>> The models were dressed to look like smudge-faced metal workers, and the setting — complete with steaming pipes and industrial lighting — made to feel like the inside of a factory. The product? Pamela Love's strong, intensely sculptural jewelry. Following the architectural trend that is emerging for Fall, many of Love's pieces loosely referenced steel beams for building. Countering this notion of industry was the use of turquoise, which added an earthiness to the collection as well as a welcome jolt of color.
Posts for February 2012
Melding sculptural tailoring with soft details, Peter Som played with the differences between masculine and feminine aesthetics for his Fall collection. He cited Katharine Hepburn and Marlene Dietrich, Hollywood icons who mastered menswear, as muses for the clothing. "I wanted to convey a sense of strength and beauty — this collection is about a streamlined and bold silhouette with lots of textural mixes inspired by John Chamberlain and Brancusi." Balloon-sleeved wrap jackets and peplum tops gave pieces a sculptural feel, while the use of organza and fur offered Som fans more glamorous options.
>> There's girls gone wild, then there's the Fall 2012 collection of Creature of the Wind, which is more like grannies gone wild. Vintage-inspired duds were vibrant in color and print and modest in silhouette and cut. The off-kilter collection included mixed prints, A-line styles, midcalf lengths, and menswear-inspired cuts. Plaid-on-plaid lent an eclectic touch, while ruffled frocks and circle skirts served as demure counterparts. And of course, it wouldn't be granny-chic without a little crochet.
>> Mary Katrantzou's 10-piece capsule for Topshop hits stores on Feb. 17, exactly one week from today. Now, thanks to UK Vogue, the collection's entire assortment has been revealed — and it doesn't disappoint. The collection features easy shapes — structured dresses, clean-lined tops, and slim trousers — covered from top to tail in a wild mix of Katrantzou's pretty prints. Priced from $63 to $550, they're just the thing to kick-start Spring.
>> Charlotte Ronson offered up a Fall 2012 collection rich in dark plums, maroon, hunter green, and camel. Take a look at the entire runway show, here.
>> If you're on the lookout for statement outerwear — and we mean a coat that no one else in the room will have — then Libertine's Fall 2012 collection will speak to you. This bunch redefines outerwear, making each piece just as amazing as what's underneath it. Whether you're looking for plaid, houndstooth, fur, cropped, or a cape, Libertine has dreamed it up for Fall. A few nonouterwear pieces, including eye-catching accessories like colorful beaded necklaces, also made appearances on the catwalk. But the most important message from Libertine — besides that loud outerwear is in — is mix things up with prints, colors, and textures.
>> Though she may have cited some hard-edged references — "mechanics, cobblers, and leathermen" — for Fall 2012, Cynthia Rowley still managed to churn out exactly the kind of collection she's known for: feminine, whimsical, and steeped in art. Here, the art and whimsy manifested itself mostly in kaleidoscopic, tortoise-shell prints; painterly shades of vermillion and orange; and jeweled turtleneck collars — courtesy of the girls at Dannijo. But don't go thinking that Rowley can't do tough: the designer also offered up straightforward silhouettes inspired by coveralls — and plenty of them came in leather.
>> Whitney Pozgay knows how to do prep — and she should. The designer cut her teeth working at Kate Spade and Steven Alan before launching contemporary label WHIT two years ago. But what makes Pozgay's particular brand of prep so appealing is that it leans just slightly askew. This season, that means a mod little coat in a brilliant shade of blue, a heavy dose of metallic, and far-out planetary prints.
>> Night falls on Kimberly Ovitz's Fall 2012 collection. That is, dark, serious hues — mainly black and brown — defined the edgy pieces that came down the moody runway. Draping, asymmetry, sheerness, layering, and a play on proportions and textures consumed the powerful clothes. And except for a few minidresses and some sheer tops, there was barely any showing of skin — proof that sexy has a new badass face. On the accessories front, Kimberly kept things minimal, save for a couple off-kilter sashes and neck scarves made from pitch-black hair.