Womenswear — Page 50

Kelly Faetanini Bridal Spring 2016

April 18, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

In the past few seasons Kelly Faetanini has narrowed in on who her bridal customer is. And her current spring 2016 collection demonstrated that her customer is that young bride who wants classic elegance with a twist.

This collection contained the typical traditional details that we have come to expect from Faetanini, floral appliques, intricate beading, and layers of the diaphanous fabrics of tulle and organza. However, the innovation and fashion-forward elements popped up in this collection in Faetanini’s inclusion of few deep blush colorations and feather-embellished looks.

Images courtesy of Ernest Green/fashionreverie.com

Though Faetanini stayed with some of the continuing trends of cropped tops and pocketed skirts—and in Faetanini’s case her cropped top showed barely any skin—this collection centered primarily on looks that would appeal to Faetanini’s widening demographic.

Images courtesy of Ernest Green/fashionreverie.com

There was a wide range of silhouettes in this outing from mermaid silhouettes to fit-to-flare gowns to form-fitting, strapless column gowns. Still, Faetanini was at her best when she added the extra special touches that set her a part from the bridal pack. Her cascading, tiered tulle gown—which was the finale look—was a stunner and demonstrated that when needs be, Faetanini knows how to excite, shock and awe, in a good way!!

—William S. Gooch

Ines Di Santo Bridal Spring 2016

April 18, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

Ines Di Santo outdid herself for this bridal season. Known for her signature mermaid silhouettes and bridal collections that closely resemble European couture craftsmanship of the highest order, for bridal spring 2016 Di Santo extended her bridal aesthetic to include a wider range of bridal customers as well as bridal silhouettes. “Things have to change. So this season we went in a different direction. Every bride has different needs whether it is a silhouette or different hemline lengths, brides have different personalities and envision their wedding day based on their own individuality. We wanted to offer all the brides something within their vision,” explained Di Santo. “A bridal gown is more than just a beautiful dress, it is a personality. That is why we have to have colors and different textures. The bridal gown should look like an exquisite painting.”

Images courtesy of Ernest Green/fashionreverie.com

“I am inspired by the beautiful tree in the background, summer, spring, colors, birds, butterflies, flowers, the color of the blue sky and the sun sparkling. That is what inspires me,” Di Santo confessed. And this inspiration played out in an exquisite collection that embraced in Chantilly lace gowns in watercolor shades of blue, champagne and pink. The delicacy of butterfly wings was expressed in intricate embroidery detailed in vine-like motifs unfurling on bodices and full diaphanous skirts of organza and tulle.

Images courtesy of Ernest Green/fashionreverie.com

Additionally, Di Santo also included several removable overskirts. “Removable skirts can be very dramatic in their own way. They can be light and dance,” detailed Di Santo.

Although this spring 2016 collection was a cacophony of frothy bridal concoctions and dramatic intricate details—particularly Di Santo’s show stopping final look, a fitted corset ball gown with detachable train, accented with handmade silk organza cherry blossoms—Di Santo have several gowns that were less dramatic and simple in scope, yet eye catching none the less. There was something in this collection for perhaps almost every type of bride.

Images courtesy of Ernest Green/fashionreverie.com

Di Santo did stay true to some of her signature silhouettes; corseted gowns that flowed dramatically into faux bustles, and a few mermaid silhouettes with heavily sequined and beaded bodices. Still, this collection was a defining departures from many of her signature looks and demonstrated that Di Santo is proactively seeking a wider bridal demographic.

Images courtesy of Ernest Green/fashionreverie.com

Standouts in this collection were Di Santo’s empire cut silk caddice gown accessorized with crystal beaded illusion neckline with train extending from rouched lower back, A-line sleeveless silhouette with illusion neckline and skirt finished in unique layers of lace, strapless ball gown with sweetheart neckline layered in Chantilly and organza and finished with Alencon hemline and bias organza detail, dramatic ball gown with deep V, cap sleeve bodice with scattered crystals, and embellished natural waist ball gown with layers of embroidered and paliette tulle.

—William S. Gooch

Oleg Cassini Bridal Fall 2015

April 17, 2015 by admin Leave a Comment

Images courtesy of Oleg Cassini

Leave it to Oleg Cassini to take a different path than most bridal designers. While most bridal collections are presented a year in advance, contrary to popular trend Cassini’s bridal collections correlate to ready-to-wear collections; only six months in advance.

And this market point of view seems to work for the iconic brand. If a bride is familiar with Oleg Cassini’s classic, elegant bridal designs, she doesn’t need a year to make up her mind. There will probably be no vacillating between Vera Wang to Monique Lhuillier to Reem Acra to Theia. The Oleg Cassini bride no what works for her, and Cassini is her designer of choice.

Images courtesy of Oleg Cassini

For fall 2015, the iconic brand looked to the most important person in a bridal ceremony, the Bride. This collection celebrates the Bride by encapsulating her joy and rapture in opulent handcrafted embroidery details on sculpted silhouettes that are lightly dusted with shimmery crystals and pearls that reflect the light. Layers of softly colored fabrics blended with unique lace patterns combine to create a magical ethereal effect.

Images courtesy of Oleg Cassini

Though the looks in this fall 2015 collection are solidly classic and traditional, there were some modern touches and trends to can appeal to that bride who is looking for sophisticated looks with a hint of fashion-forward modernity. Cassini carried over the cape trend from fall 2015 ready-to-wear collection with his floor-length cape of lace and crystals. And Cassini’s lacy, silk taffeta pocketed-skirt gown was fresh, modern , lending a hint of casual elegance.

Images courtesy of Oleg Cassini

Bravo Cassini!!

—William S. Gooch

Theia Bridal Spring 2016

April 17, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

For spring 2016, Theia creative director Don O’Neill looked to the whimsical Art Noveau illustrations of Danish illustrator Kay Rasmus Nielsen. Nielsen’s work was influenced by the Belle Époque Era. Nielsen also illustrated such books as, “Fairy Tales by Hans Christian Anderson,” “Hansel and Gretel,” and “Other Stories of the Brothers Grimm.”

Inspired by Nielsen’s fairytale-like artwork, for spring 2016 O’Neill takes his bride on a journey through an illuminated enchanted forest of Victorian dancing princesses. His fairytale bride is donned in weightless transparent embroideries of cobweb, fine Chantilly lace, butterflies fluttering on silk organza, Art Noveau–inspired, hand beaded gown with bodices using 21^st Century 3-D technology.

Images courtesy of Ernest Green/fashionreverie.com

The Belle Époque influences are evidenced in lacy, high-collared gowns and lace embellished, tulle sleeves. Although this collection does harken back to a more refined, restrained era, O’Neill successfully elevates this collection be adding touches of modernity expressed in crop tops, some plunging necklines, a digitally enhanced lace shirt dress, 3-D technology, and a couple of pant combinations. Additionally, O’Neill’s youthful take on the Belle Époque era keeps this collection current, effervescent and fashion forward. O’Neill’s infusion of color demonstrated in pastel floral prints and colorful digital illustration on silk organza also adds innovation and panache to this outing, particularly when the standard color du jour is white, blush, ecru and variations of white.

Images courtesy of Ernest Green/fashionreverie.com

Though this outing has a huge variety of silhouettes from traditional ball gowns to mermaid and fit-to-flare silhouettes to crop top numbers, pantsuits and the ever-trending capes—recently seen in fall 2015 ready-to-wear collections—, this collection is not as over the place as the range of silhouettes and trends would suggest. O’Neill uniquely understands that the modern bride has eclectic tastes and does not stand by brand loyalty. Appealing to this eclecticism is necessary to expand any brand’s demographic, particularly in an oversaturated bridal market.

Images courtesy of Ernest Green/fashionreverie.com

Standouts in this collection—and there were many—were O’Neill’s ivory re-embroidered Chantilly lace cape over sheath gown, ivory hand embroidered slip dress with tulle wisps, Nielsen-illustrated silk organza gown, pearl white pant suit, ivory laser-etched satin burnout ball skirt with re-embroidered Chantilly lace strapless crop top, silk organza shirt dress over hand-embroidered bra with silk pants, and white 3-D corset over silk satin face georgette ball skirt.

—William S. Gooch

Skingraft Fall 2015

February 21, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

Since first showing at Mercedes-Benz Fashion Week (MBFW) a few seasons ago, Skingraft has expanded their design aesthetic beyond the skateboarder chic aesthetic. Though this design perspective in still prevalent in their collections, particularly in their menswear looks, the brand is not embracing points of view that solidly placing them in that constellation of new fashion design brands that has found that marriage between retail viability and cutting-edge design.

Images courtesy of Ernest Green/fashionreverie.com

Inspired by young nomads trekking through the Peruvian mountains in search of new adventures and horizons, as well as the stories of alien activity—remember, legend has it that beings from another universe created Machu Picchu— designer Jonny Cota focused this collection on more wearable pieces that might appeal to that consumer beyond the skateboarder chic fashion set. That said; surprisingly there were more women’s look in this collection than in previous outings.

Images courtesy of Ernest Green/fashionreverie.com

The Peruvian “survivalist” nomad theme of this collection was heavily expressed in the outerwear. From Peruvian-inspired ponchos and shearling coats to leather bombers and buttoned-down, oversized jackets, Cota revealed an urban street savvy that was missing in some of Skingraft’s previous collections. And instead of just going with the current cape trend, seen in so many collections this season, Cota opted to go for his take on capes and caplets by including ponchos in this collection.

Images courtesy of Ernest Green/fashionreverie.com

Though the brand is aiming for more retail viability, Cota in this outing did not stray to far from signature looks that the brand is known for; which is a good thing. Unlike some brands that strive for consumer appeal and loos their signature stamp, with just a few runway looks industry professionals and consumers can still easily identify a Skingraft garment. Standout looks in the collection are the leather-embossed tuxedo jacket with extended crouch pants, burgundy and black stripped wool poncho, leather and wool stripped bomber jacket, and tan and white stripped leather stripped belted jacket.

—William S. Gooch

The Blonds Fall 2015

February 21, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

The Blonds looked to films that juxtaposed the disparate visions of utopian society versus a dystopian society. Drawing inspiration from such idealistic and cataclysmic films as “A Clockwork Orange,” “Orlando,” and “The Holly Mountain,” The Blonds, true to form, delivered a collection that expressed that juxtaposition while maintaining their design aesthetic of cutting-edge, in-your-face, fantasy garments that can only worn by those daring and in good enough shape to wear their form-fitting, revealing creations.

Images courtesy of Ernest Green/fashionreverie.com

Though this was a relatively small collection for the creative duo of Philippe and David Blond, this dynamic duo delivered as they always do every season. The signature looks of heavily embellished, corseted tunics and bodysuits were front and center in this collection. Still, The Blonds utopian and dystopian reference was brilliantly expressed in orange thigh-high boots and orange jacket/capes that paid homage to “A Clockwork Orange,” and glittery embellishments attached to black, plethery-like garbage pants and bustiers, giving a nod to what might be leftover in a dystopian society that is still attempting to add a bit of glam to their lives.

Images courtesy of Ernest Green/fashionreverie.com

This heavily coveted show was peppered with several celebrities from Paris Hilton to singer Kate Nash to rapper Charli Baltimore. Which is to be expected, particularly when past Blond client’s have include Madonna, Rihanna, Beyonce, Ariana Grande, Britney Spears, and others.

Images courtesy of Ernest Green/fashionreverie.com

Standout looks in the collection was The Blonds white bodysuit with silver metallic pasties and white fox jacket, orange asymmetrical corset tunic with orange foxtail coat, and sheer, belted bodysuit with rips and green embellishments.

—William S. Gooch

Reem Acra Fall 2015

February 18, 2015 by admin Leave a Comment

Images courtesy of Reem Acra/fashionreverie.com

Images courtesy of Ernest Greenfashionreverie.com

This season several designers looked to the 1970s for inspiration. Pamella Roland used the mid-70s disco era as a point of reference, Costello Tagliapietra’s perspective on woods women’s chic had a relationship to the early 70’s gingham granny back-to-nature dresses seen through a modern lens, and Vivienne Tam’s 70’s lacy, high-collared homage to the Victorian era.

Images courtesy of Ernest Green/fashionreverie.com

Reem Acra continued this season fascination with the 1970s with a fall collection that drew inspiration from the bohemian gypsy looks of the 70s—imagine Stevie Nicks of the mid-1970s and the other “crimson and clover” rocker babes of that era—married with the heavily sequined embellished look that reflects Reem Acra’s Middle Eastern heritage.

mages courtesy of Ernest Green/fashionreverie.com

If you can conjure up an image of a bohemian rock n’ roll diva beautifully embellished with beading, sequins and sundry sparklers with a nod to the mid-70s than you are understand the point of view of this collection. Additionally, many of these looks are red-carpet ready.

Images courtesy of Ernest Green/fashionreverie.com

Reem Acra ingeniously used the cape and caplet sleeve trend to best effect in this collection. Where some designers just propped caplets sleeves on some garments and the look didn’t enhance the garment or seemed like a dissimilar appendage, Reem Acra’s use of this trend really melded nicely into Acra’s design perspective and silhouettes for fall 2015.

Images courtesy of Ernest Green/fashionreverie.com

Though there are far too many standouts in this brilliant collection to single out just a few, true to form and in support of loyal readers we will name out some of the most spectacular looks in this outing. Spectacular standouts include platinum dress with rose lace worn with blush jacket, flame red mink jacket embroidered in lace worn with chiffon and lace dress, panne velvet bottle green jacket with blue chiffon skirt, both embroidered with platinum and pewter, black wool coat with guipere details worn with black lace and chiffon dress, blush re-embroidered gown combined with platinum encrusted sleeves, and brocade embroidered gown, encrusted with metal jewels layered with iridescence.

Images courtesy of Ernest Green/fashionreverie.com

This fall 2015 collection is perhaps Reem Acra’s best collection to date and with this outing Reem Acra is establishing her rightful place in that constellation of designers who understand how to marry couture detailing in ready-to-wear collections with retail viability; well, if you have deep pockets!!

—William S. Gooch

David Tlale Fall 2015

February 17, 2015 by admin Leave a Comment

Images courtesy of Presley Slack/fashionreverie.com

While some fashion designers look to Africa as a source of inspiration and are influenced by a plethora of African motifs and themes as a dalliance or a concession, for South African-born David Tlale Africa is constant point of reference in essence his lifeblood.

Images courtesy of Presley Slack/fashionreverie.com

Since showing at Mercedes-Benz Fashion Week six seasons ago, David Tlale has evolved into a designer whose style and level of taste has distilled into a singular vision of sophistication and global charm. Tlale is fortunate that his South African background facilitates an assimilation of a variety of cultures—Zulu, Afrikaners, British, East Indian, and other South African tribal traditions.

Images courtesy of Presley Slack/fashionreverie.com

All these influences are infused into David Tlale’s collections. And for fall 2015 the synergy of these influences are almost seamless. From the East Indian and Muslim references that are evidenced in his men’s looks to Tlale’s feather embellishments that highlight African tribal influences to some of the soft draped looks that denote Madame Gres, Tlale has learned over the past several seasons how to meld all these points of view into garments that express origin while remaining commercially viable.

Images courtesy of Presley Slack/fashionreverie.com

Like many designers this season, Tlale examined what fashion would look like in a dystopian world. Political and global social upheavals seem to be having an impact of designers for the fall 2015 collections, and though not necessarily a trend with the significant amount of designers using this theme as an overarching influence, unhinged societal order may become an emotional trend.

That said; Tlale’s predominant digital print in this collection is one of dried lava—and aftermath effect of cataclysmic disaster. With a color palette ranging from beige to cement to black with some metallic gold thrown in, Tlate ingeniously juxtaposes these dystopian-based colors and hues with soft fabrics of silk chiffon, silk organza, Ostrich feathers paired with rougher textures double crepe, brocades, and wool.

Images courtesy of Presley Slack/fashionreverie.com

Though a lot of the women’s looks were outstanding and impactful, what stood out as the most innovative was Tlale’s pairing of soft diaphanous, long silk chiffon skirt/aprons underneath structured men’s jackets. This combination of hard and soft, particularly with menswear looks, demonstrates where Tlale believes menswear is heading. Heading toward a melding of feminine and masculine silhouettes, eventually rendering a seamless synthesis of beauty and sophistication.

—William S. Gooch

Vivienne Tam Fall 2015

February 17, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

Ever heard of “How Stella Got Her Groove Back”? Of course you have; well for fall 2015 Vivienne Tam got her groove back and a whole lot more. Last season though Tam had some pretty dresses—a given for Tam—overall the collection lacked the kind of punch that the fashion cognoscenti had come to expect from Vivienne Tam.

Images courtesy of Ernest Green/fashionreverie.com

That said; this season Vivienne Tam pulled out all the stops. In previous collections, Tam has looked to Chairman Mao and even President Barack Obama iconography for inspiration, this season Tam looked to the controversial European concept of chinoiserie as seen through the lens of urbanized romance.

Though the ideology behind chinoiserie does have at its core racist connotations and borders at looking at Asian culture as “the other,” the ideology also originated from Europeans attempt to inject some of the exotic or “the other” into the decorative arts. At its height during the 18^th century, chinoiserie reached its peak in Europe when it was assimilated into the rococo style.

Images courtesy of Ernest Green/fashionreverie.com

For her fall 2015 collection, Vivienne Tam chose to present chinoiserie in all its 18^th century splendor expressed in pearlescent paillettes under the sheer tulle and printed silk shifts with sequined and beaded accents. Baroque matted silver and foiled gold lace is derived from Chinese Chippendale gilt mirrors, appliqued onto high-necked, Victorian-inspired silk blouses.

Images courtesy of Ernest Green/fashionreverie.com

Tam’s infusion of the chinoiserie influence into this collection was front and center, but not heavy handed. And this collection was not without employing some of the industry’s current trends. The return of metallic fibers could be seen in Tam’s metallic turtleneck with 3D beaded trim. The mesh and micro-mesh was evident in Tam’s China red wool Victorian jacket with quilted back techno mesh and fur trim, as well as Tam’s techno mesh laser-cut applique sweater.

Images courtesy of Ernest Green/fashionreverie.com

Standouts in this collection were Vivienne Tam’s high neck Victorian phoenix vase cut-out blouse with picture frame lace, camel wool Melton quilted A-line skirt, long floaty dress with reflected Bonsai printed on silk chiffon, and Tam’s wine crepe tunic with black mirror lace overlay with scarlet faux leather skirt.

—William S. Gooch

Bihbu Mohapatra Fall 2015

February 16, 2015 by admin Leave a Comment

Images courtesy of Ernest Green/fashionreverie.com

Bibhu Mohapatra’s fall 2015 was subdued and rather conservative. In previous collections Mohapatra infused his collections with gilded embellishments fitting from a designer who has ancestral roots from the Silk Road. This season, Mohapatra went in a totally different direction.

Images courtesy of Ernest Green/fashionreverie.com

Inspired by French sculptor Camille Claudel and Irish revolutionary Maud Gonne, Mohapatra chose this season to use a neutral color palette as well as colors and hues that spoke to his East Indian heritage—turmeric yellow, clay red, and indigo. Also an influence was the recent death of Mohapatra’s father which may had a more indelible influence on this collection than Maud Gonne or Camille Claudel.

Images courtesy of Ernest Green/fashionreverie.com

This rather somber collection did not lack sophistication and some well tailored clothes, especially coats, that would appeal to the “ladies who lunch” crowd. When Mohapatra did include some sequined glam to this collection, the silhouettes were matronly and restrained to provide the needed excitement. That said; the pop and dazzle married with a youthful exuberance that so many fashion pundits have to come to expect from Mohapatra was obviously absent.

Images courtesy of Ernest Green/fashionreverie.com

Standouts in this outing was Mohaptra’s final look, a cape-back black and white gown, as well as a rust red one-shouldered crepe dress, and astrakhan pencil skirt with bow blouse.

—William S. Gooch