New York 09/16/09. Getty Images
Posts for September 16th 2009
Fashion editors and buyers headed to the upper east side of Manhattan this afternoon for Oscar de la Renta's spring 2010 collection.
We imagine Oscar de la Renta's shows feel similar to runway presentations of the past—the models walk at a slower pace along a raised runway, and thanks to two back to back showings, the crowd is smaller and controlled—a welcome change of scene at the end of a hectic week in the tents.
For spring 2010 Oscar de la Renta told WWD, he was designing "clothes for a modern woman—fresh and feminine." Surely his uptown clientele will be pleased with his elegant display of 53 looks, many presented in lovely jewel tones of teal or purple. Also using plenty of metallics, black, and white, some of de la Renta's most standout pieces displayed delicate details—a white silk crochet knit with a tweed embroidered skirt and jacket would look modern and appropriate on expensive ladies who lunch, as would a stunning white belted sheath with hyacinth and black floral print embroidery. Also of note, belted coats, safari jackets, and the evening dresses that closed the show—looking most new in black lace or tulle with a peak of a peridot bandeau underneath.
Orlando Pita coiffed model's hair into swiss miss braids (a la Yulia Tymoshenko, the Ukrainian Prime Minister) or covered it in slanted hats by Patricia Underwood and black and white lace veils and headscarfs.
>> Alberta Ferretti's Spring 2010 presentation was both upscale and democratic: waiters circulated with champagne and caviar, on the one hand, but everyone also had the chance to be a front rower — there were no seats but there was a four foot high or so runway, allowing guests to get up as close as they wanted to the walking models, concert-style. The Italian contingent was out in full force — Anna Dello Russo in fiery Lanvin and nude pumps, Franca Sozzani — and the collection, full of fresh, gauzy, light minidresses had prints of eyes, butterflies, and lips — the last vaguely remniscent of Prada's iconic Spring 2000 lip print collection.
As reported earlier, Kate and Laura Mulleavy showed a line-up of battle-worn women painted in tribal tatoos for spring 2010. Today the talented sisters of Rodarte gave Dazed Digital a rundown of what exactly they were thinking in designing such fierce collection.
Inspired by a trip with Johnson Hartig of Libertine to California's Death Valley, Kate and Laura started "imagining this empty house, like what would be left behind. So we imagined this woman who was stranded and mangled and burnt alive, and then being reborn as a Californian condor. What we wanted to say was that this person could tell a story. Their bodies would be a physical transformation, there would be scars everywhere. So that’s where the tattoos on the body come in. And the idea of having hair that looked like it still had ash on it."
Side note: MAC makeup artist James Kaliardos worked with Kate and Laura for a month finalizing the full-sleeve, half-sleeve and neck tattoo designs, and a team of 40 MAC artist worked for over four hours to ink each model on the day of the Rodarte show.
To build the collection, they began by burning, staining and sandpapering all types of expensive fabrics, then spent two months hand braiding leather, plastic and macramé to piece together the look of a stranded woman in the middle of the desert. Ultimately, said the sisters, "it's about empowerment and survival and coming up stronger for it." [Dazed Digital]
>> Low-to-No-Heels (Even the Kitten Heel) Getting Nods from Stylish Key Editors, Marc Jacobs for Spring 2010 —Various editors at Vogue have been rooting for less heel, more flat shoes since resort season, and this past week, at least two editors who love their heels have been going lower: Meredith Melling Burke pulled on knee-high black boots with maybe a half-inch heel, and Giovanna Battaglia chose, of all things, the kitten heel. Marc Jacobs, at both his mainline and Marc by Marc Jacobs (left), had no heels. Instead, both shows had flats with a slight platform. [Style.com, Style.com]
Named part of Fashion's New Guard in the July issue of W magazine and having won the Ecco Domani award for womenswear this year, Matthew Ames presented his spring 2010 collection at Milk Studios to a number of influential writers and buyers—including Vogue's Sally Singer and Colette's Sarah Lerfel.
Ames focused on a soft silhouette this season, adding touches of extreme volume in harem-style jumpers and balloon pants mixed with the more structural lines of jackets in linen and cotton. As Ames explained backstage after his show, "I was thinking about putting different shapes together and creating a balance with architectural elements, trying to create a very continuous line through the proportion of shapes and color."
His use of bright color—think pink, red, yellow, orange and green—against a primarily black and white collection was inspired by Ellsworth Kelly. Like the the American painter, Ames looks to accentuate the simplicity of form and designs with a minimalist's purity. His collection was like a series of graphic puzzle pieces, fitting together nicely in a calming, zen-like picture.