Frame founders Jens Grede and Erik Torstensson are moving right along, with an expanded and evolved collection. And while they don’t feel any inclination to abandon that skinny jean, which made them a hot resource fast, they seem tapped into exactly what their fans — and 2,000 retailers worldwide — will want. “We have one foot set firmly in the Seventies, while the other does more with trends,” Torstensson explained. “We want to give our customer what she comes to Frame for; over time, it becomes a wardrobe,” Grede added. For fall, leather has become more important — a terrific, midcalf trenchcoat, a cool biker jacket. Recently, the team found that their velvet sportswear was becoming popular, so they added more of a silk-viscose-nylon version for crisply tailored blazers over matching jeans. The newest of these was in a rich, Persian-carpet print. One of the best additions to Frame’s repertoire were the charming, feminine blouses — ruffle-edged in black silk or given a high frilly collar in white cotton.
While fashion is the focus for women’s wear, Torstensson said the men’s collection is about style. For fall, they aimed to provide the Frame customer with basic pieces that are surprisingly hard to find,

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Some things never change: for one, Johnson Hartig’s runway shows for Libertine are always a riotous good time. And there’s never a singular theme on deck in his collections; that’d be too far restrictive for Hartig’s wild, imaginative aesthetic. Both points held true at his fall show, where Hartig cited Romanian gypsies; George Frideric Handel’s opera, “Xerxes”, and the poetry of Robert Burns as inspirations backstage before the show. “And always our whimsy, our cheeky wit,” he added.
Case in point: A few looks featured prints of the Hindu goddess Kali, with the words “Goin’ Back to Kali,” a play on The Notorious B.I.G. song. Elsewhere, there were jackets that were embellished in crystals that spelled out “Don’t Bug Me,” “Mon Dieu!” and “Holy F–k” in colorful letters. The gypsy vibe came through in a witchy black-fur shawl coat worn with a free-flowing chiffon skirt covered in floral embroidery. Not to be overlooked was the painstaking craftsmanship that was poured into Hartig’s pieces, as in a lush fur coat pieced together from 600 pieces of rainbow-dyed mink, arranged in a pattern that spelled out a verse from Burns’ poem, “O Were My Love Yon Lilac Fair.”
Hartig’s humor and elaborate use of embellishment

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In the lead-up to the Proenza Schouler show on Monday, some people spoke about it with elegiac gravitas, as if the house’s “last show in New York” were a matter to mourn. Folks, as far as Jack and Lazaro are concerned, they’re moving up, to an earlier schedule during the pinnacle season of haute in the city that deifies fashion like nowhere else on Earth. Don’t cry for me, Argentina.
For New York, however, the exit of McCollough and Hernandez’s Proenza is a loss — or perhaps a milestone, and not of the happiest sort. It marks the end of an ascendant period in American fashion that saw an explosion of new talent into the mainstream, and thrust New York into the center of the proverbial international fashion conversation, a place it hadn’t often found itself and from which it has now been pushed off to the side.
Lazaro Hernandez and Jack McCollough were on the front of that explosion. We can all read what we will into their fashion week exile, but one thing is certain: They think that right now, Paris makes more sense to them as a showcase for their work.
Backstage before their show, they admitted to having approached

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Watch the Michael Kors Fall/Winter 2017 New York Fashion Week Show live on WWD on Wednesday, February 15 at 10:00 a.m. EDT.

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There was a lot to take in at Rosie Assoulin’s fall presentation. Her show space was strewn with vintage chaises, sofas and fainting couches, many of them covered in plastic like the furniture at your grandmother’s house. There were Persian rugs and coffee tables set with tiered trays of Syrian pastries and tea. It was fun and warm — and hospitable, which was one of the many words Assoulin used to describe the mood she wanted to approximate. The clothes, too, were bright and welcoming, many of them beautiful — they way you would want your home to be.
Talking to Assoulin about the collection, it seemed like there were so many ideas flooding her brain that she struggled to process them all linearly. The lineup, too, had a free-association quality. It’s better to have an abundance of ideas than too few, but a clear direction does wonders for a business.
There were vegan shoes with ottoman and claw-foot heels that she made on her own for the first time. Real and silk flowers, inspired by artist Jim Hodges, were stitched into some of the clothes. The artist who created her urn-shaped earrings on a mini pottery wheel was on site, at

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Bella Hadid won’t back down.
The 20-year-old model has signed on to be the face of Tag Heuer, in an effort by the watch company to lure Millennials to the brand.
It is a tough proposition for the age group, which has grown accustomed to using their cell phones as a timepiece. But for Hadid, the idea of a watch extends beyond just function — serving as an accessory and fashion statement as well. “I just wear watches, because it’s easy to be able to look at my wrist. I think, today, it’s beautiful to have a watch — it’s always a classy thing. My dad has always been a lover of watches my whole life. It’s a beauty item, for a classic look. You could look at your phone, but I think it’s easier to have a watch,” Hadid said Monday evening at the Equinox gym on Bond Street, where her ambassadorship was unveiled.
The model had run to the press event just minutes after closing the Oscar de la Renta fashion show, where Monse’s Laura Kim and Fernando Garcia debuted at the brand’s helm. “I had blue makeup on like five minutes ago,” she said.
Such a pace has become common for Hadid,

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Lindsey Mortensen is on a streak with finding creative partners.
After designing a small half-moon purse in ladylike shades of pink and burgundy with “Timeless” actress Abigail Spencer, the founder of Los Angeles-based Larsen & Lund has updated that popular silhouette along with an oversize clutch for The Pablove Foundation in crocodile-embossed patent leather.
For the children’s cancer charity, she spruced up her $325 cross-body bag and $110 clutch in a red tint that complemented the foundation’s Valentine’s Day-themed fund-raiser.
“What makes them exclusive to Pablove is the material we’re using,” she said at a Feb. 11 party at Los Angeles’ Casa Vertigo, attended by actor Joel McHale and stylists-turned-designers Emily Current and Meritt Elliott from The Great. “I really wanted to do something fun and whimsical.”
Mortensen found a fan in Selma Blair, who carried the red clutch to accessorize her black peasant-style dress stitched with colorful embroidery as host of the fund-raiser. Among the silent auction items, including artwork by Yoshitomo Nara and David Lynch, a braided rope necklace by Mweya, a preppy tote from Reese Witherspoon’s Draper James and an army jacket lined with fake fur by Greg Lauren, Blair snapped up Steven Nereo’s calming photo of ocean waves for $400.
Other customers have

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With filming for the first season of NBC’s breakout drama “This Is Us” done-and-dusted, actress Mandy Moore hopped a flight to New York to catch a few fashion shows and try to restore some sense of normality.
The Golden Globe-nominated actress’ career has accelerated in recent months due to her role as “Rebecca,” a blindingly frank mother of three, in the popular series that has a non-linear narrative. With events in the characters’ lives transpiring out-of-order, viewers inevitably have questions not only about the timeline, but also the progression of their own lives.
Before Lela Rose’s luncheon and fashion show at Loring Place Monday, Moore talked about how the show’s undercurrent of time is playing out in others’ lives. “What we’re doing is inherently about family. I hope that people are able to watch the show and identify bits and pieces of themselves, and the challenges and obstacles that they face. I know it’s helped people at least to start to have conversations that maybe they wouldn’t necessarily have,” she said. “That kind of speaks to the power of the medium of television and film.”
As much as she likes “being part of something that feels important and timely,” Moore said, “just being

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