Border patrol...

Givenchy

This past year my relationship with Givenchy has been a little, shall we say, tepid. Riccardo Tisci's last few collections haven't done very much for me. It's unusual that I'm just kind of apathetic about his RTW and Couture collections, but his pre-collections usually do leave me a little cold. That's not the case this time around. For Resort 2011 he drew inspiration from artist Frida Kahlo, and thankfully it didn't rely on cliches, nor was it a parade of Kahlo look-alikes. Instead what we got were plenty of Tisci's signatures with a distinctly Latin flavor. Add in a touch of leopard print and plenty of the bold red that appears on and off in his work, and what you end up with is equal parts romance and passion.

I'm not sure what it is about this collection in particular, but I feel as though the familiar Tisci touches - the lace, the ruffles, the tailoring and the transparency - are combined to different effect. None of the collection is particularly new for Givenchy, but I think there is something fresh about this, although I can't pinpoint what that is. I almost feel like there's something more overtly sexy than normal here. I hope the upcoming Haute Couture collection also takes inspiration from Kahlo. Considering that Tisci's resort, men's, and couture collections that were shown within a few weeks of each other last summer shared many similarities, I won't be surprised if I turn out to be right. I'm definitely running the risk of getting my hopes up way too high, but just imagine the possibilities!

check out the full collection at Style.com

Video: Givenchy Haute Couture Fall Winter 1999

It's a shame that Alexander McQueen's tenure at Givenchy produced such uneven results. I still remember seeing pictures from pretty much all of his collections at the house, and there was plenty of beauty to be seen. But unfortunately whatever tension was going on internally manifested itself in his work while he was there. Not surprisingly some of his most memorable shows for his own label came about during this period in his career, after all, his angst had to have an outlet somewhere. Tension and frustration aside, I remember some of McQueen's early couture collections for Givenchy suffering from a bit of an identity crisis, and on more than one occasion there were echoes (some louder than others) of John Galliano's work for his own label as well as for Dior. With that in mind it's kind of puzzling that this particular collection isn't better remembered or more highly regarded by people, because from what I can recall this collection looks the most like something by Alexander McQueen out of any of his couture collections.

It's not without it's faults, though. For one thing the presentation leaves a little to be desired from a showman like McQueen. While it produced a fantastic video, with closeups of most of the looks that highlighted the amazing details, it's also a little bit like looking at a museum exhibit. I can't imagine how frustrating that must have been for the audience. Also, there isn't much connecting tissue between a lot of the looks. Many of them really have nothing to do with each other, and even though I suppose that's not essential from a couture collection I personally think McQueen was at his most amazing when he was telling a story. But what's done is done, and after watching the video a few times already I think it's best to just approach each look individually and ignore the fact that this is supposed to be a collection. Like I said, it's some of the most "McQueen" looking of all his work while he was at LVMH, and the clothes are just mind-blowingly beautiful. Keep your eyes peeled for the tartan capelet made out of feathers, the tan leather skirt suit with raised flower cutouts, the white and pink beaded gown, and the seafoam frosted glass, yes, GLASS breastplate worn over a ruffled gown at the end. There's something so ridiculous about a garment made of glass, but there's also something tragically romantic about a thing so beautiful that is almost destined to break. Eleven years later knowing how McQueen's life would end, that seems rather fitting.

thanks to stylerunner7 at youtube for uploading.

Glamorama...

Donna Karan

When it comes to pre-collections I usually find myself appreciating Pre-Fall more than I do Resort. I guess it's because more often than not resort ends up looking a little pre-packaged. Even though the season is meant to provide clothing for the transitional period between winter and summer a lot of designers seem to take the mini-season's name literally, as if every fashion-buying woman drops everything in the dead of winter to make a pilgrimage to a tropical climate. By comparison pre-fall isn't as pre-fab. So far none of the resort collections have made any kind of impact, at least not a positive one. There was a Bardot in St. Tropez themed collection at Chanel (not as much fun as it sounds), a positively cavity-inducing collection of pre-feminist cheese at Dior, and a mixed bag of Saint Laurent references at YSL that I haven't made my mind up about yet.

Donna Karan's collection, on the other hand, I've had no trouble making up my mind about. With a palette of black, silver, white and navy and a predominantly slinky, liable-to-fall-off silhouette it'd be weird if I didn't like it. Granted, it's basically limited to clothes that are strictly after dark, but considering that these clothes will show up in stores when it starts getting dark at around 4:30, I don't think that's such a problem. The first look says it all; black smoking jacket, gray silk wrap skirt and silver chain mail top, straight up glam from head to toe. I've never seen chain mail at Donna Karan before, but it actually makes perfect sense. That stuff drapes and clings like nobody's business, and Ms. Karan should consider playing with it more in the future. I'm picturing the results, and they make me happy. The other looks, from twisted jersey cowls to slouchy silk jacket and pant looks, and even a killer white tailored jumpsuit that was equal parts Marlene Dietrich and Studio 54 were equally glamorous. Let's not even get started on the handful of gowns that were shown. The final draped column in silver lamé is just too gorgeous to bear.

But even though 3/4 of the collection makes perfect sense despite how limited most of the clothes are in practical terms, there were a few looks that left me puzzled, and now that I think about it that happens a lot with Donna's pre-collections. There are always a few looks that don't quite fit, whether it's the style, the color, or the shape, though it's generally some combination of all three. This time around the sore-thumbs ranged from a voluminous opera coat that, in a lurid color combo, would have been right at home on a Lacroix runway, a frothy black circle skirted dance dress, and an icky star print that made it's presence known as a bulky parka and a transparent gown that displayed none of the ease, sensuality or technique that I expect from Donna's draping. They're minor quibbles, but when you're dealing with 25 or so looks, the sore thumbs stand out all the more. Since they're the minority they're easy enough to ignore. I just hope the limpid urban glamour that's the focus here is a preview of what's to come for S/S.

Check out the rest of the collection, including the duds, at Style.com

Everyone and their mother...

That's who's been wearing the debut items from Gucci's new made-to-measure line, Gucci Première. Seriously, Cannes is only into it's fourth day and so far no less than five different women (not including Frida Giannini herself) have walked the red carpet wearing pieces from Gucci's couture line, some more than once. Now when I first read about this line about two months ago on WWD I nearly choked on my own tongue. All I could think of was the amount of bells and whistles a Gucci couture gown would be covered in, given some of the recent runway collections. Oh sure, I praised the F/W 10 show because I thought it was good, but that doesn't mean I have complete faith that Frida won't lose control and relapse into her sequin abuse problem if she's left unsupervised for too long. At the time the news leaked Gucci had no comment, and I forgot all about it...until this week when the steps at Cannes were swarmed by starlets wearing Gucci. Now the impression I get from what's been written about it, and what I've seen so far, is that it's sort of Gucci's answer to Armani's Prive collection, although if memory serves Armani's collection is permitted to be called haute couture by the Chambre Syndicale, which would mean that his clothes meet the standards of true couture. Gucci isn't promoting this as haute couture, but more as a made to measure custom service for red carpet types and rich people who want something exclusive. But custom made red carpet pieces are nothing new for Gucci, they've been doing them since Tom Ford was still at the helm, so I don't really know why they're launching this as a completely separate collection.

The first woman was, somewhat fittingly given her marital status to Mr. Gucci Group himself, Salma Hayek. Now I'll say right up front that I think this is a pretty dress, and I like that the sparkle is kept to a minimum and restricted to two specific locations. It's a little bit more interesting than all over beading. But I'd be lying if I said I wasn't beyond sick of the one-shouldered thing. It's become such a ubiquitous look for red carpet events at this point. I also think that this particular specimen would have been better without that little drape falling on the arm. So yeah, it's pretty dress, but it's not all that remarkable and it certainly isn't something unique. Also, it must be said that I'm a little peevish in general about gowns with rear zippers. The only reason to put a zipper up the back is if you absolutely don't have the option of putting it on the side. I can't really tell how this dress is constructed from pictures, so I'll let it slide, but it's a little annoying because you can see the little bubble in the back where the end of the zipper is, and that's precisely why I hate rear zips. But still, Salma looks beautiful in it, and I suppose that's the most important thing.

Next up was Camille Belle in a navy column, also one shouldered and also featuring strategically placed beading. The dress is fine I guess, although the only thing that made me look twice was the way the beading sort of dissolves down the back, which is a beautiful effect. But everything else about this look is both bland and kind of mature. The dress itself, from the color to the cut, seems destined for an older woman, probably in the over 35 age range, if not older. There's something almost conservative about it, despite the bit of sparkle and the slit up the leg. The hair and makeup really isn't helping matters as it makes Belle look about 15 years older than she is. But most of all this dress just looks like something you'd find in any number of department stores or dress shops. It's a standard evening wear template, not something you can go wrong with, but not something that's going to turn heads either.

The dress Kate Beckinsale wore was, at least, somewhat interesting to look at...although I don't really like it. There's something about the mix of the very dense silver beading and the sort of ethereal look of the draped shoulders and flowing train that doesn't quite work. I don't think the armor like panels really work well against the soft, romantic silhouette and delicate beading in the drapery at the hips. I dunno, it just doesn't work for me. From the back it gets worse, because in addition to the weird clash of hard and soft, the sewing in the rear seam is a little fucked up, to put it plainly. It's the kind of thing any fashion design professor would teach you how to avoid. That puckering, and especially right on the ass, is not pretty. I don't know if it's because the fabric has lycra in it, or if the dress wasn't properly altered, or if it was just poorly sewn, but it's shoddy looking and that's a shame, especially with Gucci promoting these looks as the most exclusive of all of their products.

Camille Belle also showed up to an event wearing a short, fitted, off the shoulder dress completely beaded in a degrade pattern. The dress is boring as hell, but it's cute and sparkly and a hell of a lot more youthful than the other dress she wore. But it's been almost 3 years since every young actress and "personality" in Hollywood has had their stylist slather them in Crisco so they could slip into an Herve Leger bandage dress, which is exactly what this looks like, and I'm completely burnt out on that look. More than anything I just like the effect that was achieved with the beading. Also wearing a short, sparkly number was Giannini herself, making the rounds of events along with her coterie of clients. Her dress is another that I've seen a million of, from runways to department store racks. It's nothing I'm about to piddle over.

The dress that French actress Lea Seydoux wore was by far one of the most interesting dresses of the ones I've seen. It's also one of my least favorites. There's just something about it that rubs me the wrong way. I wish I could offer an explanation as to why, but I have no effing clue. I will say this though, at the very least it's not a predictable red carpet choice (I don't even know when I last saw a cap sleeve) so that's a positive. But other than that I think I might actually hate it.

Naomi Watts has the distinction of wearing my favorite dress out of the ones that have been seen so far, which isn't saying much, but it's something. I love the angular pattern that basically makes up the entire dress. Despite how blah a pale beige strapless column gown is by it's very nature, there's at least something really graphic to look at with this one. I would have loved to see this in a darker, more severe color, something to play up the sharpness of those pleats. I for one am completely over the pale flesh-tone thing that so many women seem to gravitate towards for the red carpet. At the very least if you're going to go for a neutral color, go for black. It doesn't have that aura of "meh" to it. Still, it's a pretty dress, although I'm a little concerned about the workmanship. It looks a little rough on the bust.

And lastly there was Mrs. Gucci Group again, although I have to say I detest this dress. There's something cheap about it that I can't quite pinpoint, but the two things that come to mind when I look at it are: department store evening dress on the 50% off rack at Lohmann's, or some novice fashion student's attempt at making a "Versace" gown. I doubt if that's the kind of association Gucci want's anyone to have while looking at any of their products, least of all a custom made dress for the wife of their CEO.

Now, I'm fine with Gucci wanting to up their exclusivity factor by creating one-off pieces for celebs. They're not the first and they probably won't be the last. But here's the thing, if you set out to create a line that promises exclusivity, you better make damn sure that the product makes good on it. None of these dresses are the kind that would really pop on any red carpet, and I truly think that were it not for the fact that Gucci was promoting the line at one of the biggest red carpet events of the year, nobody would look twice at any of them. I also find it hard to believe that a paying client would want a custom made dress that was so indistinct. No, ultimately the label in a dress isn't important if the dress is beautiful, but you wouldn't go to Chanel to have a suit made for you that looks like any other suit, so why would you want a Gucci gown that looks like any other gown? I'll be honest, even when I've hated them Frida's evening gowns and party dresses have usually had some personality to them. Take the dresses she did for fall, there's no way those would blend in on a red carpet. Even though a casual observer might not know right away that they're Gucci, they would no doubt assume that they're high fashion. These dresses however could be by any second rate red carpet designer. It's kind of ironic that the dresses which will be produced in quantity look more exclusive and unique than the ones that are one of a kind. And I know I'm guilty of bringing every Gucci related post back to Tom Ford in some way, but I can't help pointing out that his custom designed pieces while he was at Gucci and YSL got people's attention and stood out at an event. For proof look no further than the one-sleeved nude column covered with clear crystals that Nicole Kidman wore to the 2003 Met Gala. Seven years later and nude beaded gowns are a dime a dozen, but that trend can probably be traced back to that one Gucci dress. Simply put it had the wow factor that none of these new designs possess, but it wasn't some completely out there design. I guess in the end high impact dressing doesn't need to be ridiculous, it just needs to be well calculated. If these new looks are an accurate representation of what the Gucci Première line is going to be about then to be honest I just don't see the point.

all images from daylife.com, zimbio.com and getty.com thanks to Flashbang at The Fashion Spot

American woman, listen what I say...

Well kids, it's that time of year again. That's right, it's Costume Gala time. What is it about the combination of fabulous fashion folk and starved to perfection A-list celebs that proves so exciting every year? Wait...I may just have answered my own question. That's exactly what's so exciting about it, because unlike at awards shows and premiers when celebrities are expected to dress according to some rigid fashion standard that will appease people who don't actually care about fashion, the Met Gala is an invitation to go a little over the top, to wear something more daring than normal. Well, that's the theory, anyway. Despite near unlimited access to clothing by all of the designers in attendance there are still many celebrities who go safe and unthreatening. Now I'm not one to criticize a starlet for choosing something simple, in fact in these days when the red carpet standard is a rigid mile-wide bulldozer of a gown with all manner of beads, sequins, feathers and ruffles by Marchesa, something simple but stunning is a welcome relief for me. Safe on the other hand....well, it doesn't really get my pulse racing. Unfortunately safe is largely what we got this year. Someone on the Fashion Spot, and I can't remember who, pointed out that in the past the best red carpet arrivals for the Met gala have been when the exhibit has a very specific theme, and naturally people dress to reflect it. Whoever it was that said it was absolutely right. I've watched the event since 2003's "Goddess" exhibit, and since then there have been a few years when the red carpet action has been off-the-charts. The goddess exhibit, the Anglomania exhibit in 2006, Poiret in 2007 and the Superhero themed 2008 gala all had people upping their fashion game, and the results were far more interesting than you're likely to find at your standard black tie affair. Needless to say for the second year running the Costume Institute team has gone with a pretty basic, pretty general theme and the attendees' fashions reflect that. This year, sadly, there wasn't one "wow" moment for me. Even Lady Gaga who skipped the red carpet entirely went safe in a Prada tux. So while there were some beautiful looks, and while there were some really bad looks, most of the night's attendees filled up the huge gray area between gorgeous and God-awful.

Anyway, enough of my b.s. On with the dresses.

The Good

Kate Bosworth in Valentino Haute Couture

It doesn't hurt that Kate is stunning regardless, but the fact that she picked one of my favorite pieces out of the mixed bag that was the Valentino HC collection for Spring scores points from me. I knew it was only a matter of time before some stylist snatched that dress, and frankly I'm surprised it took 5 months for someone to wear it. She looks gorgeous, and even though it's hardly a challenging or unusual look, it's styled (and worn) beautifully.

Donna Karan in Donna Karan

Love it. Yeah it's a predictable Donna Karan dress, but it's gorgeous. Donna is proof that her clothes work just as well on a woman with an average body as they do on someone who fits into the sample size.

Sarah Jessica Parker in Halston

So I was definitely in the minority of people who liked SJP's Chanel Oscar gown. The hair should have been more polished, but overall I liked the whole 60s vibe she went for, and I loved the dress itself. But she took a lot of flack for that dress, and while I get that it didn't appeal to most the fact is that she was one of the few attendees who did something unusual. Now I dare anyone to question her fashion cred. I don't even know what it is about her look that I love, I mean it's such a simple dress, almost boring except for it's metallic sheen. It's by no means the most interesting or fashionable thing she's ever worn. I guess it's just a case of the right dress, right hair/makeup and right accessories coming together to bring life to a look. Honestly I think this was my favorite look of the night.

Charlotte Gainsbourg in Balenciaga

I'll freely admit that I am one of, like, 10 people who don't swoon over Ms. Jane Birken jr. style-wise. I really only see her at events, and at events she is always in Balenciaga straight off of the runway. I don't think that wearing a runway look makes you stylish. It says more for your taste level than it does for you style or individuality. Needless to say the only reason I like her look is because I liked that dress. Not sure why it was cropped to cooch level though.

Diane Kruger in Calvin Klein

When I saw the first picture of Diane last night I nearly died because my first thought was "OMG is she wearing one of the white Gucci gowns from 1996?". Then I saw another picture and realized no, she is not. But still, her stark fitted white column looked fantastic. This is what I was thinking of when I said there's a difference between simple and safe. It's such a plain dress, a plain look in fact, but it just isn't the kind of dress that shows up on the red carpet these days. Were I Francisco Costa I might have cut out the back just to add a little something (although that might just be my obsession with the aforementioned Gucci gowns talking). My only complaint is the hair and makeup. It's not bad, I just would have gone with lighter eyes and a side part instead of center. Other than that she looks gorgeous.

Gisele in Alexander Wang

I do like the dress, and it DEFINITELY stands out, but even though I like the dress and even though Gisele looks great in it I don't think that's the kind of dress you wear to an event like this. It's not that it's too short or whatever, but that the look of it just isn't formal at all. I can handle a little bit of trash, after all I still count Courtney Love in John Galliano's destroyed Dior trashbag gown at the 2000 Golden Globes among my favorite red carpet moments. However this particular look is a little too trashy and clubby for the setting. But I'll lump it in with the good because ultimately I think Mrs. Brady looks good.

The Bad

January Jones in Yves Saint Laurent

Besides starring on one of my favorite shows January has quickly become a part of the list of women that I look forward to seeing on the red carpet at events. She's nailed it more than once, and she's taken some chances along the way. But this look is unforgivable. January, I urge you, repent now. Fire whoever styled you and start fresh, preferably with a new designer ally. And as for Stefano Pilati, I haven't liked his work in years because for years he's been neglecting his job of making women look beautiful. This is just the hot pink straw that broke the gay camel's back. He's dead to me.

Kristen Stewart in Chanel Haute Couture

I'll give her this, she's clearly trying to up her style ante, and in theory this dress is perfect for her. It's edgy, with that slight punk vibe from the mesh fabric, but whoever hemmed it completely botched it. It's too short, and that isn't helped by the platform shoes which I don't like with the dress. The top looks kind of fucked up too. Overall whoever was altering this butchered what could have been (and was, in it's runway incarnation) a striking dress. I also don't like what her peeps did with the hair.

Elizabeth Banks in Gucci

Poor girl. It's a shame that she and/or her styling team chose that dress out of all of the dresses Gucci showed for fall. I hated this one on the runway because there's way too much going on, and all of the surface decoration gives the wearer's body an indecipherable shape. From the front she looks bigger than she actually is because of all that extra fluff. From the side it's no better because those feathers just looks like a giant landing strip. You tell me, which sounds worse?

Janet Jackson in Lanvin

In case you don't recognize the dress, here it is on the runway. Now I realize that what I'm about to say will probably offend someone, but she doesn't have the body for that dress. It does nothing for her and she does nothing for it. I'm not a size Nazi, and I definitely don't think that only skinny women look good in high fashion, but if your body distorts the garment you're wearing to the point that it takes away from it's design, or conversely if a garment distorts your body to the point that it no longer makes you look good, that garment isn't for you. Besides that the styling is bad regardless....not that the Jackson's are known for their subtlety or taste.

Carey Mulligan in Miu Miu

Mulligan caught my attention during awards season when she was making the rounds of events and ceremonies while parading a variety of dresses and gowns for all to see. While I didn't always love what she opted to wear, her quirky choices piqued my interest because she usually managed to stand out. I personally loved her tool embellished black Prada gown and newly blond pixie cut at the Oscars in March, so I was looking forward to seeing what she'd wear to an even more fashion-conscious event. Turns out it was a dud. The lilac colored granny lace Miu Miu babydoll she chose couldn't have been more anticlimactic. I still haven't warmed to the collection it came from, and I just don't think it was dressy enough. On top of that I honestly think it's kind of ugly, like some relic in the Brady Bunch costume department.

Honestly, those are the only looks that I even had a strong reaction to, and at the end of the day none of them are particularly extreme; the good ones aren't mindblowing and the bad ones aren't horrifying. Pretty much all of the other looks were predictable red carpet fare. If you've ever watched an awards show you know what most of the people will turn up in; draped one shoulder goddess chiffon, Barbie-worthy mermaid dresses and big, beaded ballgowns. I certainly hope that this is just a slump and not a sign of things to come. If the last event on Earth where fashion trumps mass appeal goes down the same individuality-free, pre-packaged crapper that the Oscars, Golden Globes, Emmys, et al have gone down I honestly don't know what I'm going to write about when there isn't a fashion show happening each Spring.

all photos from zimbio.com

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

In Bloom...

Haider Ackermann

Haider Ackermann is one of those rare designers who actually measure up to the sudden new attention they're getting. As opposed to other designers who seem to let the hype go to their head and seem to think they don't have to work as hard as they used to once they have it, Ackermann's work has steadily improved, and considering that he was good before the attention that's saying something. This season, compared to the languid glamour and subtle exoticism of Spring, Ackermann went more structured. Two of the features that he's added to his signature leather/suede/wool jackets were undulating folds with concentric rows of top stitching or layered peplums that could be unzipped at the waist to fold towards the rear. The overall effect of the fluid folds in front and the more jagged, almost obi-like folds in back was of a giant, poisonous flower in bloom on a forest floor. The collection was beautiful in the textures that were mixed as well, most impressively in the intricately laser cut leather that was so delicate it looked liable to fall apart, like beautifully decomposed lace. Perched atop a narrow bottom half that included Ackermann's signature wraith-like skirts and leather leggings, the tops were like sculptures displayed on pedestals.

Technically I think this is probably his most impressive collection yet. The folding, curling shapes that are the focal point of the collection are really a marvel to behold. And the overall look is, as always, calmly beautiful and sensual in that way that's become his signature. But calmness and tranquility aside, I think these are some of the most extreme clothes Ackermann has ever shown, at least of the collections that I've seen. Somehow though the shapes aren't completely overwhelming. They don't look like architectural experiments grafted onto a body. the effect is more organic than that. While I wish there was a bit of color in here, like the touches of saffron, indigo, sky blue and blood red that have highlighted his most recent collections, I'm willing to overlook that the palette doesn't stray from Haider's signature neutrals. The clothes on their own are simply that good.

all photos from style.com

Hot Voodoo...

Lanvin

The words "Lanvin" and "tough" aren't usually found in the same sentence. Commanding, assertive, bold; all of them could be used to describe what Alber Elbaz sends out on his runway, but tough? Not exactly. That could be why I find the Lanvin Fall Winter 2010 collection exciting. There's a hardness and severity to it that I've never really seen in Alber's work before and I'm really liking it. It's as if he took all of his signatures--the loose draping, the rounded shoulders, the soft tailoring--and sharpened them up. Those flattering sheaths are more angular, darts and seams are reversed to contour the body, coats are shaped like an inverted triangle with exaggerated shoulders and pegged hems, and those goddess drapes are pressed flat into place to form pleats. Combined with the blunt cut jet black wigs each model wore and the aggressive looking accessories, Elbaz showed off a different side of the Lanvin woman, one that's more than a little bit dark. Even the flamboyant feather embellishments look more sinister than Swan Lake, with patches of ostrich or coque feather sprouting randomly out of the torso and trimming edges. Overall the impression was of a woman caught somewhere between civility and savagery, human and beast. With the predominantly dark color palette of black, browns and beige with hints of plum, burgundy, blood red and burnished gold or bronze, there was a subtle hint of tribalism to it. As the collection progressed it became louder and more aggressive until metal, feathers and sparkle were combined for an effect that was almost bombastic. It always impresses me that Elbaz never quite loses control of the elements he's working with. When it comes to embellishment, beads and feathers can easily go overboard and turn ugly quick, but somehow he manages to make it work, no matter how random or extreme they might seem. That's definitely easier said than done.

I'm sure a lot of people would gravitate to the more ornate evening stuff towards the end, and with good reason I suppose. There's just so much visual interest, from the sharply pleated lame to the tufts of ostrich feathers, they're the kind of clothes that beg to be touched. But for me the most exciting pieces come earlier in the collection. All of those plain dresses with their sharp, angular cuts and the coats with their domineering shoulder line were what really drew my attention. It's probably because, while the over the top embellished stuff at the end is fun to look at and probably fun to wear as well, the simple, graphic pieces feel fresher. That's the overall impression I'm left with from this, it's fresh, a little jolt of something different to keep people's attention after a few years of softness, volume and draping. I have a feeling that combined with the showroom collection this season's offerings will probably resonate with more customers than Alber's spiraling togas and filmy satin do. Women can't be goddesses every day, can they?

all images from Style.com

Domestic miss...

Balenciaga

If Ikea were to make clothes, what would they look like? That question could definitely have been what led Nicolas Ghesquiere to create the collection he showed for Fall Winter 2010. If you've ever shopped at Ikea, you'll have no trouble conjuring at least a vague image in your mind; bright, pop-y colors, lots of plastic and other synthetic textures, and a huge dose of mid-century modern decor. Throw all of that into a blender and that's sort of what you're looking at with the clothes. At first the whole thing comes off as another one of Ghesquiere's explorations of technology and futurism, but once you know that he was, in fact, looking a items in a home like formica cabinets, kitchen supplies, and even sleeping bags, that ends up being exactly what you see. The opening cocoon coats in patchworks of techno fabric and shaggy fur brought to mind the inside of a microwave. The colorblocked knitted dresses or peplum tops looked straight out of a late 60s kitchen. A trio of sweaters worn with geometric jacquard mini skirts almost looked like machine-mad afghans, while two top/skirt combos looked like high-tech crocheted doilies. Several looks fused a top with either narrow quilted pants or a mini skirt, the top unzipping like a sleeping bag to reveal prints that were a like a collage of magazine clippings and road maps or, with the skirts, a puffy down coat . They were probably the most interesting looks in the collection because they simply defy description or categorization. I can't even tell if they're a single piece or separates, let alone how they're built and how they work. And finally there were three dresses in fabric that looks like packaging peanuts, printed with those same magazine/map collages. That's the best I can do as far as describing the bubbling, grid-like fabric.

At this point I still don't know whether or not I really like this collection. For sure it's one of the most unusual and technologically advanced collections that has been, or will be for that matter, shown this season. But whereas last season Ghesquiere used the incredible techniques that have become his trademark to create easy to comprehend clothing, this season the result is much more challenging. What struck me about this was the combination of very familiar silhouettes with cutting edge technique. The shapes aren't anything unusual, they're mainly straight, kind of boxy, and very Balenciaga, but the textures, fabrics and the way they're combined renders these clothes completely new. The almost chemically bright pastels and primary colors that are used only add to the boldness of the clothes. As with any of Ghesquiere's collections there is so much to look at here, and when it comes to pictures the higher the resolution the better, but honestly it leaves me a little cold. It interests me, that's sort of a given, and I always appreciate the vision that Ghesquiere puts forth. But there really isn't any emotional tug for me, no feeling of true excitement, no jolt of electricity. Since the two collections have quite a bit in common, I can't help but compare this and spring and for whatever reason I prefer that collection to this one. I think it might have achieved the mix of the familiar with the advanced better, and ultimately it was filled with familiar clothes that were amped up to become something more. By comparison this feels almost stuck in concept mode.

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About face...

Gucci

For me to say that I'm not Frida Giannini's biggest fan is something of an understatement. Anyone who has read either my blog or my posts on the Fashion Spot (which date back to the dawn of her career) can tell you without a doubt that I haven't always been kind to our girl Frida. So imagine my complete and utter disbelief to find that this season I was kinda impressed by her collection. That's right, I said impressed, so bear with me.

My issue with Giannini is three-fold; from the beginning she completely ignored the well established identity and aesthetic of the house, in her zeal to erase the memory of her iconic predecessor her collections were erratic and lacking in any kind of consistency, and the simple-minded trends/cliches she worked with gave the impression that her clothes were nothing more than luxed-up fast fashion. On top of those things her most recent collections have been too reliant on special effects rather than good design. By that I mean she spent too much time decorating basic pieces that, despite their astronomical price-tags and overt displays of "luxury", didn't actually seem all that luxurious. All in all her collections have been, to me at least, too self conscious, like after four years she still doesn't have the confidence needed to put her own permanent stamp on the Gucci legacy. Well apparently we may all be in for a change.

Giannini's collection for Fall Winter 2010 is hands down the best she has done in her eight-season tenure at the house. Gone are the gimmicks, the overwrought details, and the frivolous, youth-obsessed, flash in the pan trends. In their place are beautiful, sexy, timeless looking clothes for beautiful, sexy, confident women, not girls, women. Everything about this collection, from the rich palette of warm neutrals in contrasting shades, to the longer skirt lengths, and even the non-tricked-out accessories seem geared towards a more grown up clientele who doesn't need to flaunt their fashion cred. And unlike in past seasons this collection placed more emphasis on daywear, with sharp tailoring a focal point as opposed to flirty day dresses and party gear. Most of the day looks were built around this season's pant; narrow, low on the waist but not ridiculously so, and flared just enough to spill over the foot. In the past Giannini's pants, with their low waist, tapered leg and overall boyish look really didn't appeal to me, so it was nice to see her working on a new shape, especially one that's really flattering. With the pants she paired understated coats or furs that were luxe without being obnoxious and simple silk camisoles or blouses. As an entire look the pants, slightly oversized coats and silk button downs worn partially open definitely recalled Tom Ford's very first Gucci collection as creative director back in 1995, not that that's a bad thing. Mixed in with the pant looks were some sheaths with slashes along a bias seam held closed with polished gold hardware. Those few looks brought to mind the white jersey gowns with gold hardware that Ford showed in his iconic F/W 1996 collection which, again, isn't a bad thing. There were also a few looser draped dresses in smudgey prints or solid black before the collection moved into evening.

Let's face it, evening has always been a big deal at Gucci and it probably always will. In my opinion eveningwear has never been Giannini's strong suit, she's always showed a bit more skill with sportswear and casual dresses. But this time around, though I didn't love every look she sent out for after dark, I liked that the looks were more mature, more hedonistic and more "Gucci" than anything she's shown before. Most of the looks mixed python patterned lace or mesh with paillettes and ostrich feathers on the sleeves. Paired with coordinating patterned lace tights and metallic python sandals it was a lot of look, but because all of them were cut above the knee they avoided that sharp left into tacky territory. Sure, not all of them worked but the looks that did were really beautiful, and kind of unusual too in their mix of textures. A black one with a plunging v-neck held up by a metal collar worn with a bolero in ombré feathers had a beautiful degrade effect going on, from the opaque paillettes at the top down to the sheer tights on bare flesh at the bottom. The look reminded me, though very vaguely, of the beaded dresses and marabou boleros Tom did back in '04. Another, a cognac long sleeved dress with copper paillettes fading from top to bottom was also really beautiful. The best thing about these looks is that they're a more extreme, grown up take on glamour than what Giannini is known for. You're not likely to see some unkempt hipper-than-thou wild child pulling these looks off, that's for sure.

I think that this collection is completely refreshing coming from Giannini. It's not relying on anything but quality clothing and good styling, which is what made Gucci a powerhouse to begin with. It takes a bit of maturity to hold back and let the clothes be the focal point instead of a theme or overdone details. Are these clothes anything new? No. Are they bound to shake fashion to it's core? Probably not. But that's okay. I am still pretty shocked by how much I like this, although I'm starting to think that maybe I shouldn't be. The fact is that a lot of this bares a resemblance to Tom Ford's work at the house, especially in his disco-loving early days. Looking at this I'm left wondering why Frida spent so many seasons trying in earnest to avoid the territory he mapped out, because while this doesn't have the same heady punch of Ford's work, it fits his Gucci blueprint very well. This woman seems to be the softer, less depraved sister of Ford's femme fatale. She may not have that same predatory sensuality that leaves a path of broken men in her wake, but I bet she's got a few of her own tricks up her ostrich feather sleeve. Here's hoping we'll get to see them.

all images from Style.com

Retrofitted...

Prada

The name itself may as well be fashion shorthand for rapid and startling change. Each season people wait with bated breath to see where Miuccia will go, and the results are pretty much always bound to captivate and alienate due to their unfamiliarity. While Prada doesn't reinvent the sartorial wheel with her work what she does is take things that are mainstream or banal and subvert them somehow, breathing new life into old ideas and changing the eye of the viewing public. A Prada show, more than any other, elicits a strong reaction upon first glance. It's always a love it or hate it kind of experience.

But this season rather than sending out something strange and unexpected Miuccia sent out a collection that was so quintessentially Prada it could almost be considered predictable. From the first look to the last it was a reminder of what the house has always stood for; traditional, nostalgic femininity with more than a hint of oddness. Retro geometric prints in icky colors? Present and accounted for. Intentionally frumpy, cheap looking knitwear? Also on display. Dirndl skirts and A-line coats? The collection was filled with them. Just like with Marc Jacobs' collection in New York this was Prada reworking her own past. But as familiar as all of the elements were, as unmistakably "Prada" as the clothes appeared don't for one second think that Miuccia wasn't changing everyone's eye. The first look out, a long sleeved black wool dress with a fluted skirt and molded bust was prim and almost dowdy in that Italian widow kind of way, except that the folds used to give the bust it's almost pointed shape looked like nipples. Many of the looks, like a a few sleeveless tops worn with some of the only pairs of pants in the collection, or a series of dresses in wool, melange cable knit, PVC or colorful mid-century wallpaper printed silk had rows of curving ruffles on the bust. A few other pieces had a single ruffle tracing the underside. And many of the slightly A-line coats were cut with an empire waistline. All of these details drew the attention right to the breasts, and more than anything else that was the focus of the collection. It seems like years since a voluptuous decollete has been a priority in fashion, and I find the shift away from a boyish, layered, unstructured shape completely refreshing. Mixed in were many takes on Prada's signature 60s prints in muddled shades of tan, brown, purple, mustard and blue, chunky knit or patent leather separates like skirts and pea jackets with double collars, and a few black felt pieces covered with dense jet beading. Paired with the big beehive 'dos, sexy pointed toe stilettos, bulky knee high socks and the occasional pair of exaggerated two-tone cat's eye glasses the entire collection was all mixed signals; quirky but chic, dowdy but sexy. But the one thing that was crystal clear was how womanly the clothes were. It was impossible to miss.

I'm still a little torn about the collection to be honest. On the one hand I love a lot of the clothes, and I love what the collection is saying. It's completely exhilarating to see something that requires a bit of a body to actually pull off. Not that all of these clothes will flatter everyone, but they certainly seem geared towards a decent variety of grown women with grown women's parts. I also think that the way Miuccia reworked all of her signatures was well done, and will no doubt appeal to a lot of different people. On the other hand, the look of this collection is completely familiar. Save maybe for the ruffles on the boobs this collection is made up entirely of traditional Prada elements. Even though it's a surprise because a) it has almost nothing to do with where fashion is right now and b) it has nothing to do with what Miuccia did last season there really isn't anything jarring about it, and for me that jarring newness is what I look forward to from Prada. But in a way it makes sense. Every so often Miuccia does go back to the template that made her famous to start with. It's a bit like a palette cleanser before her next bout of restless experimentation.

all images from Style.com

Oh make me over...

Proenza Schouler

Last season was the first time I ever really loved a Proenza Schouler collection, so naturally I was looking forward to see what they'd send out for fall. But the problem I find when I get my hopes up for a collection is that they're rarely met. While I can't say that I love Jack and Lazaro's Fall Winter 2010 presentation, I do really like it. A lot in fact.

In a way it's a bit of a continuation of last season when they seemed to be exploring a bit of early 90s street and youth culture; skateboarding, surfing, graffiti. This time around the look is more grunge, a glamorized take on grunge obviously, but grunge nonetheless. Sharp, accordion pleated minidresses in dark colors were worn over trashy sheer mesh shirts with neat little collars in leather. A short A-line toggle coat was worn over a mini skirt, white blouse and black sheer thigh highs. Cropped pea jackets were paired with layered crop-tops and mini kilts. And varsity jackets were trimmed with fox fur in lurid shades of violet, teal or blue. Try to imagine the bastard child of Cher from "Clueless" and Courtney Love with some 90s-era GAP thrown in and you've got a vague idea of what the look is.

Then came a few graphic printed looks in a combo of black/white and cobalt/white followed by kaleidoscopic printed pieces in shades of green and blue. The prints used for these pieces were apparently made from manipulated photocopies of tartan plaids, not that you can really tell. There were a few cute printed baby doll dresses with black mesh cutouts at the collar and sections of sequin embroidery that really cemented the Hole-era Courtney Love comparison. The final five dresses, two with cutout sides and three draped with bubble skirts, were worn over crop tops. I didn't like any of them. The colors were odd and really stuck out among the rest of the collection, and the dresses themselves were just not very attractive. Unusual considering that one of the duo's strengths are great party dresses. These lacked finesse for the most part, and besides that the draped bubble dresses aren't anything you can't already find elsewhere.

Overall, a pretty cool collection, especially the first two-thirds of it. The way they twisted and subverted both preppy and girly was really well done. I love the idea of an over-sized varsity jacket with a bright fur collar worn with trashy thigh-high stockings and chunky platform clogs. Or of neat pleated wool dresses worn over a mesh top. Where the collection lost steam for me was around those baby doll dresses and other printed pieces. It's not that I didn't like them, but when you look at them compared to the amazing printed pieces that were done for Spring they don't quite stack up. Still, the dresses especially were cute, especially the yellow one. The final dresses were a complete dud in my book. Still, the collection has a great energy to it; tough but still pretty, boyish but feminine, cute but sexy. I never pictured myself liking the gradual return we've been seeing towards the early-90s, but I guess if it's done with a bit of humor and irony then it can actually be kind of appealing.

all images from style.com

Video: Chanel Haute Couture Spring Summer 2010

Chanel

Almost a month later my love for the Chanel S/S 2010 couture collection is still going strong. Those gowns at the end look so much better in motion, and let me just say that the details do not disappoint in the closeups. The music got a little repetitive, and for whatever reason the best song was saved for the last minute when Karl took his bow and the girls took their final lap. I also think the editing was kind of chopped up in parts. Minor complaints in the end, though, because the show itself (save for the ever scowling and pouting Baptiste in that silly space suit) was gorgeous.