NEW YORK ...

MARC JACOBS

Sometimes simplicity and beauty are really just enough and for the Fall/Winter 2010 Marc Jacobs show, it truly was. This Jacobs outing was a beautiful statement of anti-modernism, i.e. vintage, with dollops of nostalgia, starting with Jacobs and his partner Patrick Duffy peeling off the layers of brown paper to expose the models and the clothes. There were pretty camel coats, flannels, tan princess coats, sweaters fit for a modern librarian, flapper-inspired coats with fur accents, fitted sheaths, va-va-voom paillette-covered sheaths, fur chubbies, simple sweaters paired with grey culottes, ribboned A-line skirts with sheer insets, plasticised metallic coats with oversized fur shawl collars, and an exquisite three-piece suit that a modern-day Faye Dunaway clad Bonnie would have happily robbed for.

DONNA KARAN

Donna Karan knows what a woman wants — and that is to be celebrated for being a woman and to dress like one. This year marks Karan’s 25^th year in the business of making women look their very best, playing up and showing off their best assets. The F/W 2010 offering was no different, it was key sensual pieces that made women feel good about what they wear, and her multigenerational (Demi Moore, Susan Sarandon, Brooke Shields and Marisa Berenson), star-packed front row attested to that success. There were the requisite fluid fabrics, urban colour palette and texture, as well as cashmere coats, one-shoulder swing dresses, cocoon coats, and organza shirts. Donna placed a lot of detail and emphasis on collars this season, rendering some strong looks, notably the double-collar, crisp white shirt with elongated cuffs that had a distinctly Edwardian feel; there were chic city skirt suits, leathers, modern skinny pants worn with fitted shirts and fur collars. It was a collection that was ‘forever chic’, giving city women everywhere reason to shop. Those lacquered headbands will be a cult favourite and, I am sure, forever sold out.

CAROLINA HERRERA

Ms Herrera’s show, in a sense, declared that the financial crisis is over and the ‘good old days’ of opulence and understated luxe are back again. The collection was smart, clever and rich in manner as well as details. There were exquisite furs, sumptuous silks, ladylike hats, voluminous sleeves on blouses and day dresses, ultra-chic shirts and pant combos, fur, fur and more fur; crocodile jackets, brushstroke prints, floral embroidery, Prince of Wales sheaths, Russian red tweed suits; and high-waisted, fluid, wide-legged pants, stripes and all.

RODARTE

The sisters Mulleavey of Rodarte gave their futuristic nomadic heroine a more feminine touch this time around. There were lot of layers, florals, knitting which had a knit club doilies feel, oversized knit sweater and scarf combos that looked suitable for Antarctica or New York City winters, pretty sheer leggings with ribbon details and lace and burn-out velvet dresses that had a patchwork, sewn together feel which gave them a modern, childlike naive quality. The prints this time around had a dreamy quality about them, something to do with the maquildora workers of Ciudad Juarez (workers who go to work in the middle of the night); as well as pretty, ethereal white dresses that seem as though they would completely unravel with each model’s movements. Perfect for a Quinceañera party perhaps? It would seem that the Mulleavey sisters got in touch with their Mexican roots, literally, with this collection. It was nice to see the sisters push past their normal Mad Max/ I Am Legend ethos, but I, for one, missed the cobweb sweaters and macabre leggings.

DEREK LAM

Julie Christie’s ultra polish meets the wild, wild west sums up Mr Lam’s F/W presentation. With Crepe de chine, navajo prints, embroidery and refined tailoring, the collection had just enough flourish for a modern day cowgirl gone to the city. There were the lovely georgette blouses, leather skirts, dual button asymmetrical tan moleskin coats with leather sleeves, pleated skirts, crisp white shirts with skinny black ties, cable-knit sweaters, belted fur vests, leather leggings, and layers upon layers. However, the cashmere drawstring pants and matching shirt with button front collar and contrasting sleeves seemed more long john athleticism best reserved as undergarments than sophisticated urban wear to be worn beyond the home on the range.

VERA WANG

Film noir was the starting point for Vera’s F/W 2010 collection, a genre that fits her design acumen like a glove — mysterious, dark and moody. This outing was dark in hue but offered up a romanticism that was warm and inviting yet held to the genre with layers and drapes. There were the Bardot sexpot hair dos; dark, smoky makeup; fluid drape cowl neck collars, sleeve volume (a building trend), dollops of Mongolian fur, majestic jewellery, confectionery layers of tulle, corsets, close-to-the-body silhouettes, edgy biker shorts paired with belted jackets with fur peplums; knitted jumpsuits worn with chic, fitted blazers; sexy, glam peekaboo dresses, and pearls, pearls, pearls.

HALSTON

London-based Marios Schwab’s first outing for the House of Halston was a highly anticipated event this season, especially after the label’s absence last season. It was The Eyes of Laura Mars with a little Grecian goddess mixed in, that served as Schwab’s muse, and not the archives of Halston, that failed many designer attempts before him. Schwab’s collection had more structure and tailoring, toning down the signature pop palette (think Studio 54 in its heyday, the favourite hangout of the original Halston) in favour of the hues of Laura Mars (dusty taupes, mauves, blues and violets) and signature silhouettes. Schwab gave his audience fitted mini-dress sheaths with epaulet shoulder details, shorter hemlines, asymmetrical draped collars, fur tops, gathered hems, wonderful slim pants paired with one-shoulder tops in monotone colour palettes that made the two pieces seamless appearing as a modern jumpsuit (very Studio 54 indeed). There were also peekaboo sheaths that were at once pretty and edgy, and a modern silver screen siren-worthy citron-hued gown that was just begging for Christina Hendricks to drape her trademark curves in.

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