Clean lines and sporty pieces in mix and match neutrals with pleasant pops of red, blue and yellow were luxuriously layered and stood out amongst moody music in a dimly lit room. Transported into a darker place filled with mystery and magic, cosmic prints were splashed onto models and walls floating around the room from a projector hidden above. Stalking the platform that surrounded the walls of the room, models walked one at a time in geometric patterns timed perfectly to a soft beat.
Inspired by the 1952 Winter Olympic Games, Margiela’s pieces included sportswear staples like puffy coats and slim knit leggings for mixed proportions and chic silhouettes commonly associated with the lavish line. Hair was textured and slightly unkempt, plastered to the cheeks and forehead as if caught in a blizzard and matted to the face in soft waves. Intense eyes stared into the audience, painted in deep charcoal from lash line to brow bone in variations of matte greys and blacks giving the look depth stony frigidity.
Mathieu Mirano literally takes us out of this world this season; his use of unusual materials delved into variations of colored furs, chain mail, leather, georgette and MEOEORITES. Shipping over 7,000 actual meteorites from a collector in Argentina, Mirano uses smaller pieces as embellishment on an ornate pencil skirt, carefully treating each one like delicate beads to maintain his usual classy edge and elegance. His strict palette of blush and black was striking against the variety of luxe textures, elevating each look to a place of rich luxury coveted by everyone who attended the presentation that morning. Fox cutout coats and beaver zip up jackets were beyond brilliant, illuminating classic silhouettes and geometric patterns making every piece special and unique. This truly was a fantastic collection, a chic addition to any fall closet this year.
An unapologetically brazen glamazon heated up the atmosphere backstage with graphic, smokey eyes and tightly groomed, inventive updos channeling a very sexy Helmut Newton type woman. The look was sophisticated, glamorous, and strong, an ode to 70’s glamour with a modern twist resembling something from a Guy Bourdin photograph. A strong eye along with a strong lip dominated even the clothes themselves, bringing the focus to each model and their beautiful faces. The eyes were strong and dark, with a pop of lip conditioner right in the center for a flash of chic elegance. Just a Bite lipstick with a bit of Russian Red was sultry and dangerous. Skin kept a satiny finish with face and body, Taupe to contour, and Opal on cheeks. The hair was stunning, very French with a deep side part pulled back into two asymmetric ponys that were braided, and then woven together for a unique twist on the classic chignon. TIGI’s Queen of the Day was a backstage favorite amongst hair artists, a well stocked commodity for full force feline ferocity. –Mynxii White
At Milk Studios, California-cool guy Jonathon Simkhai displayed his latest collection, which, immediately, seemed to have graduated from his easy, breezy West Coast Sweet Valley High. Traces of Simkhai’s signature tomboy elements were present in the addition of sneakers, boxy sweatshirts, varsity jackets, and paperboy caps. The designer’s prep school girl, donning oxford heels and button-up collared shirts, seems to have been listening to The Clash and The Beat during study hall, though. Leather skirts and printed tees, geometric patterns, and dark accessories toughened the look. Overall, the line was cohesive. It was polished but not pristine. It was cool but without a care in the world. Welcome to the East Coast, Jonathon Simkhai.
“This town ain’t big enough for both of us” was the message that Karen Walker chose for her latest collection, entitled “New Rose.” Who are these two Ms. Walker refers to, battling it out for claim to the rights of the city’s days of prim and pretty productivity and the nightlife’s gravel-y grit? According to her, the fight consists of art school girl versus working girl.
Again, we’re seeing a movement of designers showing collections that neither entirely embody one particular kind of girl (ahem, lady) or another. Looks consisted of utilitarian outerwear, masculine trousers, and shapes that were, in general, boxy. Military green was paired with floral prints. Pleats were added while hems were left unfinished.
Front row, though, sat a most-noteworthy display of Walker’s work in the flesh: the print models, all New York ladies-about-town ages 65 to 92, of Walker’s now iconic eyewear. These fascinating women were featured in Walker’s eyewear catalog, and their presence embodied the theme of the collection: when funky met classic. It’s captivating without being overwhelming.
The marriage of art and work: she accomplished that union within each piece, each accessory and the multi-layered looks she showed onlookers. In response to Walker’s message, I think that New York City closets, despite their actual often-microscopic measurements, are big enough for the two—the art school girl and the working girl.These days, who can tell who’s who? –Olivia Inkster, photos from WWD.com
We said in 2-to-watch that Erin Barr’s last collection had that real L.A. vibe – the L.A. of a David Lynch/Mulholland Drive: Intelligent, sexy with a provocative edge. This collection drives that vibe further. Keyholes and high slits, neutral shades off-setting black, an unexpectedly placed zipper – socks with heels, boyish models – it all felt like no fear. No, we don’t mean “fearless” but we do mean a designer who is coming elegantly into her own. Erin Barr, now into her fourth collection, went back to her roots, looking to the elemental, finding the sophisticated. She spoke of moodiness – it was there. She worked bold contrasts, pairing darker leathers with softer fabrics of mints, pale northern lake blues, snake printed scuba. She spoke of the “sensuality of nature” – it was there. Over all, not only did we enjoy the show but we also wouldn’t mind having more than one of those pieces hanging in the closet. –Katya Moorman & K.L. Dunn
Haunting music and low lighting set the stage for Haus Alkire today, a collection inspired by the aftermath of Hurricane Sandy and the deeper, darker side of beauty with new prints taken by her husband while living by candlelight and pieces made out of exotic skins like eel and lizard. Makeup was simple and ethereal, while textured hair added a rough element to tie the concept together. “Eggshell, eggsgell, matte!” The artist explains of the skin, Mac Strobe Liquid combined with MAC face and body created skin that was matte, but buffed for a satin sheen that transformed the face into out of this world perfection. She explains that MAC Strobe Cream does to makeup what butter does to food.” Skin was a little lighter through the t-zone with extra highlight, making up for the lack of contour to play with proportion and balance. Strong ash brown in the center of the orbital with a wash of sea foam blue on inner lids and no mascara created the ideal image of “feminine strength”, and topped with Uncommon cream blush on the lip for a satiny nude that “looked alive”. TIGI Finishing Spray and Root Boost was all that was needed to hold hair in place; a sleek center part pulled back in a low pony, then backcombed and twisted into a series of knots that took a simple chignon to a completely new level. –Mynxii White
Old Hollywood glamour was brought to horrific heights at The Blonds this season; Alfred Hitchcock inspired bombshells with a Kubrick edge ebbed on the edge of suspense and crescendoed in the excitement of a double feature thriller. “A cool blonde with a dangerous edge- the quintessential Alfred Hitchcock archetype,” key M·A·C makeup artist Kabuki illustrates the inspiration that came from a dark secret, from a look that was cool then and reinterpreted to be cool now. The shape of the eye was simple: a ’60s shape with an ’80s twist. A sleek cat eye was painted in red Chromacake, and then lined with Blacktrack eyeliner for a line that could be applied smoothly. The use of creams really gives time to be creative because it flows easily and doesn’t dry too quickly to properly fit the shape of each eye. Brows were strong and arched into a ’50s shape, but soft in execution so it gives attitude without the fear of crossing into costume territory. Blonde wigs were closely reminiscent of Madonna in her Erotica period; hair was set but the girl who wore this style had obviously been out all night with telltale signs of bed head hair. Hair was set with heated rollers and prepped with TIGI Catwalk Session Series Transforming Dry Shampoo, then finished with TIGI Work-It-Medium-Firm Hold Working Hairspray. –Mynxii White
And of course The Blonds had amazing nail art as well courtesy of CND.
How to get the look:
F A C E
MINERALIZE CHARGED WATER MOISTURE GEL blended into skin to instantly hydrate and add radiance to skin.
FAST RESPONSE EYE CREAM blended into the eye area to replenish and smooth texture.
MATCHMASTER SPF 15 FOUNDATION applied over skin to even and tone.
M·A·C PRO BURNT CORAL STUDIO FINISH SKIN CORRECTOR blended under eyes to brighten and perfect.
M·A·C PRO SCULPTING AND SHAPING POWDERS PRO PALETTE
shades were appropriately chosen to highlight and contour the face.
E Y E S
Lashes are curled.
M·A·C PRO BASIC RED ACRYLIC PAINT drawn over the eyelid in 50’s/60’s inspired graphic, cat-eye shape, winged outwards
to elongate and lift eyes.
M·A·C PRO BLACK CREME LINER drawn through the lashline with 210 Precise Eyeliner Brush to create a winged-out liner
extending upwards from the eye.
FELINE KOHL POWER EYE PENCIL applied through the waterline of lower lashes to define.
7 LASH trimmed and blended through upper lashes for added drama and lift.
HAUTE & NAUGHTY BLACK MASCARA generously applied to upper lashes for a spiky lash effect.
L I P S
SOAR LIP PENCIL used to define and contour the lip.
PLEASE ME AND PRETTY P LEASE LIPSTICKS mixed together and applied over the entire lip for a sexy pinky-pout to finish.
In the pre-VIEW for NYFW, we chose Daniella Kallmeyer as an on-the-verge-of-MAJOR – one to watch. And continue to watch we will for this collection, born of great obsessions was perfectly formed and felt and executed brilliantly. About the Fall 2013 collection, Daniella writes: For Fall 2013 I had become obsessed with Io Sono L’amore “I AM LOVE” with Tilda Swinton, who’s personal style in general is so inspiring in it’s simplicity, modernity, and sophistication. The more I watched it, the more inspired I became with the nuances and symbolism in Italian cinematography- from the music, to the colors, to the architecture, to the scenic pauses. Fall 2013 is about understated luxury, pulled from imagery of bourjois italian interiors, old hollywood, and vintage ski photos. I fell in love with a particular black and white photo of some skiers in cable-knit sweaters and pleated wool trousers and I imagined the kind of chic ski trip Katherine Hepburn and the Kennedys would take in the mountains of France or the Italian Alps.
Loosely cut trousers and coats reflected an effortless androgyny. Cable knit skirts exude a chic modernity. The palette was classic – blacks and whites and neutrals with a few lush scarlets puncturing the calm. A few of the leather pieces had a subtle architectural quality. This is definitely an apres-ski moment we would love to participate in – the collection itself was welcoming, lush and luxe and there were any number of pieces we’d happily wear. –Katya Moorman & K.L. Dunn
Raif Adelberg seemed almost destined to work in Fashion, what with being born to a family of designers and art collectors. But as we all know, critical acclaim doesn’t come from pedigree. Adelberg has navigated through several professions – artist, gallerist and magazine publisher – before launching his luxury cashmere line in 2011 which Bergdorf Goodman was quick to acquire. Previously, he had also designed the private label Richard Kidd, named after the boutique he ran where it was sold in Vancouver from 2004-2008.
His Men’s collection showed this February 9th in an intimate space underneath the NY Public Library at Lincoln Center. The low ceilinged room had diaphanous scrims where shadow play entertained as the finishing touches for the show were completed. Once things were set, a short introductory projection of ravenous wolves and accompanying abstract wilderness , and soundtrack of Native American chanting with modern tribal dance music forebode an ominous experience. It was a fitting introduction to Adelberg’s highly stylized, but totally wearable collection.
The focus on layering was very deliberate, and beautifully executed. Raif Adelberg definitely has an eye for how to mix and match fabrics, textures, and color in a way that is bold and new. The use of war paint, feathers, leather, and metal beads complimented his designs beautifully; Heavy multi color knit sweaters, cardigans, and robes were worn over drop crotch pants of every color. The silhouette of the pant was notable in that “downtown genie” pants are rather difficult to perfect. Here the leg was cropped at the knee, the calf, and just above the ankle, and the width had a fluidity that echoed the idea that these men are modern warriors; While they might not be navigating mountains and streams, they are not sitting in ivory towers, and comfort matters when a call to battle arrives.
I must also add that while waiting for the show to start, I overheard that one of the models cast, Christian Balelia, a 20 year old from Indianapolis, had come to Raif through the Make A Wish foundation. Diagnosed with sickle cell anemia, his wish to walk in a high fashion runway show came true, a day after his 20th birthday.