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
There are several things that standout about THEIA bridal, still there are two primary things that come to mind, the brand always comes up with something new and innovative, and the brand never disappoints. THEIA’s fall 2019 is no exception.
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.
For those that are familiar with Inbal Dror’s bridal collection, what is most obvious is Inbal’s penchant for designing beautiful bridal garments that are always on trend, but also expand the proverbial bridal envelope. Though some bridal pundits might be taken amiss or be slightly disturbed by the sheerness of several of the garments in Inbal Dror’s bridal collections, be aware that many of the sheer looks are for runway appeal—in fact, they are an editor’s dream—and that an extra layer or lining will be employed once those bridal garments hit the retail market.
If there was one drawback in this outing was Dror’s continued use of vintage lace embellishments that can sometimes make some garments look a little matronly. And occasionally those lace embellishments paired with ruffles created a disjointed mélange of an inchoate vision unrealized. Still, the effortlessness and calm and tranquility of the Mediterranean Sea did come through.
Alice + Olivia’s Stacey Bendet used international locations as inspiration for the brand’s spring 2019. Entitled “Wonderland,” Bendet takes her consumer to Paris, Marrakech, Positano, Tokyo, Provence, Careyes, and the fairytale location of “Wonderland.” And Bendet built sets that highlighted all these international locations with garments also reflecting said locations.
True to form, Bendet stayed with the Boho chic signature design aesthetic of Alice + Olivia. Bendet expands this signature design aesthetic to that of an international jet setter whose wardrobe is very travel friendly. There are lots of shirt dresses with lace trimmings, handkerchief skirts, halter dresses, and crop tops. Additionally, Bendet digitally printed classic monuments and cultural iconography from some of the international locations on skirts, tops and some jackets.
Marcel Ostertag has presented his collections six times at New York Fashion Week: The Shows (NYFWS). Unlike many designers from across the Big Pond that show one or two times at NYFWS and for some reason don’t get the market traction that’s expected and then call it quits, Marcel Ostertag has stayed the course. And this strategy is starting to pay off.
In this spring 2019 collection, Ostertag was also inspired by the music and fashion style of the 1970s. The high-waisted, pleated pants and sequined bell sleeve tops, as well as the various takes on the ubiquitous wrap-dress in particular give a nod to 70’s silhouette throughout the collection. Although this 70s reference is very strong and quite dominant throughout the spring 2019 collection, Ostertag makes this collection fresh and very current while touches of Ostertag’s signature aesthetic.
‘MUSE’ is a joyful explosion of yellows, blues, lavenders, oranges and nudes that was summed up perfectly in his Rainbow sweater; a cashmere crew comprising of over 24 shades of brightly colored yarn. Other highlights of the show were the over embroidered and beaded pants, Iris printed charmeuse ruffle tiered gown, and the blush sequined mesh top. Standouts from the men’s capsule collection were the oversized color-blocked cashmere hoodie and Fuji silk jumpsuit (as well as a wildly editorial, but ultimately niche version in blush micro sequins). 
If there is one drawback to this collection, it would be that this spring 2019 collection is heavy on garments that are more of an industry professionals’ love or aesthetic, particularly fashion stylists, than something that translates well to American consumers. While a decade ago that was a good thing with fashion editors and fashion industry professionals have more of an influence over consumers’ taste, those days have long past!!
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.
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.
If you are scouting for that new, innovative fashion designer that is not afraid to take risks, The Academy of the Arts has a slew of young creatives that fit the bill. Once a year the San Francisco–based fashion design school presents some of their most talented design MFA students during New York Fashion Week: The Shows (NYFWS), usually occurring during the spring collections shows. Though it is a long-extended show, showcasing 5 or 6 garments from each selected MFA student, the show is definitely worth it.
“The collections reflect the designers’ abilities to explore their individual spirit while mastering their craft. They’ve honored the essence of the industry and carry conscientious practices into textile design, three-dimensional design, tailoring, and construction techniques; at the same time, they’ve intelligently integrated the use of technology and sustainable concepts into their work,” explained Simon Ungless, Executive Director of the School of Fashion.
Some of the standouts for the spring 2019 season were Yoonsuk Lee inspired by the visual associations of the ‘walk of shame,’ the surrealist black and white photography of Vivian Maier and Irving Penn, and his grandfather’s custom-tailored suits; Snezana Anicic-Van Pelt inspired by observations of the ways our society has been shifting; different qualities (identifies) that can coexist as a whole; Mark Kazu Mekaru, Katy Fang Liu, and Yu Ling Chou collaboratively inspired by Miyako Ishiuchi’s photograph of a disintegrated garment destroyed during WWII, along with some elements of the Japanese art of origami, representations of disintegration, peeling, and falling away are incorporated in the garment shapes, textiles and knits; Zhihan Liu inspired by the movie “Shutter Island” with scenes evoking feelings of hurt, pain and darkness, austerity, and purity, and lastly Changsheng Yu inspired by compositions, contrasts and shapes created by natural light and shadows in San Francisco, the black and white photography of Andres Canal and Horst P. Horst, and long-exposure photos of dancers.
Coincidentally, many of The Academy of the Arts selected fashion design students are inspired by film, movement and photography. Hopefully, as these aspiring fashion design transition from their studies to the real world of fashion design they maintain their incredible skill and craftsmanship, never compromising their design acumen for market traction and viability.
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.
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.
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.
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.
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.
