If you are not familiar with the Black and White Masquerade Ball, which was one the big socialite event of 1966, then you should. The event was hosted by the great Truman Capote in honor of Katherine Graham, the publisher of the Washington Post. Capote swore that if he ever became rich enough he would host a ball for all of his society friends.
The ball was held at The Plaza Hotel’s Grand Ballroom and all New York City’s elite society and socialites turned out for the event. The fashion on display at the Black and White Masquerade Ball was talked about for months and chronicled in several newspapers and magazines.
Francesca Miranda chose to use the Black and White Masquerade Ball as a reference point for her spring 2020 bridal collection. The Black and White Masquerade Ball represented the Golden Age of New York City socialites so it is only fitting that Francesca Miranda would reference that event to stage her evening wear collection alongside her spring 2020 bridal collection.
Francesca Miranda has been known for creating bridal gowns that re-examine the bridal aesthetic and expand beyond the proverbial bridal category, so to speak. This season Francesca Miranda continued to take us on her journey of re-imagining bridal wear. Many of the bridal gowns in this spring 2020 collection could easily work well as red-carpet garments. And though many bridal editors were whispering during the presentation that Francesca Miranda had strayed to far from bridal pond with this collection, many of the bridal and evening wear garments were editorial gold.
Images courtesy of Atelier PR
Francesca Miranda understands that the bridal market is rapidly changing. And where many bridal editors and bridal boutique owners still like the tried-and-true romantic gowns, Miranda is uniquely aware that what was once a niche market—bridal gowns that appeal to that consumer that desires more use of out a bridal gown or consumers that desire non-conventional gowns—has and is continuing to grow into a larger market.Standout looks from this spring 2020 bridal and evening wear collection include the brands trumpet silhouette gown with petal-like organza sleeves, silk organza illusion neckline hand-embroidered gown, and high-low ruffled dress in moire with strapless draped top.
—William S. Gooch
For its spring 2020 bridal collection, the brand BERTA was inspired by Milan, one of the fashion capitals of the world. As one of the fashion capitals of the world, Milan, as a city, is known for its picturesque landscapes, strong architecture, and style that is unsurpassed. And as fashion capital, Milan has produced such fashion greats as Armani, Valentino, Cavalli, and Prada.
That said; for spring 2020 BERTA successfully attempted some different, but key elements to the collection. This collection featured never-before seen fabrics and silhouettes and a re-introduction of silk, as well as a mix of handmade embellishments and embroideries.
Though it is unfortunate that Reem Acra no longer shows during New York Fashion Week: The Shows (NYFWS)—and she is well missed—it is a comfort to know that Reem Acra presents her bridal collections twice a year in New York City during New York International Bridal Week.
This bridal collection was not only beautiful and very well produced, but, perhaps, the bridal runway show of the season. The cavernous Saint Bartholomew’s Church, in its grandeur, served Reem Acra’s bridal collection very well. And where some bridal designers would have played off of the church’s iconic history and somewhat gothic architecture, Reem Acra modernized her production by playing classic Madonna songs—Like A Prayer, Celebrate, Lucky Star, Papa Don’t Preach—throughout the entire show.
True to form, there were many classic bridal silhouettes in the collection—something that Reem Acra always inserts into her collections. However, this season Reem went against the grain and had something for everyone. There short bridal cocktail dresses—for the bridal rehearsal party—as well as a bridal jumpsuit and white silk hot pants. And there were several nods to Reem Acra’s Middle Eastern heritage with heavily embellished bridal gowns with ornate veils. In fact, the variety of veils used in the collection was one of the highlights of the show.
For spring 2020 Morilee by Madeline Gardner found inspiration from where blue skies meet desert dreams. In this place sky meets the natural beauty of the desert when what was once an arid place flowers due to the onset of spring, Morilee has ingeniously found a way to resurrect the beauty of a desert in bloom seen through the lens of bridal beauty.
Morilee by Madeline Gardner’s bridal spring 2020 collection puts an emphasis on floral and geometric lace details draped sumptuously over contoured shapes, highlighting every bit of their gorgeous natural form. Textured, dimensional beading reflects the golden hour’s light, as layers of tulle and organza reveal decadent depth and dimension. Through the wind and sand, the silhouette of simple structured shapes will capture the natural spirit of the bohemian bride.
Standout looks in this collection include the brand’s tulle ball gown with embroidered lace appliques and crystal beaded neckline, fit and flare gown with pearl and crystal beading and Venice lace appliques on allover Chantilly lace, full ball gown with cathedral-length train and soft flutter sleeves, and fit and flare gown with sheer train and detachable overskirt.
Since 2011, Eisen Stein has set a standard with their innovative take on luxury bridal gowns. The design team of Yael Eisenberg and Hali Kalkstein have devised a bridal brand that expands bridal beyond traditional fare, incorporating silhouettes and a perspective that one would expect at celebrity red-carpet events.
All bad controversy brings good publicity; well, sometimes. At Los Angeles Fashion Week, Nicholas Mayfield took the bull by the horns. “A black man created all this commotion,” stated Khyran Shank, local multi-talented artist. Leave it to Nicholas Mayfield to never shy away from art that best explains his life revelations.
Nicholas Mayfield’s fall 2019 collection was by far the most anticipated show at Los Angeles Fashion Week. Not only a designer, but a true artist, Mayfield’s unique and diverse form of expression is an ode to kaleidoscope colors, graffiti aesthetic and Afro-American culture. From artistic canvas, furniture and unconventional pieces, Mayfield’s front row access included quirky social messages, an acrobatic performance, and his twenty-plus eccentric guests.
Gold hardware screamed hip-hop culture and was fit for a Cardi B music video, while jewel tones, sequins, and sparkles were fit for Vegas showgirls in the absolute best way. The line-up of celebrity and influencer models also included Lion Babe, Karrueche Tran, Aquaria, MJ Rodriguez, and the Clermont Twins.
The selected celebrities really spoke The Blonds’ client base—super sexed-up musicians and influencers, glamorous drag queens, transgender, and gender non-conforming who want a lot of sexy sparkle and sequins. The show was closed by none other than one of the originators of hip-hop, Lil Kim.
Lil Kim who strut the runway in a gold sequined jumpsuit with a plunging neckline as she performed “Go Awff” and her classic hit “The Jumpoff”. As always, The Blonds show was a party fit for a music video. It’s no wonder pop and hip-hop stars continue to gravitate toward the brand, they complement each other well.
It was unclear as to whether or not Zang Toi’s fall 2019 runway show was supposed to be a fashion show, a fundraiser for the RNC, or an homage to Donald Trump’s America. It would be easy to assume the latter, given that Donald Trump Jr. was seated front row at the show along with Trump Sr.’s ex-wife Marla Maples. Affluent Republicans at fashion shows where the clothes are marketed toward Upper East Side society women and Texas oil wives is nothing new, but what followed was a runway show almost fit for Mar-A-Lago.
Once his efforts to appeal to millennial consumers fell flat, Zang Toi moved on to what he does best, evening wear fit for a gala. The color palette for this season’s collection was red, white, and blue in honor of the American flag. Models walked the runway to songs including “God Bless America” and “God Bless the USA.”
The audience could be seen singing along to “God Bless America” as though they were at a political rally. Gasps and awes began when a dress with a sequin pattern of an American flag on the skirt made its debut, and the fanfare of the audience could be heard when the finale look, a black dress with a floor length, sequined American flag shawl attached, closed the show.
No fashion brand gets more inclusive than Chromat. However, sometimes that is not a good thing. Chromat has made a statement in the fashion industry because of their architectural, geometric, revealing collections that embraces sexual diversity, fetish, and the avant-garde with a fashion-forward sensibility. For the past several years, Chromat founder and creative director Beca McCharen-Tran has really sought to include models of all body types, sizes, and sexual distinctions in the brand’s runway shows. For the most part that projection has been successful; however, for the fall 2019 collection McCharen-Tran’s attempt at an all-inclusive runway show was a dramatic fail.
Inspired this season by tropical locales, this collection looked more like a swimwear collection or at the very least a spring/summer collection. Still, this collection does make sense if a consumer is looking to transition some of the garments in this collection from workout gear to a breezy cocktail party in the tropics. Fortunately, this is what the design team at Chromat intended. And in that respect this collection was credible.
