You have to consider the social context

Is feminism trending? Yeohlee Teng would probably say no, but the photos of suffragettes and “60s-era women”s rights activists on her Pre-Fall mood board did feel particularly of-the-moment. “You can”t just think about fashion anymore,” said Teng. “You have to consider the social context. I was thinking about these women because of the turmoil that”s going on around us right now.” In lieu of splashing political messages on her clothes, Teng”s references informed the collection in a more utilitarian way. “I would like to imagine that I design clothes for you—easy to wear, urban, multifunctional, and useful,” she explained. A black, white, and gray palette with pops of cherry and fuchsia looked right for the no-fuss woman, ditto the wrinkle-resistant jersey, stretch cotton, and gabardine. The only trace of retro nostalgia came in the form of a blown-up daisy print. Otherwise, these pieces were spare, minimalist, and could more or less be worn like a uniform—zero styling required. Boxy silhouettes touched on Teng”s love of geometry, such as a pair of cigarette pants that were actually two inverted triangles sewn together. Ultimately, it was the tiniest details, like dropped shoulders, curved seams, and soft pleats, that added interest. One of Teng”s strengths is creating fluid volume without adding heft; her customers will especially be into the LBD with elbow-length sleeves, pockets, and a shirttail hem.Welcome to visit my Coach Sale store: http://official.uscoachoutletbags.com

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I”ve grown up.

“I”ve grown up. It”s more mature clothes for more mature women, because that”s what I am,” Frida Giannini said after her show. She”s only 38, and hardly middle-aged, but this season Giannini”s designing seems to be hitting the kind of equilibrium Stella McCartney reached a couple of years back: the confidence to relax and not try too hard to be super-duper fashion-y. Things began with a calm opening exit of cream, dove gray, and barely there top-to-toe color—a couple of fitted dresses, a slim patchworked ostrich and suede coat shown with matching opaque tights and shoes. With that, Giannini deleted the expectation that this was to be a frenetic seasonal Gucci trend-grab. It was more about consolidating her look: the pants she”s always been good at tailoring, put together with coats and fur-patched jackets with a believably glamorous daywear attitude.

Giannini quoted the nineties and the sixties in her program notes. Inescapably, that brings up Tom Ford, but the reference only really applied to the early boot-cut pants and GG logo phase of his career, when he himself was reanimating Gucci”s earlier history as a manufacturer of sporty Italian separates. Giannini”s pants, narrow and fluted just enough to fit over the shoe, looked proportionally right. They were flatteringly tailored over the backside (these things are crucial, after all) and great when paired with an A-line suede coat with a fox vest liner, or her several versions of cropped mélanged fur jackets.

When she showed dresses, Giannini ditched ultrashort for a slightly longer length, with leg-fitting suede thigh boots reaching up to the hemline—a way to be sexy without too much tarty-ness. All that, done within a pale palette of neutrals, meant she essentially had a new, quite refreshing look done and dusted. The Gucci finale parade of eveningwear—all short black dresses intercut with snake-patterned lace and ostrich—seemed more like going through the motions of a requisite brand ritual to keep up red-carpet business. That”s part of the job description here, of course. But with this collection, Giannini”s far more important achievement was to restore the idea that Gucci ready-to-wear might have a viable life in daylight.Welcome to visit my Coach Sale store: http://coachoutlet.kchbags.com

No prints? Well, not quite, but the will was there

No prints? Well, not quite, but the will was there. Said Massimo Giorgetti: “I started with no prints. With the decorations as the new prints. And that is, a little bit, a revolution in MSGM.” Giorgetti is striving to expand his repertoire for Pre-Fall, but not so far as to alienate his hyper-expressive base. Thus those decorations were an eye clash, incorporating cover art from the Beastie Boys (naif robots and cartoony sci-fi) and the Chemical Brothers (cod spiritual symbols), plus the gloss and pop of the Memphis Group and the sensuous geometry of Art Deco. With some paisley applied, too, for good measure.

Those elements were stirred, set, and then served via beaded teardrop inserts on cowboy shirts or chunky panels on sleeveless (um, printed) silk tops. These were worn against synthetic toned jacquard skirts impacted with stars or embroidered with nostalgic, rockabilly-touched motifs—jukeboxes and guitars. There was a killer pink overcoat that fairly quivered against a cute, Quant-ish, raw-edged zinger of a yellow frock. Color-strafed jersey dresses—one mid, one full—with asymmetrical articulations at the midriff were another Giorgetti first for the season. This poppy pentimento of a collection saw an additional layer of intensity applied to MSGM”S blisteringly bold canvas.Welcome to visit my Coach Outlet Online store: http://official.uscoachoutletbags.com

The Genoese have been known for centuries as kings of the sea

Italian flair, French sophistication, a touch of debonair British elegance: These were the ingredients of designer Massimo Piombo”s Spring collection, and they made for an exquisite cocktail, shaken and stirred to perfection and best enjoyed, you imagine, on a terrace of the Hotel Splendido in Portofino. A growing partnership with the Neapolitan brand Kiton has brought impeccable in-house tailoring execution and a sartorial spirit, mixed with the refined restraint that is typical of Piombo”s native Genoa. “Italians understand beauty as nobody else does, brought up as we are with a natural feel for quality,” he claims. “Luxury for us rhymes with style and not with money and has more to do with memory, romance, charm, and wit.”

The Genoese have been known for centuries as kings of the sea, secretive and powerful merchants who crisscrossed the world bringing back exotic wonders from remote lands.Piombo has the same soul-searching malaise of a true eccentric traveler. You can see that in his treasure trove of lovingly researched fabrics: rare French silks from the hidden archives of old Lyon factories; Irish or Belgian linens of the softest texture, spun after the yarn has been put to leaven as if it were dough in dark, damp caves; Massaua cotton from Ethiopia, a modest, inconspicuous fabric light as a whisper but of such quality as to be chosen by local noblemen for their Savile Row suits; cashmeres and cottons dyed and printed in India with old hand looms, perfect and unique in their touching imperfection. This is the wardrobe of a well-read, worldly pirate—dapper in a dark blue hand-printed silk tuxedo, off for an old-style grande soirée in Antibes, chez Hotel du Cap.

Elegance with a well-born ease, a nonchalant attitude, an educated mind: Massimo Piombo is ready for his close-up, the brand very much a doppelgänger of himself. And what else if not blue would be the color of choice for the collection? Make that more than 50 shades of true blues reminiscent of the enchanting Portofino bay, where you can picture him carefree and chic as hell, strolling about the Piazzetta, eyes grinning with a mischievous sparkle, charming everyone.Welcome to visit my Coach Outlet Online store: http://official.uscoachoutletbags.com

It had its ups and downs, like life.

It took nine exits at Andrea Pompilio”s Fall menswear show before a man arrived on the scene. That makes news, especially at the shrine to men”s fashion that is Pitti Uomo, where Pompilio has been showing for seasons, ever since winning Pitti and Vogue Italia“s Who”s on Next award. Backstage, Pompilio said he was just giving the people what they want. “They ask so many times for very petite sizes for women, so why not do it?” he asked. “Taking something for men and making it more female for woman.” In return, it seemed, the women gave something more female to the men. Pompilio has never shied away from full-plumage colors, but the baby pink topcoats and flat-front pants he showed for men suggested a trade agreement between the sexes. So did the men”s shoes, slip-on mocs tufted with puffs of fur. The girls, by contrast, had lug-soled lace-ups. “It”s mix and match,” Pompilio shrugged, “like life.”

It had its ups and downs, like life. The bracing peacockiness of the menswear was as brash as ever: “It”s classic pieces,” Pompilio demurred, and so it is, but he styles it (himself, mind) for maximum kook effect. The windowpane jacket, the pattern adapted from an old checked-paper sketchbook found at his mother”s house, came with a polka-dot foulard and cotton-candy-colored trousers; that the model was also carrying a pair of leather gloves, like he would have been in a men”s magazine spread of the eighties, only heightened the now-and-then effect. Also effective were the all-in-one looks that reimagined the suit as a matched peacoat and pants, or bomber and pants. Less successful was that first foray into women”s. It seemed to owe a debt less to Pompilio”s menswear but to the recent reigning champs of women”s fashion: There was a wide swath of Céline here, bits and bobs of Balenciaga and Prada there. If his womenswear finds its footing and reaches the level of the menswear, it could be very good, indeed. And flats, like those he showed, are good for that.Welcome to visit my Coach Outlet Online store: http://coachoutlet.kchbags.com

The setting screamed “edgy”

The setting screamed “edgy”: a dingy underground car park with a rubberized floor that, for some inexplicable reason, the production staff doused with a great deal of water. And some of these looks did exert a certain toughness via cherry red boots, tight jeans, and beefy three-quarter-length outerwear—a softened skinhead equation. But the hard edge was soft-centered. Despite the styling and the staging, Alexandre Mattiussi”s collection looked easy: easy to wear, easy to want, easy to like. Blue pinstripe suiting, a denim trucker jacket, parkas, metallic shirting, a herringbone over a hoodie—all not far from prosaic, but finely finished—these pieces were here to seduce rather than stun. Mattiussi was promiscuous in his choice of pant silhouettes, and one ankle-flashing drop-crotch seemed a little OTT. That”s subjective, though.

Afterward he said: “We are sold all over the world—Japan, the U.S.—and I have learned from my customers that they want softer fabrics but that they want to keep it light. So my work for this collection and for Ami is to make a nice outfit for people who want to wear a simple and elegant way.” Note he said, “people,” with no recourse to gender. Several female models on his catwalk wore not Pre-Fall but menswear, tweaked a little to fit. “The thing is that all my girlfriends are wearing men”s clothes,” said Mattiussi. And why not?Welcome to visit my Coach Outlet Online store: http://coachoutlet.kchbags.com

After last spring”s dip in the Mediterranean

After last spring”s dip in the Mediterranean, Michael Kors Outlet sought fall inspiration in his New York stomping grounds—Madison Avenue in particular, where a Saturday afternoon stroll calls for a turtleneck, khakis, and a mammoth raccoon coat.

As Gwen Stefani sang about a “million-dollar contract,” Kors” models streamed down the runway in suitably luxe silks, suedes, and cashmeres, and fur aplenty. The designer favored streamlined, sport-influenced silhouettes, from second-skin stretch-crepe bodices on dresses to ski pants in nylon or faille. Graphic blacks and whites were accentuated with shots of bright red, blue, and purple, and camel was teamed with icy gray. Kors” cosmopolitan outfits were topped off with knit caps and goggle-like sunglasses—but if his city girls have a real hankering for the slopes, they can slip into a snowflake tube top or a simple dress accented with racing stripes.

In addition to all those polished sportif looks, Kors included enough evening options to clothe customers with a party to attend every night. Cocktail numbers were studded with crystals and trimmed with feathers that shimmied as the models strode by—he didn”t call them “dance dresses” for nothing—while his gowns in monochrome brights were made for the spotlight.Read more from: https://www.kalakendra.org/upcoming-events/