Fashion Week Fall 2008
Carmen Marc Valvo
With many designers reverting back to a more lady-like and demure aesthetic, it came as no surprise that Carmen Marc Valvo’s Fall 2008 line drew inspiration from old Hollywood glamour. Lingerie inspired pieces could be seen throughout the collection in corseted gowns and satin cocktail dresses. The line as a whole was beautiful though at times repetitive. All of the cocktail dresses were draped in slimmer proportions eschewing the prominent trend of volume of the past few seasons. While the overall result was a stream of well-executed evening wear, the cocktail dresses all seemed to follow the same formula. Each fitted bodice had pleating or draped detail out of which a lace underlay emerged and continued down the back, finishing with a slim tapered bottom below the knee. There was some variance in the gowns which perfectly skimmed the body, highlighting the fluid and graceful movement of the models. While the range of color was limited to jewel tones, with the majority in black, chocolate and midnight, there were a few standout pieces in camel metallic and stark ivory. A big trend on the runway was the cocoon shaped coat shown in an array of furs including swakara and long-hair fox.
—Leora Schwed
Araks and Mara Hoffman
The successive shows of Araks and Mara Hoffman certainly saved the best for last this Fashion Week. The former was characterized by sheer organza dresses, men’s-inspired blazers, knee socks, and loafers. All contributed to an aesthetic that could generally be described as “Amish Luxury” (though admirers of minimalism and/or early ’90s Helmut Lang may beg to differ). The Mara Hoffman show was a contrastingly girly and colorful display of SoHo-chic sweaters and silk mini-dresses (or long shirts, if you want to pull hairs) paired with printed tights. To a soundtrack of gun-blasts, rap, and Blondie-like screaming, the models strutted down the runway in looks that seemed, ironically, to reference desert snipers. Leather holsters, head wraps, and prints evocative of military belts and chains lent the show a distinct feel. Mirrored aviators worn by several models added to the overall theme. Among the highlights were a jewel-green charmeuse “flight suit” and a “desert chiffon daishiki.” In general, the collection was well-received, and was awarded with a thundering round of applause upon its completion.
—Meredith Wing
Tracy Reese
In contrast to her simplistic Hamptons-chic spring collection, Tracy Reese chose bright hues and geometric prints for her more avant-garde fall 2008 collection. The runway design also reflected the shift in mood from Reese’s previous collection. Although her signature chandelier still reigned at the center of the runway, the icy blue backdrop introduced an edge to Reese’s sweet, romantic style. Feminine ruffles and floral prints were complemented by geometric prints in bold fuchsia and bright green. The beret headpiece, present in most of the looks, added an elegant French flair to the collection, while the colorful stripes and plaid incorporated a twist of British punk. Even the music was an amalgamation of classical refinement and modern informality—an impeccable aria was accompanied by a hip-hop beat. Reese’s collection would be perfect for a young Parisienne with a secret affinity for the London punk scene.
—Hanako Maeda
Duckie Brown
The Duckie Brown show opened with a heavy house mix that, featuring drops of candy-coated pulses, recalled the spring/summer collection’s happy rhythm. However, as soon as the show started, guests, including Make Me a Supermodel host Tyson Beckford, were literally stunned into silence. The music faded into a subversive presentation of the sound of an eerie howling wind and stormy colors. Steven Cox and Daniel Silver played with volume, specifically with the sleeve-shoulder area, technologically-enhanced fabrics, and the modern concept of menswear, pairing classic tailoring with light, athletic overcoats. Cox and Silver did more than just provide exceptional menswear for the exceptional New York man—the lack of heavy winter wear and the emphasis on lighter layers showed the designers’ keen awareness of the end of definite seasons and the beginning of a mix-and-match of seasonal elements. As the turbulence brewed both inside and outside of the tents, the only plausible protection for such an icky mess was the smoky-gray, oversized waffle beanies that capped the heads of a few models.
—Daryl King
Richard Chai
Up-and-coming young designer Richard Chai showed a fantastic collection of just-tough-enough, wearable separates that seamlessly melded biker-chick and feminine aesthetics. By tweaking old silhouettes, Chai created casual but chic outfits any downtown girl would want to rock on a winter’s day. Black and burnt-sienna shearling motorcycle and bomber jackets were cropped, while double-breasted, military-style coats hit just below the hips. Both were paired with perfect slouchy, skinny trousers in leather, forest green wool, or striped plum linen. Tucked into Manolo Blahnik for Richard Chai boots, striped purple trousers never seemed so wearable. Breaking from his neutral palette, purple and grenadine-hued mini-dresses with multiple spiraling seams avoided feeling too girly. More delicate looks starred silver paillette-covered tank dresses layered over turtlenecks or under jackets. The effect of the paillettes became the pattern on the crinkled silk chiffon of Chai’s final floating cocktail dresses, creating a beautiful optical-illusion-like effect. As Chai took his bow, one woman, still under the spell of the effortlessly cool vibe, whispered, “I don’t know if I’m tough enough for this stuff—but I wish I was!”
—Sasha de Vogel
Lela Rose
Lela Rose’s fall 2008 collection catered to the chic and modern 21st-century woman. The looks incorporated everything from anoraks to blousy organza dresses. The general silhouettes were simple and timeless, and some of the more structured dresses even harkened back to the 1940s. Nevertheless, Rose, in her eponymous line, managed to incorporate every current trend, including anorak jackets, sparkles and sequins, brocade, feather detailing, large loose-flowing ruffles, and polka dots. That said, many of her designs resembled pieces previously presented by other designers—in particular, a light organza dress with an asymmetrical neckline lined with a large ruffle seemed to be an exact copy of a Lanvin design. The looks were wearable and beautiful, but they lacked the distinctions that would set them apart from any other contemporary designer. The highlight of the show was definitely the emphasis on color for the season. Rose focused on vibrant and rich jewel tones often accentuated by a shimmer or sparkle and even managed to pair black and blue rather successfully. Overall, Lela Rose’s fall looks were uptown-chic but lacked a certain wow factor.
—Dasha Chirkov
Zang Toi
In the artistic statement released in the program for Zang Toi’s spring 2008 show, the designer details the way in which he drew inspiration from American women lounging in the Adirondack Mountains. Unfortunately, Zang Toi took the mountaineer-goes-Manhattan metaphor a little too literally—he sent models down the runway in red turtleneck gowns with Native-American patterns covered in crystals, green plaid pant-and-jacket combos with green fur lapels, and elbow-length gloves paired with super-wide-leg trousers and feathered hoods topping off jackets. Every look was more over-the-top than the last, culminating in a huge white powder-puff of a gown that sent gaudy crystals cascading down from the neckline. Although the beginning of his collection was comprised of mostly basics—wide-leg trousers and slim-cut blazers in whites and blacks—it quickly moved into the realm of the ridiculous. Zang Toi should stick to slim silhouettes and avoid literal interpretations—he might be able to fill up a venue if he does.
—Samantha Child
Bill Blass
The looks Peter Som presented at his first full show for the house of Bill Blass were both more ambitious and more luxurious than his Pre-Fall fourteen-piece collection. That was the first time Mr. Som worked as the head designer at a brand founded by his mentor, the deceased Mr. Blass.
This season he showed more whimsical daywear; only the pieces were fancier and seventies themed. For day, there were tulip skirts and dresses, and lean suits paired with jaunty bows. Fall Winter 2008 also marked Mr. Som’s first foray into evening wear, a place where he excels. The cocktail dresses and gowns were tastefully sexy. One could see how he was channeling Mr. Blass’s aesthetic. The fur chubby jackets in jewel hues and the slim evening suits were the highlight of the fabulous collection. The only unrealistic looks were completely ruffled or over-feathered, but they were both beautiful and amusing to see when walked by some of the most in demand models including Jessica Stam, Coco Rocha, and Chanel Iman.
—Moira Lynch
Abaéte
As soon as the familiar strains of Columbia University’s own Vampire Weekend began, opening Abaéte’s fall 2008 runway show, it felt destined to be a success. The models walked easily down the catwalk, fitting the collection’s breezy, youthful feel. Blouses with fluttery sleeves were paired with slim high-waisted trousers, and fitted blazers were matched effortlessly with circle skirts in black and white contrasting stripes, pulled together with brown and black slim belts at the waist. Crêpe party dresses in purples, grays, and whites were both one-shoulder and double-strapped, some even coupled with a knitted gray- or black-hooded separate that made the look perfect for the difficult transition from fall to spring. Although the line didn’t offer anything particularly groundbreaking or original, it presented a number of classic looks that read as young, fresh, and completely accessible.
—Samantha Child
Tadashi Shoji
Tadashi Shoji’s Fall Winter 2008 collection claimed to celebrate the female physique through the “art of the fold” (in his words, the “mystery and seduction of draped material”), but it seemed that Shoji was only partly successful in this attempt. The vampy jazz tunes of Michael Buble and George Gershwin combined with long leather gloves, fur bucket hats, and a particularly stunning trench coat in a hunter green satin was a certain throwback to the glamour of the 1940’s or 50’s. However, it seemed like there were two collections being shown - Shoji completely abandoned his flattering silhouette of gathered waists and pleated satin. His gowns were done in crinkled silks and long, modern lines that drew attention more to the stomach than the natural curves. The idea of the “fold” was captured, but the illumination of the female form was lost. Shoji certainly showed an affinity for manipulation of fabric, but the cohesiveness of the collection was, unfortunately, just not there.
—Rachel Goodman
BCBG Max Azria
BCBG’s fall 2008 collection was true Max Azria: pieces artfully draped on models that literally flowed with each platform-heeled strut. The runway gave way to ’40s-style pieces with high necklines and belted waists. These conservative satin tops were paired with daring tweed bubble mini-skirts that were as voluminous as they were short. Known for his attention to detail, Azria paid homage to his past collections with intricately pleated knits and a tweed mini-dress embellished with rosettes. Some more dramatic pieces featured floor-length skirts with bare backs and pleated flutter sleeves draped over one arm. After a barrage of neutrals and earth tones, the audience warmed up to the arrival of a golden satin drop-waisted dress toward the end of the show. When one of Azria’s beauties dropped a few steps short of backstage the delight of the audience was palpable. So are Azria’s full-bodied minis part of the blueprint for fall’s new silhouette? Only time will tell.
—Chamika Miles
Naeem Khan
Lions, tigers, and bears, oh my? Well, almost. Not surprisingly, Naeem Khan’s taste for the exotic is as present as ever. Guests were greeted with the tranquil and ethereal sounds of a tropical rainforest. It seemed that jungle fever was about to take over Bryant Park. The collection, however, did not prove to be so limited. True, there were a fair-share of leopard-embossed matelasse and jacquard gowns toward the end, and yes, Khan’s models seemed to be channeling an Amazon-like vibe in 5-inch gold platform wedges. Yet Khan succeeded in constructing a collection that was inspired by an entire spectrum of Eastern opulence. With a fairly neutral palate working mostly in blacks and browns, the brilliance of this collection was in the details. Black fox cuffs and peony embroidery added an air of Russian royalty, while black iridescent cocque feathers brought us back into the jungle. With a father in the beading business, it is no wonder that some of Khan’s most intricate (and sometimes flashy) pieces were sheaths in bright gold antique beads. The only thing to rival the attention being given to this impressive collection was Eva Longoria, spotted in the front row, ostensibly eyeing a gold coin halter dress. No doubt Khan was successful in awakening every person’s desire for glamour combined seamlessly with exoticism.
—Rachel Goodman
Reem Acra
Lebanese-American designer Reem Acra’s self-described theme was Jewel tones and she lived up to her aim by presenting pieces ranging from sapphire blue to a citrine yellow. A certain well tailored vibrant purple trench stood out while other pieces incorporated attention-grabbing ombré fabric. Acra was able to incorporate current trends while effectively maintaining originality and interest in her designs. Instead of just incorporating ruffles into her pieces, she showed her incredible attention to detail by fashioning each ruffle on a certain jacket out of cut-out butterflies. The highlight of the show however, were the gowns, many of which were sheer and depended on well-placed sparkles and prints to cover the necessary bits. Overall, Acra was able to design a dynamic and vibrant collection that appealed to the anonymous guests as well as the celebrities who came out in droves for the show.
—Dasha Chirkov
Jayson Brunsdon
All you need is love, Jayson Brunsdon seems to believe. Gliding down the runway in red dresses, silk dresses, ruffled dresses, and even heart-patterened dresses, Brundson’s collection regularly resembled a Valentine’s Day card. These dresses were cute, but, ‘how hard is it, really, to make Valentine’s Day cute’, is what I couldn’t help but think; I wanted more. Then, there were the pieces that gave a little bit more, and as a consequence went beyond cute and into cheesy territory. A red trench coat complete with a stitched ribbon heart on the back was like a candy gram in middle school.. Brunsdon looked best with carefully constructed pieces, such as a beautifully fitted wool flannel coat, and the collection overall did not spare any detailing. While there was a cohesive feel for the collection, which is sexy love, cute love, playful love, its lack of wow made it hard for me to actually love it.
—Ashley James
Peter Som
In his Fall 2008 collection, Vogue/CFDA darling Peter Som showcased a more sinister side to his usually clean style of American sport-wear. Som’s effortlessly chic customer skewed toward the gothic this season, with his models walking with matted hair coaxed into wispy bird’s nests and pale faces highlighted with only a subtle glimmer on the eyelid, and stark, burgundy lips. Som toyed with some of Fall’s biggest trends in his actual collection. He included layered, wrapped, and slim belts, cinching cardigans and dresses, slouchy trousers, and even a twist on florals, with more abstract prints and slightly disheveled floral headbands tucked into haphazard up-dos. With a deep color palette including blacks, burgundies, and navies, Som’s good-girl-gone-slightly-bad was at her best when she went back to prep school, reinterpreting the plaid of her uniform into luxurious coats and asymmetrical strapless dresses. However, by focusing his collection heavily on separates in different styles- including some very Upper East Side furs in contrast to his Lower East Side cropped patent leather jacket- Som has ensured that all demographics in his customer base will find something to wear come fall.
—Joanna Smolenski
Vera Wang
For Fall, Vera Wang credited Kees van Dongen’s “social” portraits as her inspiration for her collection. However, as models clad in Japanese tapestry sculpted dresses and skirts sashayed down the runway, one was instantly reminded of Paul Poiret’s lampshade skirt of the early twentieth century. However, the wide range of colors from grey to yellow, and the sophisticated elegance in Wang’s dresses could be clearly attributed to originating from the Dutch artist’s canvas.
As she does best, Wang designed elegant silk drape dresses with elaborate appliqués and beadwork. There was a grey silk chiffon paneled long dress with a black silk bow, and plenty of beautifully embroidered dresses complete with ruffle flower bouquets and rhinestone necklines fit for a queen. This season Wang’s hammered satin dresses were accentuated by asymmetrical ruffles and draping.
The sharp contrast created by the juxtaposition of short, oversized quilted jackets over flowing silk and organza dresses detracted from the femininity in the shoulders and necklines, creating a less romantic feeling than in past seasons. A fully sequined t-shirt dress, a quilted overcoat with a fur tutu train and the reoccurring, ostentatious rhinestone tassel necklaces, bordered on gaudy. Once again, Wang’s ability to design beautiful dresses did not help her create daywear that New York women will be running to buy.
-Daniel Edley
Dennis Basso
It seems that every season Dennis Basso’s aim is to make older women want to become young again. His clientele has always been the more mature but still chic Upper East side socialite. The interesting shapes and textures of his clothing shone through in spite of the emaciated models who were a slight distraction to clothing aimed at an older audience. The gray mink coats, metallic crocodile jackets, and dresses made with handmade organza feathers, combined with silk, satin, and cashmere created a unique synthesis of textures that gave the collection a supernatural feel. Women like Brooke Shields, Lindsay Price, and Candace Bushnell (the Lipstick gang) all looked fabulously fit and surprisingly youthful in the front row, and one had to wonder how the subtly textured fur coats, jackets, and dresses from the collection would translate on real women.
-Jessica Jeong
Badgley Mischka
Badgley Mischka was surprisingly packed for an early morning show. Jamie King, Ana Ortiz, Eliza Dushku, as well as Marcia Gay Harden showed up to see the show by Mark Badgley and James Mischka, American fashion designers who have collaborated for almost two decades. Known for designing award show knockouts, their evening wear and cocktail dresses ranged from old American styles reminiscent of Daisy Buchanan, to reformed flower prints fit for a modern hippie girl. These two personas were accentuated by accessories such as elusive dark sunglasses, belts made of leather and animal prints, and sculpted hats.
-Jessica Jeong
Cynthia Steffe
“Supernature” was the theme for the Fall 2008 show. A combination of fantasy and reality, the Cynthia Steffe girl lives in an urban city but fantasizes about nature; she is “a free spirited adventuress, or a daydreaming urbanite.” Each jacket, dress, and shirt was tailored to fit the body. There was a seriousness about the tailoring that gave them a businesslike feel, but the colors and juxtaposition of different layers softened “business” into the whimsical fantasy conjured by a lunchtime daydream. With vibrant hues of bright green, purple, and blue contrasted with gray or black prints, reality was offset by colorful whim.
-Jessica Jeong
Iodice
If there ever is a time for a designer to make an individual statement with their line, it is at their first New York Mercedes-Benz Fashion Week. Unfortunately, Waldemar Iodice not only failed to make this distinction, but he also did not manage to keep up with his peers. His collection’s inspiration, graffiti mixed with the classic bombshell look, was intriguing in theory. In practice however, the aesthetics did not mesh and ended up looking like entirely separate influences.
Perhaps it’s because of this conflict Iodice could not focus on the quality of one mode. Every model came out draped in a palette of purple, yellow, pink, black or geometric print fabric that often didn’t hang in quite the right way— possibly because the blends seemed too stiff for such starlet, flirty styles. The hemlines were short, the backs were low (or nonexistent), and the shoulders were bare. All of the embellishments, like ruched sleeves, wide belts and sequins have been done season after season, and are better suited for Bebe than the runway. Such designs were once progressive. Now, when retro elegance is making a comeback, they seem tired and almost drab.
-Alexandra Owens
Terexov
The Terexov show opened up with the beautifully haunting theme music of the class film 2046 by Kar Wai Wong, which also worked as inspiration for Miuccia Prada in a past collection. However, the Terexov show did not bring the silent seduction of the film to reality, and it offered a presentation more about Terexov’s technical skill rather than his innovative genius. Dresses did have that certain flow which captures the eye, and the collection was quite well tailored and sophisticated. One piece that did grip the audience was a triangular patchwork leather coat that would look perfect when paired with bodacious print dress. Yet, that coat could not prevent the collection from appearing a bit flat. Although Terexov did not introduce something resoundingly fresh this season, maybe this collection was necessary in an industry where the old masters, such as Valentino, are retiring and the younger ones seem to forget that they are designing clothing for people. Terexov certainly made a statement to the industry that he is more than capable of providing classic and reliable clothing that women can wear and not the other way around.
-Sasha de Vogel
Reyes
José Ramón Réyes’ penchant for sportswear was evident once again this season, in a spunky 70’s inspired collection teeming with high waisted trousers, buttoned-to-the-top blouses and a number of variations on the classic blazer. The first look of the show successfully encompassed the feeling of the collection’s strongest ensembles--a mustard waiter jacket, button down shirt, and navy wide leg trousers which were crisp and pleasantly boyish, with a slight military edge. There were certain things that could have been more finely finessed--many of the blazers were square and unshaped, and looked dumpy on the models’ thin frames. Despite a few other blunders--a small grouping of brightly colored satin dresses with pleated silver skirts tacked on were awkward and costume-like--the collection was fairly strong. Especially fresh were a few long, sweeping dresses that mixed daywear fabrics like twill with rich olive satin and featured interesting sections of pleats and asymmetrical design. Other standouts included khaki military jackets over bootleg trousers and an especially charming brown patent and satin bomber jacket. Reyes’ best looks are evidence of the designer’s great potential; all he needs to do now is pare down and focus on perfecting his strongest designs.
-Lara Schilling
Twinkle
As the line’s name suggests, Wenlan Chia knows how to create some gems. Especially in terms of pattern choice, the fall 2008 Twinkle collection shined. Of particular interest was the silk georgette brushstroke print featuring a vivid blue and yellow swirl. Detailing on the pieces, however, was either hit or miss. While certain pieces gleamed with dexterity, such as a shirt dress with back button detailing, there was a tendency for many of the thirty seven looks to appear almost homemade. This was particularly the case with Twinkle’s knits. Though the knitted pieces attempted to provide a whimsical and youthful look for ladies, these scarves and sweaters instead turned models into dowdy-looking women instead. Shapes were not the primary importance for Chia, it seems, who paired a beautifully patterned silk dress with a bulky knit sweater for her final look. Though the overall “muted paired with motley” theme of the collection felt sound, some pieces did not pull off the dynamic as well as it should have. Wool grey pieces of Chia’s were definitely the stars in this collection, but not everything twinkled.
-Ashley James
FORM
FORM’s dedication to the goal of creating line-driven, distinctive fashion inspired by architectural elements can be clearly seen in the brand’s selection of showing venues. Past collections have been shown at carefully chosen locations all over the city, from the SOHO Grand to the Rockefeller Rooftop Garden. This season the design group showed in the Sky Room of the New Museum, a brilliant white column of air and light on the seventh floor of the building, and an ostensibly solid match for a brand seeking to push the boundaries in contemporary clothing design.
Unfortunately, the collection fell a little flat—the designers seem to have overlooked the possibilities of truly simplistic innovation and instead relied upon experimental details to carry the pieces through. Luckily, the palette was simple—nearly everything was black, navy, or charcoal. A few one-shouldered cape dresses struck the perfect balance between controlled line and free movement. Not surprisingly, these pieces felt the most at home in the museum and closest to the team’s original goals. The rest of the collection—largely a series of reworked pant and skirt suits—felt bogged down by too many misplaced seams, zippers, and other extraneous details. In future collections, the designers would do well to attempt less and explore line and form at a more basic level.
-Lara Schilling
Verrier
Relative newcomer Ashleigh Verrier sets her own rules. Despite the fact that some casually group her with other “young,” girly designers such as Erin Fetherston, Verrier’s Autumn/Winter 2008 collection continues to refuse such easy definition. The line is ambitious: 19th-century Russian Imperialism that specifically draws inspiration from the artist Peter Fabergé. Such Old World opulence is easy to spot in the tasteful lavishness of the details of Verrier’s airy dresses, skirts, blouses and coats. From Swarovski crystal detailing to fox fur collars to tiered silk organza ruffles, model beauty and luxury were evident on every piece. The collection also doesn’t shy away from a more mature palette of browns, blush pink, wheat and coal.
But one wouldn’t see Verrier’s styles on her muses from the 1800’s. The collection does not lose sight of the contemporary and translates very well into the wardrobe of a young audience. The use of bows and pleats is flirtatious— not frumpy. Through the combination of the old and new, a polite but seductive aesthetic is achieved. Such a combination will most likely give Verrier great staying power as a designer and allow her to create her own twist on feminine classics for seasons to come.
-Alexandra Owens
Perry Ellis
The only stage decorations at Perry Ellis were three dear heads, and they foreshadowed the look of the collection, which incorporated both lord of the country manor and outdoorsmen elements. Models were decked out in wellies and hunting hats as well as ties and blazers. Sometimes the theme was taken too far, case in point--the wretched nylon storm pants that should have never left the late 1990s. And the wool pants were cut well (not too bulky nor too skinny), but they all had large and unsightly cargo type back pockets.
The redeeming pieces were all up top, mostly knits, jackets and outerwear all layered together. The skinny puffer jackets and vests would look as good on a hunting trip as on Madison Avenue. The wrap cardigans were great, but some of the marled sweaters were questionable. All in all, the outerwear will continue to carry the brand in sales, removed from the overly quirky context of the collection.
-Moira Lynch
Nautica
The classic menswear line Nautica took sporty to the extreme with their Fall 2008 show. Models walked in head-to-toe layers including everything from windbreakers over cableknit sweaters to paired turtlenecks and spandex as Arcade fire emanated from the speakers. Although each piece looked simple and expected in its own right, when paired with too many other contrasting items, it read as messy and disjointed. The bright yellows, reds, and royal blues used for the windbreakers and spandex clashed with the slim tailored gray suits and structured blazers. It was difficult to get the message that the designer intended to present; according to Nautica designer Mirian Lamberth, perhaps formal wear is going casual. The final look confirmed her intentions: the most pristine tuxedo and bowtie combo topped off with you guessed it, a windbreaker.
-Samantha Child
Rubin Singer
What began as the presentation of a collection rife with simple colors (muted charcoals, light grays, blacks) and basic shift dresses and swing shapes with to-die-for silhouettes (think lush cashmere coats with big cuffed bell sleeves) evolved as the show progressed into a bizarre, space-age-inspired mess of copper and silver patterns on everything from long shirt dresses to fitted corsets over white button-ups. At one point, a model clad in what appeared to be a black leather spacesuit with shiny orange detailing even made her way down the catwalk. An obviously talented Singer should definitely stick to the simple and try not to get carried away with science fiction as inspiration in his collections to come.
-Samantha Child
Patrik Ervell
Patrik Ervell’s menswear is renowned (in leaner circles) for its boyish cuts, and its styling after a rather precocious suburban teenager. Ervell certainly isn’t hiding from that reputation, as the youthful models for his show present a model of masculinity that is still in need of some developing. The cuts were clean; pants generally tapered or cuffed to the ankles, and were paired with generic varsity jackets or anoraks, and colored socks. As the show progressed, the designer’s American tailoring took on a more exotic shade: adding gold panels, and the highlight, bubble hoods.
-Alex Gartenfeld
Alexandre Herchcovitch
Alexandre Herchcovitch hails from Brazil, which might explain why his fall collection included no outerwear. That was one paradox, though Herchcovitch seemed more interested in another: structuring silhouettes in silk (and they were all silk) such that the draping would with volume create or subtract wright. Dresses broke above the waist, if at all; more often Herchcovitch worked from smock dresses, using geometric sleeve panels or structured bubbles of epaulets to suspend the bust line. It was a controlled show from one of fashion’s most daring and disciplined creators, and it didn’t seek to re-invent the wheel: in turn the color scheme moved from black, before stepping tepidly into yellow and lavender plaids and dusky Marni-like prints, but was best when daringly pairing print with a bold metallic stripes.
-Alex Gartenfeld
Willow
Kit Willow’s fall 2008 presentation was an eclectic mix of 40s and futuristic elements. The show began with pieces likely to be found in any good secretary’s wardrobe: wool high-waisted pencil skirts and high necked satin blouses, equipped with simple, but genius, embellishments like zippers and studs. Willow added a twist to a barrage of woolen garments, by adding a lace-up corset to the front of one such piece. The omnipresent cinched waist was again seen on the runway: this time in the form of thin leather belts, and the occasional geometric stencil metal belt. The collection took a turn for the future with a space aged wool frock with a stand-up collar, speckled with pieces of what looked like shattered glass. Willow also played with many earth toned satins, complete with draping and cinching that has been seen on many a runway. Here’s to hoping that Willow’s next collection will be filled with more ingenious elements, such as the contrast of wool against metallic, as opposed to the more hackneyed pieces, like the billowing satin dress.
-Chamika Miles