Looks like someone is rooting for Lemonade tonight.
Elizabeth Kennedy has become known for her dramatic evening gowns, and this season, she did not disappoint. Inspired by exotic birds, Kennedy worked with rich color combinations and plenty of feathers on her intricate, sculptural gowns. The architecturally inspired dresses ran the gamut from voluminous ballgowns to sleek, controlled ruffled frocks. Kennedy has also introduced a few evening separates to her collection for the first time: bustier tops, trumpet skirts, a crisp top with sequins and feather embroidery, even a pantsuit. It’s refreshing to watch a designer step out of her comfort zone and still be true to her DNA.
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Victoria Beckham didn’t make any loud political pronouncements with her fall runway show, a beautifully smart lineup of tailoring, softness and a modest celebration of the female form, but she wanted it to be known that she’d been thinking about the state of the world while designing. “I look at what’s happening in the world, and for me, it was not about show pieces,” said Beckham backstage. “It was about offering my woman really beautiful clothes…. The truth is, there has never been a time when it’s been more relevant to empower women.”
By using rich-but-grounded colors, like navy, oxblood, red and orange, and reworking classic men’s tailoring with square blazers and full-leg trousers, Beckham sent a subliminal message of strength. A woman in a sharply cut burgundy coat over fluid pants with a dashing foulard swishing under the coat is dressed to be taken seriously. Even rounder, curvier and more fluid stuff, such as a red chiffon dress under a navy blazer, a navy sweater with sculpted sleeves and tie-waisted trousers, and body-skimming jersey dresses in graphic swirled prints inspired by Paul Nash, had a determined air. Likewise, the impressive shoes: pointy flats with double buckles and sturdy boots — wedges
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Area is the high-gloss, high-glamour brainchild of designers Beckett Fogg and Piotrek Panszczyk, who have a modern Seventies-meets-downtown edge and a proclivity for glitz and sheen.
Their designs are hyper-sexual and hyper-feminine even when they cover up the body. For fall, the duo was inspired by the concepts of love and obsession for a collection that was less flashy, more inviting and more approachable than in seasons past. The show opened with models gliding in flowy ruffled silhouettes to a stripped-back soundtrack of Aaliyah’s “Rock the Boat.” Ruffles were a recurring element, featured on open-back tops, loosely clasped blazers and shorts-pants hybrids.
But there were also moments of dazzle — the impossibly flamboyant crystal garter belt, for one. These excerpts from a text by fashion and cultural historian, Laura Mclaws Helms, which were included in the program notes, captured the spirit and highlights of the season best: “Hanging from thin straps, a slip of silk caressing your body, your curves and angles.”
For Fogg and Panszczyk, this meant an asymmetric skirt held at the shoulder with a single strap. “The desirability of the body inked on our clothes.” Voilà, an embossed metallic lamé jumpsuit and demi bra and an ostrich-embossed dress. “Clothing as status, as armor, as seduction”: a parade
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Georgine Ratelband quoted her inspiration as coming from “permanent hotel dwellers, those glamorous creatures who have called the world’s most interesting properties home.” Muses ranged from Coco Chanel’s suite at the Ritz and Oscar Wilde’s chambers at the Hôtel d’Alsace to Howard Hughes’ bungalow at the Beverly Hills Hotel and Edie Sedgwick’s room at the Chelsea Hotel. This translated into a pretty consistent formula: short dresses, metallic fabrics and great fur-accented coats which we are sure girls of today can wear out to Paul’s.
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Underground cool kid Raul Solis designs with a non-conformist aesthetic that is surprisingly approachable. Unlike some of his contemporaries who display their anticorporate message with showcases of tattered and homespun threads, his always seem well crafted, with a bit more polish. For fall, he tackled a category you wouldn’t expect in his off-beat vernacular: eveningwear. But don’t expect romantic displays of traditional red-carpet fare; he’s tackled references to night culture, acid trips and skate culture in the past; here, he looks to sadism and masochism for a twisted lineup of deconstructed, bondage-leaning wares.
“The reason why we introduced evening is because I didn’t want to end up making another streetwear collection,” Solis said before the show. Unconventional evening came in the form of Lurex and silver-foiled cotton twill. Items ranged from a Space Age minidress, a crinkled slip, a bust-baring silver top and a surprisingly unfussy Lurex slip for those less adventurous. Leather harnesses, hardware, bindings and restrictive ties underlined the theme. A head-covering netted cocoon was pure runway fodder.
But Solis understands that in order to sell, items should be practical and comfortable, or at least give the appearance of such. Terry onesies in bright red and orange featured zippers that traversed top
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RED CARPET ROYALS: The Duchess of Cambridge and Prince William attended the 2017 BAFTA Film Awards in London on Sunday evening.
The royal couple made their way down the red carpet at the Royal Albert Hall in Kensington. The event, which is known as Britain’s version of the Oscars, highlighted the notable films of 2016. Prince William — who has served as president of the BAFTA association since 2010 — presented the BAFTA Fellowship, a lifetime achievement award, to Mel Brooks.
SEE ALSO: All the Looks From the BAFTA Film Awards 2017 Red Carpet >>
Kate Middleton donned an off-shoulder floor-length black floral gown by Alexander McQueen.
The Duchess of Cambridge (in Alexander McQueen) and Prince William
James Gourley/REX/Shutterstock
The duke and duchess have attended a few BAFTA events in the past. In 2015, the duo joined Prince Harry at the BAFTA premiere of “Shaun the Sheep: The Farmer’s Llamas” in London where she wore a a blue printed Tabitha Webb dress.
The duke and duchess have previously attended a few BAFTA events in the past. In 2015, the duo joined Prince Harry at the BAFTA premiere of “Shaun the Sheep: The Farmer’s Llamas” in London where she wore a a blue printed Tabitha Webb dress.
Tim Rooke/REX/Shutterstock
The young royals
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This particular fashion week has found many publicists trying their hand at bodyguarding, acting as shouting barricades between their clients and the press. As you can imagine, this presents an obstacle for journalists and a spectacle for anyone watching. But at Public School’s show Sunday morning, celebrities seemed to be unaccompanied by their protectors.
Was it the sleet? Who knows. In any case, celebs were free to roam around Milk Gallery as they pleased.
“I love what [Dao-Yi Chow and Maxwell Osborne] stand for,” said A$AP Ferg, shades on and hoodie up, from the front row. “I love that they’re a bunch of New York kids. They started off at Sean John. They mix these Asian influences with all-American. It’s very innovative clothing.”
Ferg shared that he was actually wearing a “girl’s coat” — innovative, indeed. “It could be unisex if you wanted it to be,” he said. “You would never know.”
The rapper said he attended Alexander Wang’s show the night before, adding how “dope” it was that it took place in Harlem.
Trey Songz sat nearby, also hiding behind sunglasses and a hoodie. “I got on this nice fly outfit right here,” he said, showing off his embroidered joggers. “I wanna see more like this, especially in this weather
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