MITCHELLS MOVE: Olivine Gabbro, a classic contemporary women’s ready-to-wear and eveningwear collection, has forged a partnership with Mitchells Stores.
Since 2014, Olivine Gabbro has had a freestanding store on Greenwich Avenue in Greenwich, Conn., which closed in January. Starting this month, the collection will be available exclusively at Mitchells Stores, including Richards of Greenwich, Wilkes Bashford of San Francisco and by appointment at Mitchells. Gabbro’s collection will also be available at mitchellstores.com.
“We are  always searching for new ways to excite our imaginative and forward thinking clients. The bespoke service that Grace [Kang, designer] has incorporated into her elegant collection speaks directly to our ladies. The relationship just makes sense,” said Bob Mitchell, co-chief executive officer of Mitchell Stores.
Known for its contemporary classic designs, Olivine Gabbro showed its collection during New York Fashion Week in September. The collection offers made-to-measure and bespoke services and was founded by Kang and her aunt, Sue Neumann, president, in 2009.
Mitchells is planning a launch event for Olivine Gabbro at Wilkes Bashford on March 10.

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Melania Trump wore Michael Kors for last night’s speech.

The International Longshoremen’s Association (ILA) has called a halt to a proposed one-day shutdown of East Coast and Gulf Coast ports as it prepares to engage in talks with US Congress over the loss of longshoring jobs and its effect on the economy.

In the wake of tumbling fourth-quarter earnings, US department store retailer Target Corp has revealed a new financial model, promising an overhaul of stores, digital channels and supply chain, alongside the introduction of more than a dozen new brands.

The UK’s Pensions Regulator has secured a cash settlement with Sir Philip Green that will see up to GBP363m (US$446.2m) put back into the BHS pension scheme.

US President Donald Trump has again spoken favourably about using taxes and tariffs to boost the nation’s economy, but has fallen short of providing specifics as to what such a plan would look like.

Mexico has threatened to walk away from talks to renegotiate the North American Free Trade Agreement (NAFTA) it shares with the US and Canada if tariffs or quotas are imposed on products from south of the border.

Alessandro Dell’Acqua made quick work of his fall collection for Rochas.
“It’s a mix of a perfect Italian like Maria Angelli and an eccentric woman like Hélène Rochas,” he said backstage. “It’s an equilibrium between classic and eccentric.” He made his point without further ado, which was a change for him. Typically Dell’Acqua masks the romance and midcentury glamour that anchor the house in a significant amount of zany styling. Not this time. The collection was an exercise in purebred femininity and elegance, notably more controlled and classic than kooky. Some might complain it was too quiet, but it felt refreshing, like a reset.
The dress-centric lineup was one of Dell’Acqua’s most commercial, for sure. Likewise, the shoes were a big step toward branding with pumps set with a crystal “R” on the toe and extremely curved heels. Ladylike silhouettes with a whiff of retro primness included a lean, rust colored dress with long sleeves and embroidered cuffs and a pink T-shirt and matching pleated skirt with a soft inverted pleat.
Dell’Acqua kept things easy — shirtdresses, baby dolls, a lean tea-length brocade style with a clean bustier bodice — but didn’t skimp on the details. Many of the dresses that were plain in front were

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Anne Sofie Madsen explored the oddity of artifacts of unknown provenance in a fall collection fit for a museum — albeit one existing centuries from now. Projecting this outlook on today’s trends and her previous work, she tapped the ruffles, tailored outerwear and construction that are her forte. Paper winklepickers cobbled together with silver gaffer tape — inspired by a sculpture by Danish artist Esben Weile Kjær — and lab glasses on most models compounded the futuristic vibe.
Underneath the flourishes, however, was some very wearable sportswear, which pushed a quilted bustier worn over trousers paired with a peasant blouse or a ruffled high neck dress firmly out of the folklore slot. Elsewhere, it added volume and toughness to a tan trench coat and a fitted leather biker jacket. By pulling back from the deconstruction that characterized her earlier work, Madsen cleared away the clutter for a result that was familiar, but better.

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John Galliano is at heart a classicist, a couturier who believes in haute as an experimental laboratory for ideas to be realized with more ecumenical — though far from banal — resonance as ready-to-wear. He’s also a diva-loving pop culture enthusiast and now, older and savvier than the pure renegade of his youth, he gets commercial realities.
All of that fused into the intriguing Maison Margiela collection Galliano showed on Wednesday morning. The most obvious reference was to the artisanal couture collection he showed in July that offered a treatise on deconstruction and stripping garments down to their most elemental forms — a process he calls décortiqué.
But first: a blonde, a black sweater, a pair of legs. That Galliano can reference an icon whose image is indelibly embedded in the public psyche and have it fly over people’s heads (at least this reviewer’s) speaks to his non-linear take on that which inspired him. His Marilyn Monroe homage was a way into stage time for items from the Margiela core — good, smart, functional clothes, some, as basic as it gets — a beige suit, a pair of jeans.
In Galliano’s world, basic can beget pure invention. Here, he had his way with the familiar,

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