure I don't want it wafting from me all day long. Turns out though that I don't have to worry about it invading my nostrils all day because from start to finish the fragrance has only lasted 2-3 hours on me both times I've worn it, and while it does last it seems relatively tame as far as sillage goes. I guess this one just doesn't work with me. If I had liked what the scent was doing on my skin that would be a bad thing, but since the peppercorns outstay their welcome and the woods/resins don't combine to an effect that I find appealing the fact that it doesn't last isn't such a negative after all. I will give BANG this much, it's pretty unusual as far as mainstream designer men's fragrances go. There really isn't anything sweet or fresh or clean about it, and that opening is a little on the strange side. You'd be hard pressed to come up with something that smells similar if you were shopping the men's side at Sephora or any mid-to-high-end department store. I think it's worth trying for that pepper medley top alone, but I'd recommend spraying with caution.

image from mimifroufrou.com/scentedsalamander

Cherchez la femme...

Louis Vuitton

I really don't use the word "charming" to describe very much, least of all fashion. But it's probably the only word suitable to describe the Vuitton collection for fall. From the neat, perky little pony-tails bouncing behind the models' heads to the full, mid-calf circle skirts swishing as they walked the entire presentation was such a throw back, so retro and pretty that I'm finding it impossible to hate even though I know that I probably should. Both of Marc Jacobs' collections this season revisited the past, but where his namesake collection was a personal exploration of his own past, his Vuitton collection was a nostalgic trip back in time to the era that gave us one of the most enduring images of idealized femininity. With their breasts pushed up and out, waists belted and skirts flaring from the hip, the girls were the epitome of traditional womanhood. It's not at all the type of femininity I'm normally drawn to or inspired by, and yet like I said I'm finding it hard to resist. It's certainly not Marc's best collection, and truth be told his Spring 2001 Louis Vuitton collection was a much more interesting, contemporary take on the same era and look, but there's still a freshness to this despite how literal and familiar it is. Even though this is missing the hint of subversion that would be needed to make these clothes something other than revisited vintage, the look is something that hasn't been seen in a while. The message within this collection is far stronger than the ideas used to create it.

The shift away from hard, boyishly androgynous, extremely youthful, pseudo-edgy femininity has really been the driving force behind this season, so it seems appropriate that the most forceful effort was saved for last (well, last-ish anyway). On her blog Cathy Horyn pointed out how Vuitton in Paris and Prada in Milan served as bookends for the European shows, and as usual she's dead on. Let's be realistic, if the two designers who are, arguably, fashion's most accurate barometers for what's next have zeroed in on the very same idea, chances are it could signal some kind of overall shift. Had it been just one of them out on this limb by themselves, you might be able to brush it off as just another one of their seasonal fixations. But the combined powers of Marc and Miuccia aren't something to be ignored. We may just be in for some change come spring.

all images from style.com

Brown bag it...

Marc Jacobs

There's something about Marc Jacobs' new collection for Fall Winter 2010 that has the feeling of comfort food. It's familiar, and it leaves you satisfied, content, and all warm and gooey on the inside. Since about 2007 or so Marc has been pushing himself to expand upon the his reputation, moving beyond the cool, effortless, quirky style that made him famous. As a result his shows became more polished, the ideas he explored more avant garde, and his collections more challenging. All that paid off though, because he went from being fashion's darling to being a fashion leader. Somewhere along the line he also became a household name and something of a pop culture fixture. Now personally, I liked that he took his work to a new extreme. Regardless of the fact that he's been accused of pillaging other designer's work for ideas while abandoning his own identity, the truth is that besides putting a new spin on the ideas he was influenced by he also proved that he's capable of creating more than reworked vintage pieces and it-bags. But I'd be lying if I said that there wasn't a small part of me that didn't miss the good old days when things were simpler.

Well for next winter Marc seemed to be channeling those good old days, revisiting a lot of the things that made him famous to begin with, and the results couldn't be more refreshing. Stripping away the references, trends, themes, and statements Jacobs sent out the bottom line; clothes. But it was so much more than that. The lack of hype, the lack of forced newness was kind of like a statement in itself. It was honest, pure and simple to understand. Because Jacobs was drawing on his own past, his love of vintage, his love of quirky shapes, his love of sportswear and high/low parallels the show and the clothes had soul to them. Normally it's fun to try and spot the mish-mash of references that go into a Marc Jacobs collection, and to try and decode what it is that he's saying, but this time around there really doesn't seem like much of a need to go there. The mellow palette, made up almost exclusively of neutral colors with an emphasis on beige, brown, tan and cream was relaxing and practical, and the soft, rich colors made me think of the way fresh baked bread or warm sugar cookies smell. Beyond that all I get is a big dose of old school Marc Jacobs with a more grown up kind of polish to it.

From the A-line skirts and dresses to neatly belted coats with fluffy Mongolian lamb fur collars and cuffs, sharp wide leg trousers, sweet lingerie looking chemises, and finally evening gowns with a broken in, dishevelled kind of beauty the collection was filled with pieces that were both pragmatic and whimsical. This being Marc Jacobs, there were touches of wit in things like a sweater with trompe l'oeil "sleeves" tied at the neck like a cardigan or a peacoat with a misplaced center button that made the coat looked shrugged on with a slight flare to it. But for the most part the clothes were straightforward, and that's their strength. Even without the over the top styling, staging or statements the collection has managed to excite people, probably for no other reason than the fact that it's beautiful. The ease and familiarity of the clothes, coupled with the renditions of "Over The Rainbow" that provided the soundtrack made for a serene show that, cheesy as it sounds, cast a spell over the viewer. I feel like it's been a while since many designers, not just Marc, have shown a collection that had no greater ambition than to just be beautiful. More and more it feels like there needs to be some kind of hook, gimmick, or lots of flash to get people interested in a collection. The expectations of a designer have gotten so high that very few can actually meet them, let alone exceed them. Besides providing excitement on a runway, they're expected to deliver something unique, something flattering, something that's going to jump off the pages of a magazine, and something that women will need. Leave it to Marc, ever ahead of the game, to remind everyone that if you've got the goods they'll pretty much speak for themselves.

all images from style.com

On pointe...

Campaign time is apparently right around the corner, and what better way to get into the spirit of things than to marvel at the stunning first image from Jeurgen Teller's campaign for Marc Jacobs. Given Jacobs' inspiration for the season (dance, theater, performance in general) the campaign could really have gone in any number of directions.

If the first shot is anything to go by, we're in for a gorgeous, dramatic and truly funny campaign from Teller and Jacobs. I don't know about you, but I can't wait to see more.

No, you're eyes aren't fucking with you. That really is a toilet she's standing in. More to come as the story unfolds.

image posted by Luxx at tFS from Models.com

'Tis the season...

In a way New York Fashion Week is like Christmas; you have to open a bunch of gifts you didn't want and won't use before you get to a good one. That's really the best description I can come up with for it, lot's of filler with some moments of excitement. While that makes looking through the shows annoying, it also makes it possible to review the ones I like all at once.

Donna Karan

Last season Donna Karan presented one of her most perfect collections in years combining glamour and sensuality with modernity and authority...not that that's anything really new for her. She's always been about that. But included in the mix was a nostalgic kind of femininity, something really elegant and pulled together that brought her collection to a whole other level. I was definitely curious to see where she would go for spring. Donna, like many women, has two very different sides to her. One season she goes after the spirit of New York, delivering on the powerful female mantra she laid out in the 80s. The next she's following the Zen path towards serene sensuality with a distinctly Eastern feel. I can't recall a collection where she managed to fully blend her two opposing sides into the same collection...until now.

Inspired by the elements, specifically the sea and the breeze blowing off it, Karan maintained her tailored, hourglass silhouette from fall. The opening look said it all; a chalky gray nipped waist jacket with a wide portrait neckline worn with a simple pencil skirt in a lighter shade of gray. The pieces were typical Donna Karan staples, but with a twist. Below the latex ribbon tied waist on the jacket, random crinkles shaped the upper hips and added texture to the look. As it turned out texture and rippling crinkles would shape up to be the main focus of the collection. There were echoes of last spring's Prada collection in the focus on textured fabric treatments, though here the rumpled effect was used more sparingly and focused on one area of the garment. There was a strapless top in linen with tight crinkled texture at the waist worn over a pencil skirt in fabric that had the texture of crepe paper party streamers. Burlap jackets were left to fray around the edges which gave them the look of tweed. A gorgeous peach blouse reminded me of the dolman sleeved tops she showed last season. From the back though it was cutout to reveal the shoulders, and what appeared to be bat wing sleeves from the front weren't sleeves at all. And a fiery red tube dress with gray trim was shown under a matching sheer textured coat.

From there the collection continued on the way it started, though now the feminine tailoring was punctuated with the occasional soft, ethereal look. A flowy red and gray printed organza skirt which was worn with a simple fitted tank introduced an ethereal, almost balletic feel that balanced out the sexy urban tailoring. There were also chiffon or printed organza wrap dresses, one in an icy gray that was among my favorite pieces in the collection, a fantastic degrade washed leather jacket, softly draped goddess dresses that fell off the shoulder or wrapped tightly around the body, a drop-dead skirt suit in chalky white python and a simple full skirted white cotton shirtwaist-come-cocktail dress. Of course this being a Donna Karan collection there were a number of stunning, effortless looking evening dresses on display. My personal favorites were the asymmetrical white jersey toga with plunging neckline and the fiery red satin column with draped bust. Like I said last season I just don't get why Donna's gowns don't end up on more red carpets. They look like they'd be extremely comfortable, and they're stunningly gorgeous on top of that. Why any starlet would choose a frou-frou bulldozer of a gown over something sleek and sensuous is beyond me.

While I don't think the collection was as perfectly realized as her last (there was the addition of some unfortunate looking chapeaux, a criminal offense imo) it did a pretty good job of picking up where that one left off. And like I said, this collection was a great blend of Donna's two opposing sides. It was completely urbane; chic, sleek and practical, but the soothing grays and beiges combined with the rough textures that appeared throughout gave the collection an earthy quality that, I think anyway, provided a wonderful contrast. Donna's always been telling women that they can be it all - mother, executive, seductress and goddess - and this collection was a good reminder of that.

Marc Jacobs

In a way fashion trends work like a pendulum. At some point the pendulum swings out far enough that the only way it can go is in the other direction. As far as Marc Jacobs is concerned, last season fashion swung as far as it could go in the tough, studded, shoulder-padded, leather legging-ed, mini-skirted 80s redux that has dominated runways for a few seasons now, and the only logical thing to do was something else entirely. His logic isn't entirely off either. Style.com quoted him as saying that "it's not such an individual expression", the it in question being the predominant look of the moment. That would definitely explain his collection for next spring, because it couldn't be farther from what's going on right now. Combining what seemed like miles of swirling, pleated ruffles, lingerie, menswear and a touch of Zandra Rhodes' trippy bohemian spirit - all of which was styled in a bizarrely layered way - Jacobs sent out a collection which he claimed was inspired by the stage. There was a hint of kabuki in the model's whitened face makeup and burgundy bow lips, as well as the modified geta platforms that were worn with every outfit. Some looks were topped with ruffled Pierrot collars, while the layering of others suggested a dancer in rehearsal mode. Dresses in pastel pink or white came smothered in those swirling ruffles with pearl trim, while masculine pinstripe suiting fabric was softened with ruffles edging the lapel or trousers. One jacket in sapphire blue had a huge lamé ruffle forming a bib down the front. It was worn with matching shorts, which were worn over sheer chiffon track pants in a lighter shade of blue. An olive green military jacket was belted under the bust and worn over ruffled hotpants. Vintage-style bras were worn over crisp button downs or knit tops, and pencil skirts cut at mid-calf had mesh girdles built into the waist. There were pastel jacquard ankle length circle skirts, candy striped harem pants, and dresses or outfits in pastel colored plaid with ruffled trim. All of this was just in the first half of the show.

The second half of the show was what interested me more. Those ruffles that had appeared throughout the show were now shown in candy-colored metallic brocades and were used to completely cover some of the garments. Even though the clothes were girly to the point of being ridiculous, there was something almost humorous about them...not surprising given Marc's obsession with subversion. If anyone can make pastel ruffles just a little bit off, it's Marc. There were some beautiful chiffon dresses in pale mint, pink or white with layered hankerchief edges, a black skirt ensemble in a cutout fishscale pattern that was embroidered in sequins and trimmed with ruffles around the shoulders and cuffs, and a dress reminiscent of vintage Paco Rabanne was made of sequined red and burgundy ovals that were linked together. The last look was one of the most traditionally beautiful things in the collection; a white organza dress with delicate black spirals swirling across the bodice and skirt like wisps of smoke.

Honestly, I wish I could say I liked the collection more. I definitely get it, and the fact that it's so different from almost everything that's been going on for a while now is refreshing, but I just don't think this made for one of Marc's most compelling collections. More than anything it just doesn't move me, one way or another. Here's hoping that the Vuitton collection is more convincing.

Rodarte

Probably one of the best things about Rodarte's Spring 2010 collection was the fact that, despite the Mulleavy sisters' references, there was a lot that could be seen in the clothes. This season the sisters concocted a fairy tale about a girl who's burned alive and reincarnated as a condor forced to survive in a barren, apocalyptic world. From that tale though they created looks that called to mind everything from Mel Gibson in "Braveheart" and the warrior queen Boudicca to voodoo shamans and grunge. Every look in the 35 piece collection was shredded, frayed, patched and just generally destroyed to perfection. Given the inspiration the color palette was suitably dark, earthy and strong, ranging from burnt browns and tans, faded burgundy and plum, a few shots of chartreuse and black. Some fabrics were bleached or tie-dyed, while others were printed with a faded tartan and all of them were pieced together in the sisters' signature collage construction. Almost all of the looks were comprised of short dresses, with a few pairs of slashed and zipped cigarette pants thrown into the mix and a finale trio of gowns. Like last season that left me a little frustrated. I totally get the Rodarte aesthetic, and I can totally appreciate their approach to design, but I don't really understand why, for the past few seasons, they've been delivering collections that are comprised almost exclusively of dresses. They've done beautiful separates in the past that were no less special than their fantasy dresses and gowns. Just like last season I'm wondering why they didn't show them on the runway. I know that they have to have made them for retailers, so why not show them? The problem with showing one dress after the other, all of which use similar techniques and fabrics to achieve their effect, is that they appear extremely similar. Instead of noticing the subtle differences between each dress, most people will zero in on the similarities. Take the first three looks; each of them were short, comprised of a streaky tan skirt and a top that mixed gray plaid, a shot of chartreuse and a bit of mauvey tie-dye. Each of them was draped differently, but because they were shown one after the other they looked more similar than they did unique. The collection moved from those first mini dresses through to woven or crocheted patchwork tunics with fringe dragging on the floor, tops pieced together with thick bands of black separating each fabric, pieces made from swirling bands of leather with bits of skin peeking through, and finally a series of black dresses and gowns. If Rodarte's swirling, draped gowns with transparency on the torso have had an ethereal quality in the past, the ones shown this season were more menacing than goddess-like...not that that's a bad thing.

While the collection didn't disappoint me, I am reaching a point where I'd like to see something else from Laura and Kate. Don't get me wrong, I love what they do and I love their twisted view of femininity, but I think they're kind of selling themselves short by focusing on one very specific thing and reinterpreting it with each collection. Also, I want to see more of their separates front and center. Take their S/S 2008 Anime collection, which was really where they started exploring this more artistic approach to designing and was the collection that introduced both their streaky handpainted fabrics and cobwebby knits. But there was quite a bit of variety in the clothes, as well as in the fabrics and colors. I'm starting to miss that. I'm almost positive that if this collection had been shown last year I'd be over the moon for it, but since things are getting a little routine in Rodarte's alternate universe I think it's time to move forward.

Vera Wang

Vera Wang is one designer who I've always liked but never really loved. It's like, I can see where she's coming from and I find the results really beautiful, but it's never really been my thing...until now. I'm not sure what she did differently for Spring Summer 2010, but the things she's become known for came together in a completely fresh way. For the first time her collection was imbued with a bit of an edge, and that edge did the clothes a world of good. Working mainly in black and shades of gray with a few pieces in a periwinkle print, the overall look of the collection was ornate but worn with a street sensibility; think a black draped dress with a capelike sleeve worn with a chunky necklace and wicked black platform sandals, or a silver crinkled halter top paired with a puff of black tulle for the skirt worn with a jeweled chain belt slung around the hips. A crinkled black jacket was paired with a white blouse and black origami-folded mini skirt with an asymmetric hem. The look was very Vera, but with an almost goth feel to it that felt completely new for her.

One of my favorite looks was a dark navy sleeveless wrap tunic with tuxedo lapel worn over matching pajama pants. It would make such a sexy evening option for the artsy type who likes her elegance to be slightly askew. Overall the embellishment was kept to a minimum, which could be why this collection felt more hip than any of her past collections. The only real embellishment was the incredible jewelry done in collaboration with Philip Crangi. Seriously, from the dangling bibs of beaded spiderwebs to the chunky crystal flowers suspended from chain cuffs, the jewelry was to die for. Other than that though the only decoration on the clothes was the texture, swirls of tight pleating across a skirt, densely packed tulle ruffles covering the front of a mini dress, or a shoulder outlined with mongolian lamb fur.

Oddly enough what made this collection stand out for Vera was it's restraint. By streamlining the clothes, minimizing the details and condensing the lineup she really seemed to pull everything together better than she has in the past. The clothes also had a more youthful, sexy spirit which, balanced with the dark romance, feels contemporary. Sure, most of the clothes are in black or putty gray, but since so many other designers this spring and every spring douse their collections in super-bright color, I say that this collection is a welcome relief for the retinas.

Proenza Schouler

If Vera Wang's collection offered some relief from all things neon, the Proenza Schouler boys seemed to revel in it. Added to the intensely bright color were bold tropical prints, tie-dye and megawatt sequin embellishment. In type it sounds like the kind of thing that I'd hate on principle alone, but for some reason I have yet to figure out, I really liked it. The silhouette throughout was short, save for the two pants looks they showed. Some of the first looks paired sporty button down shirts with draped skirts that looked like jackets or sweatshirts if they were tied around the waist. There were two great shifts, one in cobalt and one in turquoise, that wrapped asymmetrically and buckled low on the hips. Shirtdresses in crisp white or tropical blue tie-dye had extended button plackets as if there was a second shirt wrapped around the bottom, and were shown layered over black and white tie-dye knits. There were a few intensely tie-dyed mini dresses with angular layered hems that had feather shaped paillettes peeking out from underneath. I have to say, I really like the clash of the casualness of a tie-dye tank top with the glitz of the sequins.

After those tie-dyed dresses was when they turned the color, print and sparkle up to 11. Tank dresses were beaded with iridescent bugle beads, trimmed with those feather paillettes and finished off with a bit of black chain mail. Tent dresses in purple or green came trimmed in a patchwork of beading, sequins and feathers that formed a print-like effect against the fabric. One of my favorite looks was a cobalt long sleeve top that looked a bit like a rash guard which was tucked into a jungle green beaded skirt. It was glammy and totally party ready, but just like with those tie-dye dresses it had a casual athleticism that worked as a perfect contrast to the sparkle. After a few looks that combined bikini tops with feather embroidered full skirts which I didn't really love, the boys sent out stiff silk mini shifts in multicolor prints that had the look of tropical fish. Some had ostrich feathers peeking out of the hems, others had plastic sequin fringe on the straps. The prints were absolutely incredible, and coming from someone who doesn't really like print or bright color, that's saying something.

Like I said, I have no idea why I like this collection as much as I do. Don't get me wrong, I've always appreciated Proenza collections, but I don't know that I've ever really loved one. I think it might be that this one is more over the top than their past collections, more fun and brash...I'm not sure. One thing's for certain though, if I were a skinny, leggy 20-something with a big enough credit line I would be all over those dresses.

all photos from Style.com

I ♥ MJ...

The appeal of Marc Jacobs ads, consistently shot by Jurgen Teller, usually eludes me. I don't want to say I never like them, for instance I thought the campaign for Spring Summer 2009 with Raquel Zimmermann was beautiful, but generally I feel like there's something I'm not quite getting, and that's never a good thing to feel. Given the delirious, over the top, glammy, clubby collection that Jacobs put out for fall I found myself really interested in seeing what the outcome for the ads would be. Then the first image (or rather, a collage of four images) was posted on the Fashion Spot back in June, and my interest was piqued. It was exactly what it should have been, if that makes any sense. Teller's signature washed out photography and candid shots combined with the gritty New York backgrounds and party clothes made for a perfect combination. Now the full series is up on marcjacobs.com, and for the first time ever I can honestly say that I love a Marc Jacobs campaign.

Like I said, the look of Teller's photography (that poorly done candid kind of look) suits the mood of this collection perfectly, and honestly I don't think the campaign would have been nearly as good were it shot by someone else. And even though I'm not usually a model person, I really love the casting here. The five girls, Natasa Vonjovic, Olga Sherer, Kamila Filipcikova, Irina Kulikova and Ajuma Nasanyana, really delivered, bringing life to the fun, chaotic mood of the photos (especially Natasa who is working the wild-child party girl vibe for all it's worth). I do wish we would have seen more of Ajuma, since she's kind of a favorite of mine and the fact that she was cast in such a huge campaign is kind of a big deal, but that's really the only complaint I have. Sure, the technicolor makeup and mega-sculpted hair from the runway has been toned down and disheveled, but I'm willing to overlook that since it adds to the trashed mood of the images, and they do create quite a mood. I absolutely love the whole "night out" vibe, with shots that go from waiting in your tacky, gaudy apartment or hotel suite to meet up with your friends, to wandering the graffiti covered streets and drunkenly hanging off of the scaffolding (admit it, you've done it too), to the next morning, wandering home in the same outfit you went out in the night before. They're almost like the party photos taken by those inhibition-free, exhibitionistic Facebook devoted youths, just with better clothes. All that's missing is the silly little caption underneath the images. Best of all though, I finally feel like I "get" a Marc Jacobs campaign. It probably won't last, and I'll be completely out of the loop by next season, but nothing good ever does last very long, does it?

all images from marcjacobs.com

Crusin II...

Marc Jacobs

In a riotous mix of color, print and eras (though not as riotous as S/S 09) Marc Jacob's collection for resort 2010 was a mix of old Hollywood, vacation cliches like sailor stripes and souvenir prints, mid-70s Parisian bohemian, and mid 80s party girls. Sailor striped tops were embellished with tropical flower motifs, intentionally cheesy floral printed bandeau/skirt combos and jackets were right out of the tourist-in-a-tropical-locale handbook, and cropped trousers in vintage geometric or paisley patterns could be right from the flea market. A red and black party dress was covered in a print that, from a distance looks like some kind of flower but up close is actually made of colored scribbles. A sheer black mini dress had bands of neon across it that kind of looked like barbed wire. It was paired with a gray tweed jacket edged with shredded neon fringe. And a black cap sleeved wrap dress covered in pop colored parrots had the same feel to it that Saint Laurent's 40s collection; vintage, a little trashy and flirty.

From there things became a bit more decadent. Orchid pink satin shorts were paired with a cropped black jacket trimmed with what looks like passementerie that recalled late 70s era YSL. A blue short sleeved jacket with a slight peak in the shoulder was paired with more of those cropped trousers, now in a shiny jacquard. Ochre satin high-waisted shorts were worn with a printed blouse with billowing sleeves, and the final piece was the dress worn by Kate Moss to the Costume Institute Gala back in May (I still love it, though it fit Kate better than Olga). I'm currently reading "The Beautiful Fall" by Alicia Drake, about the Paris fashion scene of the 1970s, and this whole second half of the collection looked like how I imagined Saint Laurent muse Loulou de la Falaise to have dresses back then, a mix of high fashion with the bohemian spirit of Biba and Ossie Clark in London. Every single look was paired with massive platform sandals that made me think of the shoes Jodie Foster wore in "Taxi Driver". So there you have it, a mad mix of looks that spans who knows how many eras, trends and personalities, but could you expect anything less from fashion's favorite mix-master?

Miu Miu

In contrast to Prada's kitschy, almost cartoony take on destination dressing, the Miu Miu collection was a slightly more sedate affair. Still sticking with a vaguely "life of leisure" vibe combined with the 70s infused bourgeoise sensuality of the F/W collection, the look was a mix of athleticism and glamour. Think Saint Tropez, the rich, fashionable Parisian elite on holiday spending their days by the pool or on the tennis court court, lacquered red lips and all. The main portion of the collection was built around maillots, worn as layering pieces under short tennis skirts, slouchy track jackets, and beachy cover-ups for day wear. Shown in muted shades of beige, cream, pale celery green, and a super pale blush pink. Two sheer halter gowns in a gorgeous retro Calla Lily print (worked in two different colors for the top and bottom of the dress) were worn over plain maillots and had a blouson effect at the waist that billowed in the back.

Long v-neck halter dresses were shown in black or a dusty lilac version of that Calla Lily print, while seperates took on an even sportier feel shown in crisp white, navy and black paired with high lace-up athletic looking stilettos. The Calla Lily print made it's final appearences as a short red on black shift, a red on black maillot worn with a pink on black A-line mini, and a black on lilac full skirted mini dress. Closing the show were three short dresses in the same pale solids that opened the collection trimmed with bands of taupe and embellished with oversized buttons. Like I said, the whole thing had a very 1970s life of leisure feel to it, clean, sporty, a bit louche but tinged with undeniable glamour. I have to admit I'm loving it, probably even a bit more than Prada, but mostly because this collection has a whiff of decadence and vanity to it that Prada didn't.

all photos from Style.com

The Party of the Year?

Every year I, along with countless other fashion following die-hards, await what could arguably be called the most fashionable event of the year, especially these days now that the Oscars has become so predictable in terms of the red carpet. The Costume Institute Gala, held every May, always packs a major fashion punch because the rules that apply on other red carpets just don't hold any water here. It's encouraged, if not expected, that anyone in attendance go all out. So why is it that this year there were many, many looks that either did nothing for me at all or left me scratching my head thinking 'WTF?". This year's exhibit "The Model as Muse" has left me feeling a lot less anxious to trek up 5th Ave. to see it than I normally am, mainly because I think it's stupid-bordering-on-insulting that the models, most of whom cannot be called muses, are the focus instead of the clothing. But I'll await judgment on that until I do drag my ass uptown to see it. I will say this though, given the evening's theme I was expecting big things on the red carpet if only because every non-model female guest would have to contend with unnaturally beautiful women and presumably up their respective antes in order to do so. Unfortunately that was not to be, and a lot of the models upstaged everyone else. Last year's Superhero themed event, 2007's Poiret event, 2006's Anglomania, 2005's Chanel and 2003's Goddess themed evenings all had some fantastic fashion moments, so what exactly went wrong here? First, as my fellow tFS-er Kimair already pointed out there were just too many people in miniskirts, and for every one that worked, there were many more that looked cheap or underdressed. Call me crazy, but I love a gown, I always will, and really, even for a celeb how many events can you go to where "the more dramatic, the better" may as well be the dress code? Combined with an overwhelming amount of tough, clunky shoes and booties too many people wound up looking more appropriately dressed for clubbing than they did for a gala. But like I said, there were some mini-length looks that worked for me.

First there's co-chair Kate Moss in Marc Jacobs. Now normally I find her style pretty overrated, and I still don't get what the whole obsession is about. But as sick as I am of her face I gotta say, the dress is gorge, kind of a modern take on 30's movie glamour, and the turban is a fun, theatrical touch. The only thing I don't love is the shoes. A sandal with tiny, painful little straps over the toes and ankle would've looked better.

Next there's Stam in Rodarte. Love it. Love the colors, love the soft hair and darker makeup. Love the accessories (here the tough, chunky shoes work). Need I say more?

Then there's the stunning Alek Wek, who has never looked better imo. The truth is, I'd probably hate the dress on someone else for being too garish, but with her coloring and that dramatic makeup I'm kind of swooning over it.

Another look that under normal circumstances I'd be hating was Sasha P's Giambattista Valli. With the exception of the tiara, I think it's just the right side of kooky and dramatic. Either that or it's true that models do in fact know how to wear clothes, and can make a peacock feather cape and mini dress seem like a great idea.

Now, onto the gowns...

Iman. Donna Karan. Platinum/ivory hybrid color. There was just no way in hell it could've looked bad.

Natalia Vodianova in a pink Fortuny "Delphos" looked great. The color was just unusual enough to be noticed in the sea of neutrals and brights, she's gorgeous as it is, and I'm obsessed with Fortuny. It wasn't a standout look per se, but her choice to wear Fortuny is pretty fabulous in and of itself.

Iris Strubegger (who has quickly become one of my favorite faces on the runway) looked amazing in one of my favorite looks from the Givenchy S/S 09 couture collection. I rarely say fierce, preferring to save it for special moments when my inner queen just can't help herself, but I'd say it applies here...

Another stunner in Givenchy was Kristen McMenamy. I love her, and I love the dress, so even though I'm slightly disappointed that she chose something from an older collection, I'll get over it. Plus, how ballsy is it to wear white when you choose not to color the gray in your hair? I love ballsy. Always will.

Erin O'Conner looked just as fab as always in Gaultier Couture. Seriously, the dress and pose makes her look even more long and lean than she is.

A controversial choice as far as most on tFS were concerned last night; Blake Lively in Versace. I love the color, I love the sleek hair and makeup, sure the girl can't pose and the dress is slit down to here and up to there, but my guess is that if that dress showed up on someone else very few people would be ripping the wearer to shreds and saying she looked like a slut. Do you really mean to tell me that Gisele didn't look just a smidge on the trashy side in a sparkly blue micromini? Come on people, double standards!!!

As for Shalom Harlow, let's just say that Lisa Fonssagrives would be proud. This isn't the first time she's worn a dramatic, borderline weird look to the event. in 2007 she wore a fringed Viktor & Rolf gown and cape, and just like I did then I think this look works.

I adore Coco Rocha in this bronze Isaac Mizrahi. The color with her pale skin and deep red hair is a risky, but pretty damn fabulous, combo.

And finally, some much needed guy candy in the form of Mr. Chuck Bass himself, Ed Westwick. I couldn't care less what he's wearing. I will throw this suggestion out there though, him + Tom Ford menswear = a very good thing....just sayin'.

Other than that, nothing much to write home about. Due to the drama between Azzedina Alaia and Anna Wintour, the red carpet probably missed out on some fabulousness since something like 7 people were slated to wear his clothing, including Naomi Campbell and Stephanie Seymour, who decided to sit out in protest with him. I think the whole thing is so silly. I get why Alaia's pissed that his work was completely ignored for the exhibit despite the fact that he was HUGE during the Supermodel era, but to me his asking the women he designed clothes for not to wear them was kind of foolish. The ultimate revenge would have been to have all of those women show up looking incredible in clothing by a designer who wasn't given his due. Instead the whole thing comes off like a hissy fit from a temperamental diva who asked his friends to pick a side.

Now for the WTF moments I had mentioned earlier.

Erin Wasson in Phi: This is a look that's begging for someone to give her a good slap across the face for completely ignoring the fact that she's attending an event that's become known as "The Oscars of the East". Wintour and Co. should institute a door policy or something. Anyone looking like they've got a hypodermic needle in their clutch and day old underwear on is not permitted.

Dr. Lisa Airan in Balmain: This isn't a Kiss concert, hon. I usually think she looks ridiculous and overdone though, so this is no surprise.

Agyness Deyn in Burberry: No joke, the first thought I had was of Gene Hackman in drag in "The Birdcage". It's a shame cause the dress was pretty on it's own.

Molly Sims in Dolce & Gabbana: You know what that beautiful gold Christmas gift-wrap looks like after a kid rips it off of the box? This is it in ensemble form.

Anne Hathaway in Marc Jacobs: I actually liked this dress on the runway. But here the hem looks about half a foot too short. I'd almost be willing to overlook that if it wasn't for the Jacqueline Susann hair and jewelry.

Victoria Beckham in Marc Jacobs: I'll admit, I like the dress. It's cute and kinda fun. But she always, always overdoes everything. Her skin is too tan, her posing is too posed, her hair and makeup are always too severe for her bone(y) structure. No matter what she wears the bad always seems to overshadow the good for me.

Rhianna in Dolce & Gabbana: The word dopey comes to mind, trying too hard is a close second and ridiculous comes in third. A safe bet is this, if an outfit looks silly ON the runway on a model it's practically a given that it's gonna look silly on a real person in real life where you aren't strutting to a thumping beat with a spotlight glaring on you. And WHAT is with her obsession with driving gloves? They don't go with everything ya know!

Madonna in Louis Vuitton: If you can't figure out my reasoning for this one, what the hell are you doing reading this blog?!?! Seriously though, I kinda liked that dress on the runway (though even without the stupid styling the dress is way too youthful for a 50 year old woman). I kinda liked those boots on the runway. I even kinda liked those bunny ears on the runway, but combined as one outfit on someone who, it must be said, is becoming more and more past her prime everytime she's seen the whole thing comes off as tragic.

It was a pretty odd night as far as Met Galas go. There wasn't much "WOW" to be had on the carpet, and even the selection of guests wasn't as fabulous as usual. I just pray that the exhibit isn't as much of a letdown as the event was, but be assured that when I do go to see it you'll be getting a rundown.