Rime Arodaky Bridal Fall 2019

For her fall 2019 collection, Rime Arodaky looked to the dance world for inspiration. This has been done before—Gracy Accad looked to the dance world for inspiration for her bridal collection last season, even holding her runway show at the Alvin Ailey American Dance Center.

Still, Rime Arodaky took it further than Gracy Accad or other bridal designers that have found inspiration from ballet and other dance forms. First of all, Rime Arodaky named each garment after famous dancers, choreographers, and ballets—Rudolph Noureev, MargotFonteyn, Emma Livry, Twyla Tharp, Misty Copeland, George Balanchine, Graham, Coppelia, Giselle, etc. And next, Arodaky conjured up images of the ballet tutu and pointe shoes in her collection by employing shoes with ribbon tie-ups and lots of layered tulle and organza.

Where bridal pundits might contend that this collection does not have a lot of retail value because Arodaky centered the collection on fantasy bridal garments over what would sell. Fashion Reverie disagrees. It is true that there were lots of nontraditional bridal garments in this collection, and some are the pieces could be a hard sell. However, there is a consumer for many of the pieces in this collection. And the bridal industry needs to embrace bridal designers that are creating collections that go beyond traditional bridal fare.

There were several very sheer bridal garments in the collection that could be a turnoff for some buyers. But, like Inbal Dror, the sheer garments are for editorial discussions and review and will probably have a layer of fabric added when the garments hit the retail market.

Photos courtesy of Coded PR/Peter Finck

Standouts in this fall 2019 collection are the brand’s crepe romper with fishnet tulle overskirt, crepe jumpsuit with see-through top in graphic roses-patterned lace, bustier dress in pleated tulle, and flounced dress in pleated tulle and graphic ribbon with a blend of white and blush shaded layers.—William S. Gooch

THEIA Bridal Fall 2019

Two things that can be said for THEIA bridal, the brand always comes up with something new and innovative, and the brand never disappoints. THEIA’s fall 2019 is no exception.

For fall 2019, THEIA, creative director Don O’Neill decided to let brides be true to themselves by giving them lots of options. Truth being the theme of the fall 2019 bridal collection, O’Neill solidly places this collection in the realm of the harmony that exists between the courage and bravery of empowered women and fragile beauty that can be susceptible to the winds of change.

Now, the options in the collection are quite broad. From sequined joggers to a lace boat neck gown with long, statement sleeves to sparkling, fitted ball gowns, THEIA has something very every type of bride. From the guipure embroidery, majestic crepes, or luscious liquid satins, to dreamy tulles or classic faille ball skirts, the choices are almost endless.

And unlike many bridal runway shows, THEIA for the past couple of seasons has included a curvy/plus size model. With this inclusion of a curvy/plus size model, THEIA gave that model lots of bridal gown options—a beaded shift gown, a ball gown, and a scoop neck beaded gown.

Also, by attempting to dress a variety of brides, O’Neill is expanding the brand’s demographic. The one demographic that the brand has shied away from is the edgy bride. In past collections, O’Neill pulled out all the stops to capture that bride that was looking to make a statement on her very special day by wearing something very different. THEIA has moved away from that demographic. And while that is a loss of sorts, the brand is making that up with its embrace of diversity in all its forms.

Images courtesy of THEIA

Standout looks in the fall 2019 collection includes THEIA’s guipure lace boat neck gown with floor-length sleeves, cowl-back gown hand-embroidered with polychrome sequins, oversized 4 ply silk crepe “Love” top with drawstring, sequin striped track pants, and spaghetti strap slip gown, hand-embroidered with polychrome sequins and hand-embroidered “Love” veil.—William S. Gooch

Libertine Spring 2019

Libertine creative director, Johnson Hartig has made his feelings on the current state of politics clear. He’s no fan of the current political administration, and he even once said that the state of the fashion industry reminds him of Trumpism, less than promising. However, Hartig has not let that stop him from churning out his usual maximalist, colorful, eye-popping collections. For his spring 2019 collection, Hartig didn’t leave his fans disappointed.

While Libertine is no stranger to sequins and embellishments, this season Hartig brought us something new with hand-painted and hand-beaded coats in a blue and white color palette. He also looked to the past to give us inspiration, as he also created a 60s–inspired Balenciaga coat with a pleated back.

There is something that sees almost universal about Libertine’s collections and the brand’s coterie of followers; followers that be easily spotted in Libertine’s eclectic mix of fabrications and silhouettes. Libertine’s collections are not for those shrinking violets or self-conscious folks looking to hide their fashion glory under a bush.

Each season at the brand’s runway shows, Libertine gifts all their seated attendees a kit of stickers, often used to adorned things like cellphones and electronics. These same stickers appeared on the models arms and legs this season, with Hartig showing us a way to wear his sticker art alongside his fashion creations.

It’s always a statement at Libertine, from the mixed-maxi patterns, to the heavily decorated jackets, and even the smoking baby print featured on jackets and blazers. Hartig has this approach about making a statement about consumerism without really making a statement about consumerism. For Hartig, particularly in this spring 2019 collection, more is more, a comment on capitalist excessiveness.

As we currently have a reality TV star with a gold-plated penthouse in the White House, so has the culture of flaunting your wealth returned. Moderation is over. In 2018, Libertine emphasis on excess fits right into the cultural landscape better than ever.

Images courtesy of the Krupp Group

While the end of goal of fashion is to always sell clothes, this collection was also a cathartic exercise for Hartig as he explored his cultural and political observations expressed through fashion, from capitalist consumerism to anti-Trumpism. Fashion is his form of rebellion, and onward Hartig marches.—Kristopher Fraser

CHOCHENG Spring 2019

It’s true that classics never go out of style, and can still have relevance for modern audiences. For her spring 2019 collection, designer Cho Cho Cheng of CHOCHENG was inspired by late fifties and sixties movies, and television series, namely “The Best of Everything,” “Sex and the Single Girl,” and “That Girl,” in addition to classic movie icons including Elizabeth Taylor, Doris Day, Natalie Wood, Yvette Mimieux, Joan Collins, Sandra Dee, and others.

As a result of the classic Hollywood inspiration, classic style of the late 50s and 60s ruled supreme with this spring 2019 collection. Her most notable looks were these Jackie Kennedy inspired skirt suits, one of which came in a beautiful blush pink, reminiscent of the former First Lady’s iconic Chanel replica tweed suit. This collection wasn’t just about dressing the fashionable women who are a part of the ‘First Wives Club’, but also about those ladies who have to work for a living.

Long before we had “The Mary Tyler Moore Show,” there were the female prototypes found in “The Best of Everything,” three ambitious working girls of the 1950s who shared their secretarial work and home. These women all knew the power of good tailoring and would have quite enjoyed CHOCHENG’s statement-making shoulder pads, cinched waist bodices, and pencil skirts.

Other silhouettes displayed caped, curved and streamlined design aesthetics conjuring up hints of Elizabeth Taylor and Diana Ross projections seen in “Butterfield 8,” ”Lady Sings the Blues,” and “Mahogany.” Certain pieces seemed to float down the runway, like the mauve cotton knitted lace dress and a coral cotton ribbed and knitted dress. The color palette had a modern femininity that included pink, violet, coral, black, and white. There were moments for women to be understated with approachable black and white and to be a bit adventurous with bolder colors.

Photos courtesy of Purple PR

CHOCHENG’s consumer is easily more of a minimalist, but this spring 2019 demonstrates that CHOCHENG is expanding her base to that woman who wants to be noticed for her fashion choices. She’ll grace the streets with all the class of classic Hollywood actresses, but has no interest in being loud about it. Remember, sometimes subtlety is the best kind of attention, which was the end goal of CHOCHENG this season.— Kristopher Fraser

Son Jung Wan Spring 2019

Sometimes, with Son Jung Wan it is hit or miss. Son Jung Wan has made a name for herself in the New York fashion market as a fashion designer that pushes the proverbial fashion envelope with leanings toward a Korean version of Japanese Harajuku. Lots of bold color, a mix of fabrics, a hodgepodge of silhouettes and lots of cultural influences; that is Song Jung Wan.

All these mixes of color, fabrications and silhouettes apply to the brand’s spring 2019 collection. However, where some seasons, Son Jung Wan was able to make this collage of perspectives work for her collection, for spring 2019 the brand’s kaleidoscope of influences produced a disjointed collection.

This “dramatic moves” collection was highlighted by glamour and exaggerated silhouettes. Son Jung Wan conjured up influences from the 1970s and 80s with also a glance backward to the 1940s and 60s.

Son Jung Wan attempted in this collection to marry the heightened volume found in silhouettes from the 70s and 80s with romantic fashion elements from the 40s and 60s; all seen through a modern lens of minimalism. Puff sleeves rendered in prints of Green Flash and Liberty florals meet fuschia rose A-lines wrapped in dandelions. Throughout the collection are bold, passionate pops of poppy contrasted by stark clean white. Finishes of 3D laces and holographic fabrics projected onto to vintage-inspired tailored shapes keep the collection contemporary; while spangle and beading evoke glamour as florals bring a sense of luxury.  These romantic and chic silhouettes, through draping and tailoring, produce a vibrant rhythm for spring 2019.

Though Son Jung Wan’s intention for this collection should be honored, in real time the collection was all over the place, rendering little retail value in the States. Then again, Son Jung Wan’s major consumers are not really in the US, with most of her consumers in Korea and other Asian markets. So, perhaps, US tastes don’t really matter that much.

Photos courtesy of Deborah Hughes, Inc.

Still, there were some standout looks. This spring 2019 collection’s best looks were those looks in neutral or off-white tones which included the brand’s multi-color one shoulder dress, dandelion yellow sleeveless top with ling skirt and gold-sequined shorts, nude beige silk tulle dress with floral lace and gold-sequined shorts and nude beige silk tulle sleeveless dress with floral lace details.

—William S. Gooch

Self-Portrait Spring 2019

The stylish sixties were given a modern update by designer Han Chong of Self-Portrait. The man known on Instagram as Mr. Self-Portrait, created a collection that was inspired by the spirit of the 1960s, but was for the modern, confident woman. Where many designers look to the more hippie style/bohemian mood of the 1960s when being inspired by the 60s, Chong created a wardrobe for a woman who was the modern urbanite who is sun-kissed and liberated at work.

In contrast to the “borrowed from the boys” or standard secretary dress that would be so popular among women of that era, Hong created a collection that was both cosmopolitan, but also resort ready. Texture is one of the trademarks of Self-Portrait, as evidenced by the brand’s signature lace cocktail dresses, which never fail to disappoint. For spring 2019, the collection also featured pleated silk gowns, poplin blouses, and mixed-media coats.

This is a collection for women who want to make a statement and it is on trend with the maximalism we have been seeing for the past several years. No, it does not push the envelope of maximalism in the realm of brands like Gucci or Comme Des Garçons, but this was a collection for the woman who wants to be noticed for her fashion choices.

Chong did step outside of his comfort zone for this collection though by using a lot of prints. In the past, he never strayed beyond stripes or polka dots, but this time around Chong went for geometric florals, with patterns spliced and combined together, and paired with crochet and lace. This collection was a lesson in the importance of movement in clothing, especially as contemporary women have no desire to feel restricted in their clothes.

Images courtesy of pinterest.com

The Self-Portrait world is also expanding. This season, the brand introduced swimwear. As their fan base has grown, they are able to stay true to their old customers, while bringing in new ones. Those women who wanted Chong’s minimalist approach to color the brand’s appreciation for texture will help to continue consumer’s affectation for Self-Portrait. However, with the spring 2019 collection, Chong has pinpointed the consumer who wants to be in head-to-toe graphic prints and even pick up a swimsuit for resort season. It’s a newer, expanding portrait for Self-Portrait.— Kristopher Fraser

Fushá Spring 2019

Marie Claudinette Jean is back!! Well, her fashion brand Fushá Designs is. After an absence of over ten years, Marie Claudinette Jean has reinvented Fushá from a brand that centered mostly on urban street wear to a brand that is all about glamorous luxury. In other word, bling without the bling; well, almost.

Originally launched in 2000, Fushá had a sizable celebrity following. Marie Claudinette Jean could count Mary J. Blige, Patti Labelle, and the late great Whitney Houston among her celebrity fan base. And after showing for four consecutive seasons at Bryant Park during New York Fashion Week, Marie Claudinette Jean took a long, extended break to raise her daughter. Now, she is back in the fashion fold, and if not with a vengeance, then with a particular fashion point of view.

For spring 2017, Marie Claudinette Jean sought inspiration from a magical forest, which was made evident in the lush, glittering foliage that decorated the background to the brand’s spring 2019 presentation. That said; there were a few carryovers from the Fushá Designs that fans of the brand from the early 2000s grew to love. They bling is still in place, but more understated in this iteration; the collection contains several statement-making garments—something that was always front and center in prior collection, and there is still lots of bold color.

One thing that was worth taking note of in this collection is that Marie Claudinette Jean recognizes that her woman has changed. Gone are the days of blatant in your face glam. Perhaps, the Fushá consumer has matured.

Photos courtesy of Paul Bruinooge

This time around Marie Claudinette Jean has opted for looks, though still glamorous, that are more subdued with the emphasis being placed on the fabrication and silhouette. And this is exactly the right direction that the brand needs to project to. Though most of the silhouettes and fabrications have been seen before, Marie Claudinette Jean aptly understands that she must update her brand with changing fashion trends. And the change in Fushá is refreshing.Bling without the garishness, who could ask for anything better!!

—William S. Gooch

The Blonds Spring 2019

 

The Blonds runway show is one of the most sought-after and highly anticipated shows of New York Fashion Week: The Shows (NYFWS). Always entertaining, with just the right amount of theatrical dynamism and fashion next, The Blonds, for the most part delivers the goods. Unfortunately, their spring 2019 collection was another matter.

As a critical mass, many fashion designers are suffering. Retail sales are low, investment dollars are hard to come by, and traditional ways of marketing, advertising and reaching consumers has lost traction. In other words, the fashion industry is in real trouble. And some designers/brands, unfortunately, are looking to gimmicks, hoping to attract consumers, particularly youthful consumers with deep pockets.

The Blonds spring 2019 collection, particularly as it was presented during NYFWS, seemed like a desperate attempt to maintain consumer and media interest in the brand. Inspired by Disney villains, Cruella de Vil, Ursula the Sea Witch, the Queen of Hearts, Maleficent, and others, The Blonds’ spring 2019 collection appeared to be more in the tradition of a Halloween fashion show—with a few celebs thrown in for good measure—than a legitimate fashion collection.

That said; The Blonds’ collections have always been on the side of phantasmagorical glam; still, this season the theatrics of the runway show overshadowed the collection. And there was some good fashion in the collection in the tradition of The Blonds’s design aesthetic—heavy embellishment, bedazzled bustiers, and sex, sex, and more sex.

Where in past shows The Blonds addition of supermodels and celebs did not distract from the collection, this season, unfortunately, cast members from FX’s hit series “Pose” were the show, entertaining as all out, but adding nothing to the fashion. With the exception of “Pose” cast member Dominique Jackson, who demonstrated classic runway glamazon diva strutting, the rest of the celebs could have stayed at home or at least be given a front row seat. (Remember, the age of Heatherette bacchanalian self-indulgence on the runway expired 10 years ago.)

        Images courtesy of EB Consults

Phillipe and David Blond stick with what has worked and expand on that. Better luck next season!!—William S. Gooch

Pamella Roland Spring 2019

The late great Diana Vreeland once proclaimed that, “fashion is both now and next.” Almost fifty years later, Vreeland’s fashion prediction still applies.

For spring 2019, the flora and fauna and modern architecture of the tropical island of Bali inspired Pamella Roland for her red carpet–ready collection. True to form, Roland’s spring 2019 collection was stunningly beautiful, in the tradition that her die-hard fans have come to expect from her.

Roland conjured up images of Bali’s exquisite bold colors and textures in a collection that was rich in vibrant colors and embroideries. These bold color tones and textures aptly represented the modern architecture and lush flora and fauna of Bali as could be seen the collection’s fabric manipulation, sleek angles and silhouettes.

If there was a bit of next in this spring 2010 outing, that future projection was made evident in Roland’s use of 3D floral jacquard. And though Roland’s use of 3D floral jacquard was admirable, the combination of 3D techniques paired with floral jacquard did not come across as next, this pairing landed more in the area of matronly charm.

That said; unlike Vreeland’s eternal fashion prediction, Roland’s spring 2019 fashion collection, though now, definitely was not infused with a lot of next. And here lies the rub!! Perhaps, due to a rather staid retail market that doesn’t take much risk, for spring 2019 Rolland has stayed true to her established design aesthetic without pushing that aesthetic in a youthful or innovative direction. Her diehard fans will be pleased, but with this collection Roland will probably not expand her base, especially that youthful consumer who is always looking for something a little more avant-garde or unexpected.

        Images courtesy of Purple PR

There were several standout red-carpet looks in this spring 2019 collection. The most noteworthy looks include Roland’s yellow silk organza draped gown with tonal pearl seamed outline, gold metallic fringe and 3D sequin-embroidered cocktail, black satin and stretch crepe strapless cocktail with 3D petal-embroidered bodice, blush and yellow confetti-embroidered strapless cocktail and white ostrich feather hem, and blush and gold hand-painted ombré tulle ball gown with feather and crystal-embroidered bodice.—William S. Gooch

Angelys Balek Resort 2018

“There is no greater romance in life than an adventure with art,”, says Angelys Balek. There are many pathways to tranquility, and fashion designer Angelys Balek finds balance in glamour and confidence. Balek’s hybridization of nature, art and fashion helps women embrace individualism as they join the #ABWorld. And as Miami Swimweek 2018 has come to an end, Fashion Reverie felt an inclusion of Balek’s 2018 resort collection would be a delectable appetizer for our viewers.

Summer is a time for love and romance. Balek’s signature prints are inspired by nature, incorporating striking textures and geometric prints that are perfect, playful pieces for summer 2018. Her resort 2018 collection has a unique artistic approach to athleisure. Taking on a new adventure, Balek bridges her love of gowns for the red carpet and ready-to-wear pieces for street style in a resort collection that incorporates all of these first loves. Designed with the naturalistic woman in mind, Balek embraces microcosm, regarded as a world in miniature.

Balek gives reference to the late 60s era with her design aesthetic and silhouettes in this resort 2018 collection. Though the bikini was first introduced in the 1946, Brigitte Bardot made the two-piece swimwear popular in the late 50s and early 60s. This two-piece innovation quickly became popular in 1960s youth culture, The Mod Movement. The bikini than became the number one trend by all popular Sports Illustrated Swimsuit editions. And for Balek, the bikini is a main focus of her 2018 resort collection.

                                           Images courtesy of Angelys Balek

Balek’s spring/summer 2018 resort collection consists of a technicolor palette that relates back to the flora and fauna of summer. In her runway, red carpet and street wear Balek is known for her signature nature-inspired prints, and sculptural details. By pairing her signature looks with complex shapes and nature-inspired prints, Balek’s first-ever activewear line proves that the simplicity found in life will forever be her first love.—Courtney Wilkins

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