Lets take a look at '2015' Designers
Collections!!!
Spring 2015 Ready-to-Wear
Versace
Tim Blanks
Knowing
Donatella Versace's love of balls-out rock, thinking back to the Versus show in
New York and St. Vincent's storming performance at the after-party, it's easy
to assume that what Donatella did tonight was a direct reflection of her recent
experiences. Straightforward silhouettes, bold color, and no embellishment
added up to her strongest collection in a long time. She didn't need to fanny
around with eveningwear. That's what couture is for. Instead, she offered a
starkly modernist, color-blocked, crystal mesh take on cocktail dresses (the
kind of cocktail that will carry you through till dawn—and a lifetime of
regret). Isabeli Fontana's outfit was just one of a dozen that would, as Raymond
Chandler memorably defined femmes fatales of another era, "make a bishop
kick a hole in a stained glass window."
True, the crystal mesh was a slam dunk in the vein of vintage Versace, but the real achievements of this collection lay elsewhere: in the comparatively quiet sophistication of the prints, the Warholian reconceptualization of the house's Medusa signature, the motif of rings artfully dissected with real metal. And in the hyper-athleticism of pared-back pieces bifurcated by angular graphic sashes. Or in the peculiar, naive energy of sharp black tailoring defined by oversize white stitching. It was like there had been some kind of overlay on Versace, a sensibility that was slightly to the left of the label's tradition. Slinky sexy, yes, but also fiercely don't-give-a-damn physical.
True, the crystal mesh was a slam dunk in the vein of vintage Versace, but the real achievements of this collection lay elsewhere: in the comparatively quiet sophistication of the prints, the Warholian reconceptualization of the house's Medusa signature, the motif of rings artfully dissected with real metal. And in the hyper-athleticism of pared-back pieces bifurcated by angular graphic sashes. Or in the peculiar, naive energy of sharp black tailoring defined by oversize white stitching. It was like there had been some kind of overlay on Versace, a sensibility that was slightly to the left of the label's tradition. Slinky sexy, yes, but also fiercely don't-give-a-damn physical.
Donatella Versace
Bibhu Mohapatra
Lauren Sherman
A
couple of years ago, Bibhu Mohapatra traveled across the Atlantic by boat.
While shuffling around the library during the seven-day trip, he stumbled upon
the biography of writer, activist, and shipping heiress Nancy Cunard. (It was,
indeed, a Cunard ship.)
Mohapatra was enthralled. "She had such a compassionate heart and creative mind," he said at a preview the week before his Spring show. "She broke barriers and stood for her beliefs." (The British-born aristocrat was known for many things, but one of them was her battles against racism and Fascism.) While Cunard's personal style was well documented—in her most famous photo, she's wearing a tough leather jacket and a stack of African wooden bangles, which were quite avant-garde for the time—Mohapatra mainly chose to let her spirit inform his work.
A geometric print of graphed-in circles pervaded the collection. There was a jacquard version—used on separates like a crop top with organza panels hanging down the sides—and a digitally printed iteration, done on everything from tops to dresses, including a cap-sleeve silk and cotton gown. Mohapatra even took it one step further, beading a graph-like pattern on the skirt of a crepe column that was otherwise covered in crystal poppies. The designer's subtle ode to Cunard's leather jacket came in the form of a collarless skirt suit made from leather and silk strips woven together. (It looked almost like ribbing.) One of the best ideas was a windowpane-printed silk blouse that came in black and lilac, its big pussy bow tied in the back.
Mohapatra's client is surely after his formal gowns—he's not afraid to use print, and they seem to appreciate that. But the day offerings were particularly strong this season. His collection was feminine and fitted, but a little eclectic, too. Something Cunard might very well have appreciated.
Mohapatra was enthralled. "She had such a compassionate heart and creative mind," he said at a preview the week before his Spring show. "She broke barriers and stood for her beliefs." (The British-born aristocrat was known for many things, but one of them was her battles against racism and Fascism.) While Cunard's personal style was well documented—in her most famous photo, she's wearing a tough leather jacket and a stack of African wooden bangles, which were quite avant-garde for the time—Mohapatra mainly chose to let her spirit inform his work.
A geometric print of graphed-in circles pervaded the collection. There was a jacquard version—used on separates like a crop top with organza panels hanging down the sides—and a digitally printed iteration, done on everything from tops to dresses, including a cap-sleeve silk and cotton gown. Mohapatra even took it one step further, beading a graph-like pattern on the skirt of a crepe column that was otherwise covered in crystal poppies. The designer's subtle ode to Cunard's leather jacket came in the form of a collarless skirt suit made from leather and silk strips woven together. (It looked almost like ribbing.) One of the best ideas was a windowpane-printed silk blouse that came in black and lilac, its big pussy bow tied in the back.
Mohapatra's client is surely after his formal gowns—he's not afraid to use print, and they seem to appreciate that. But the day offerings were particularly strong this season. His collection was feminine and fitted, but a little eclectic, too. Something Cunard might very well have appreciated.
Bibhu Mohapatra
Camilla and Marc
Kristin Anderson
Light
and shade, the key inspirations of Spring '15 for brother-and-sister team Marc
Freeman and Camilla Freeman Topper, are pretty big ideas. So perhaps it's
little surprise that they've turned out such a stark offering, using broad
strokes to interpret those notions. Clean lines were the order of the day, with
a few concessions made to watery, draped satin used on skirts and maxi dresses.
Those looked particularly pretty juxtaposed with extra sharp outerwear, like
one standout coat in a custom geometric jacquard, or another cocoon-like topper
in glossy black-and-navy-checked raffia. Generally speaking, there was plenty
of sex appeal here, but always tastefully tempered—thigh-high slits, say, came
alongside mock-necks or double-breasted blazers; a jumpsuit's plunging neckline
was juxtaposed with long sleeves and a looser silhouette. All these pieces had
a certain power to them. Spring for Camilla and Marc may be spare—in places,
perhaps a touch overly so—but certainly not without its charms.
Marc
Freeman and Camilla Freeman Topper
Co
Maya Singer
Co
has arrived. Two years on from its launch, the L.A. brand helmed by Stephanie
Danan and Justin Kern entered its mature period this season, with a fully
fleshed-out expression of its reserved yet romantic take on soigné women's
clothes. There was more romance in the mix than usual this time out—no
surprise, given that Danan and Kern's inspiration was Aurélie Dupont, former
principal dancer for the Paris Opera Ballet. Blush, ruffles, floating volumes
suggestive of the body in flight—the ballerina influence here was palpable. But
Danan and Kern didn't over-literalize the reference, and more importantly, they
didn't fetishize it and make it twee. Even a short dress made of stiff organza
ruffles looked like something a grown-up could wear.
As Danan pointed out in an appointment, a dancer like Dupont is made of muscle, and the designers wanted the collection to reflect that balance of delicacy and force. Strong, simple, sculpted silhouettes got the point across, as did the weighty fabrics, like heavy-duty cotton and technical tweed. Even a more gossamer material, like the excellent semi-sheer cotton lace, had a sinewy textural presence. A longish drop-waist dress in the lace was a collection standout, but the fabric worked well in simpler pieces, too, such as track-style pants or a sculpted tee. And it was hard not to feel an attraction for the ruffles: So emphatic and unapologetically femme, they seemed like a statement of intent. I am woman, watch me soar.
As Danan pointed out in an appointment, a dancer like Dupont is made of muscle, and the designers wanted the collection to reflect that balance of delicacy and force. Strong, simple, sculpted silhouettes got the point across, as did the weighty fabrics, like heavy-duty cotton and technical tweed. Even a more gossamer material, like the excellent semi-sheer cotton lace, had a sinewy textural presence. A longish drop-waist dress in the lace was a collection standout, but the fabric worked well in simpler pieces, too, such as track-style pants or a sculpted tee. And it was hard not to feel an attraction for the ruffles: So emphatic and unapologetically femme, they seemed like a statement of intent. I am woman, watch me soar.
Stephanie
Danan and Justin Kern
There is much to support the view that it is clothes that wear us and
not we them; we may make them take the mould of arm or breast, but they
would mould our hearts, our brains, our tongues to their liking.
~Virginia Woolf
Hello again Fashionistas! Hope everyone is enjoying viewing these creations as we get ready for '2015' Fashion Trends. Let's relax in our Lounge and 'Figure out The Fashion Trends' for the upcoming seasons. See you all very soon. XOXO
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