Front Row — Page 54

Sachin & Babi Noir Pre-Fall 2016

December 20, 2015 by admin Leave a Comment

Since 2009, the design husband and wife duo, Sachin & Babi has had their fingers on the pulse of the modern woman’s ever-evolving desire to have beauty in her life that matches her expanded lifestyle. Their pre-fall 2016 collection reflects Sachin & Babi’s evolution as a design team and their particular understanding of the vicissitudinous nature of the fashion industry.

The directional shift of Sachin & Babi is perhaps most reflected in a name change of the eponymous brand to Sachin & Babi Noir with a focus primarily on eveningwear. What was once just a offshoot to their more well-known namesake line, Sachin & Babi have now fused Noir into their singular design projection.

For pre-fall 2016 where some brands abandoned the trend of big floral prints from last season for fall/winter collections in favor of lots of fringe and reinventions of the classic Chanel jackets with unfinished edges in light tweeds, light metallic, or trans-seasonal fabrics for pre-fall 2016 Sachin & Babi decided to stay with big floral prints for pre-fall funneled through the prism of floral explosions seen in Frida Kahlo paintings.

Staying the course with big floral prints not only sets Sachin & Babi apart from pre-fall 2016 collections but also demonstrates their design acumen in re-imaging the continuing trend of big floral prints. Off-the-shoulder blouses paired with embroidered and appliqued big floral skirts in bold but more somber variations of pale skty blue, cobalt blue, and turmeric yellow expands consumers’ choice of color palettes that now have a more trans-seasonal appeal. Encompassing the ruffle trend from last season was expertly and subtly married with asymmetrical cuts and cutaway silhouettes.

Images courtesy of Sachin & Babi Noir

Though this collection was more focused on eveningwear, the many separates in the collection could easily be paired with a variety of daywear items. Still, there were lots of reference points and cultural influences for pre-fall—Spanish matador, 1950s tea-length dresses, and Fridal Kahlo—that all managed to meld into one continuous design kaleidoscope, without one motif overpowering the others.

—William S. Gooch

St. John Pre-Fall 2016

December 20, 2015 by admin Leave a Comment

Brands are put under tremendous pressure each year to create more and more collections in order to satisfy consumers’ ever-expanding taste for more and more diverse product. And retail stores and boutiques need to satisfy that desire. Instead of the standard three to four collections a year, major fashion brands now create anywhere from six to eight collections with deliveries reaching consumers way ahead of the actual season.

Spring clothes hit the stores as early as mid-January and fall clothes appear on the racks in late June. That said; some brands are delivering pre-fall as early as late April. This accelerated delivery pace is due to retailers needing new product every six weeks, as well as changing weather patterns that produce a growing need from trans-seasonal clothes.

St. John has adapted to these vicissitudes of retail without losing its distinctive signature aesthetic. Where other brands sometimes lose brand identity because of the ever-evolving pace of modern retail, St. John has found a way to incorporate these new directions and excel. Which is surprising for a brand that has been around for over fifty years and has not abandoned its penchant for knits in a market where new textile technologies and trans-seasonal diaphanous fabrics are the order of the day.

St. John creative director Greg Myler drew inspiration for the pre-fall 2016 collection from North Africa. This inspiration is made evident in Arabian tile mosaics and graphic shapes that translated into some ombre effects in the collection or in some great jackets that looked like a modern ‘coat of many colors.’

Images courtesy of wwd.com

The unfinished edges of the jackets at first glance might conjure images of Chanel jackets that have been re-imaged ad nauseam; however, at closer examination the unfinished edges are reminiscent of Moroccan woven rugs and cushions. And though this collection is heavy with St. John’s signature knits and sometimes reflects Yves St. Laurent of the 1960s—remember, Yves St. Laurent was Moroccan—Myler’s approach is very current and fits the way modern women live their lives.

—William S. Gooch

2(X)IST Spring 2016

October 15, 2015 by admin Leave a Comment

When a fashion brand has become closely identified with one very specific product or signature look is it possible for that brand to expand its signature aesthetic to include other elements that expands the brand’s consumer base? Depending on the fashion brand, hard question to answer. The repositioning or recalculating of a fashion brand’s design aesthetic in an already saturated market can sometimes be to its benefit to the brand or other times to its demise.

2(X)IST is not only positioning itself to ask this answer, but also to answer the question in its own unique way. Once identified only a men’s underwear brand, 2(X)IST is attempting to position itself in the ever-growing athletic wear market. Consumers say evidence of this in collections from the last couple of seasons.

That said; the continuing trend of ‘athleisure’ wear—athletic clothing re-conceptualized as daywear that can transition to workout gear or with a few added accessories, even a night-out-on-the-town wear—serves 2(X)IST creative director Jason Scarlatti. And the trend of ‘athleisure’ actually comes to fore almost as much as the brand’s underwear in their spring 2016 collection.

In this 25^th Anniversary collection, Scarlatti included quite a few women’s look, totaling the runway looks to 58. While some fashion pundits might contend that the women’s looks for a distraction for the beefy male models, the women’s looks could be described as a visual rest from all the athletic hunkiness that usually parades up and down 2(X)IST’s runway shows. (Trust, there was lots of muscle and sinew to go around.)

From Oraine Barrett, Andrea Denver, and Parker Gregory to Andre Ziehe, Nyle DiMarco, Kevin and Jonathan Sampaio, 2(X)IST always have some the top male models in the fashion industry. And now with the addition of female models, the circle is now complete.

Images courtesy of Ernest Green/fashionreverie.com

Still, the bigger question to be proffered is if the brand’s expansion into ‘athleisure’ wear is going to prove commercially viable for 2(X)IST? Though the only the fashion gods know the answer, if the response from the exiting audience is any indication, Scarlatti is on the right track.

Standout looks in the collection were the brand’s full-zip white jacket, micro cross-back sport bra in pink glow, short sleeve V-neck sweatshirt in light grey heather, cotton no-show trunk in fractal Chevron dazzling blue, embossed muscle sweatshirt in Limoges, tipped polo in Limoges, and tapered sweatshirt in chambray heather.

—William S. Gooch

Carol Hannah Bridal Fall 2016

October 11, 2015 by admin Leave a Comment

Carol Hannah was inspired by natural beauty of the sea for her fall 2016 bridal collection. Hannah’s “Siren Call” collection was a celebration of fluidity, texture and relaxed femininity.

These themes of femininity, fluidity and even sea references are nothing new to Carol Hannah. For a few seasons, Hannah has established herself a bridal designer who draws inspiration from the fluidity of movement, relaxed charm with an embrace of the softness of the feminine silhouette. All these points of reference fit nicely with Hannah’s predilection for water motifs. A motif that was obvious in Hannah’s fall 2015 bridal collection.

The Hannah bride is not necessarily the traditional bride. This modern bride wants something that is different, sets her apart, and envisions her bridal day as a reflection of her personality, mood and perspective on life.

Though the Hannah bride is stylish and fashion forward, the Hannah bride is definitely not afraid to take risks and her bridal ceremony could easily be on the beach, in a dewy mountain retreat on some other nontraditional venue, probably attended by guests whose mode of being reflect a more relaxed approach to life. In other words, this collection could be deemed a destination bridal collection.

That said; Hannah’s design aesthetic is not hippy dippy, nor is it a modern version of “Lucy in the sky with diamonds” 60s flower child wedding garb. Hannah’s bridal design aesthetic is her own interpretation of a modern-day bride. It is both now and next, which what fashion should be.

Images courtesy of Ernest Green/fashionreverie.com

Standout looks in the collection were Hannah’s asymmetrical cloud of silk crinkle georgette with opal beading, flotsam and jetsam open weave jacquard gown with fishtail detailing, gold foiled open weave linen ballgown with corseted bustier, and jellyfish trim shorty.

—William S. Gooc

Galia Lahav Bridal Fall 2016

October 10, 2015 by admin Leave a Comment

Image courtesy of theknot.com

When it comes to bridal haute couture no brand does it better than Galia Lahav. For over 30 years, Galia Lahav has set her brand a part by establishing herself as a designer that understands how to marry her signature aesthetic of illusion backs, cascading silk tulle skirts and Italian ivory lace with a modern perspective.

For her fall bridal 2016 collection Gothic architecture and medieval silhouettes inspired Lahav. Though this inspiration could be seen as a much used and dusty point of reference, Lahav ingeniously conjured up a modern interpretation of medieval structure combined with her signature aesthetic of illusion backs, and feminine form-fitting silhouettes.

Image courtesy of theknot.com

This season Lahav also incorporated some crop tops and more bridal short dresses. Though shorter than the traditional bridal tea dress, these looks still maintained their attachment to the bridal tradition by encompassing long silk tulle trains and lacey, sequined bodices. And Lahav added to the drama of her fall 2016 collection in the latter part of the runway show by having her models adorned with elaborate headpieces.

Standout looks in the collection were Lahav’s lacey fit-to-flare halter gown with silk tulle train with floral lace embellishments, floral lace illusion bodice gown with silk chiffon skirt, and long-sleeved lace gown with side illusion cutouts.

—William S. Gooch

Isabelle Armstrong Bridal Fall 2016

October 10, 2015 by admin Leave a Comment

Isabelle Armstrong’s design aesthetic has evolved. Where in previous collections Armstrong’s concentrated her bridal looks that appealed to wide bridal demographic. From ostrich-feathered short bridal dresses to asymmetrically cut bridal gowns, Isabelle Armstrong’s appeal was wide reaching and in step with brides who wanted elegance with modern touches.

For fall 2016, Isabelle Armstrong was inspired by the documentary “Dior and I. The “Dior and I” documentary took a detailed behind-the-scenes look of one of the most iconic designers of the 20^th Century.

That said; Isabelle Armstrong has distilled the elegance and sophistication that was so much a part of the House of Dior into the fall 2016 collection. This collection showcases an array of timeless designs, beautifully draped silks, delicate laces, unusual fabrications and a boldly colored statement piece that will be sure to surprise this season.

“We love the creativity of couture fashion and appreciate the beauty of old world, classic design,” says Isabelle Armstrong President, Remy Quinones. “The overall theme of this collection celebrates timeless glamour and sophistication. We believe that elegance is the new sexy.”

Images courtesy of wwd.com

There were many great looks in this fall 2016 collection, particularly the early cashmere looks in the collection, which includes the ivory cashmere twin set with beaded jewel appliques work with layered tulle ball skirt. Other standouts of the fall 2016 collection are Armstrong’s floor-length angora cardigan with kimono sleeves and beaded trim worn with two-piece strapless dress lace bustier with draped crepe skirt, silk satin fit-and-flare gown with V jeweled illusion neckline with bow-detailed skirt, lace-printed Italian silk organza ball gown with beaded embroidery on bodice, and strapless silk-faille ball gown with top-stitched corset bodice and jeweled neckline.

—William S. Gooch

Oscar de la Renta Bridal Fall 2016

October 10, 2015 by admin Leave a Comment

For bridal fall 2016 creative director Peter Copping reinterpreted styles from the fashion house’s spring 2016 collection for fall bridal 2016. There were modern twists on high-collar Victorian look as well as modern interpretations of Latin-influenced lacey capelets.

Surprisingly, Copping used a lot of floral appliques and floral embellishments on many of the bridal gowns. Unlike other bridal brands that use crystals, sequins, frosty-like embellishments and beading to conjure images of winter, Copping used tulle layering and floral for fall bridal gowns. The effect was no less autumnal or wintry.

Though this collection used like floral embroidery, layers of tulle and voluminous ball gown skirts, there was a simplicity and sophistication to the collection that altered the fussiness or overdone direction the collection could have gone in. Instead, Copping rendered a lush and beautiful collection that was steeped in Oscar de la Renta’s formula signature while injecting his own creative oeuvre.

Images courtesy of lesfacons.com

This collection contained some sheer lace tops, done in short-sleeve and halter versions with ribbon ties, Copping’s version of frothy tiered dresses and lots of floral embroidery, from pink floral appliques to beads stitched together to form floral shapes.

Oscar de la Renta’s signature look was ever present in this fall 2016 collection, yet, Copping made us all aware that he is now manning this fashion house. Bravo Copping!!

—William S. Gooch

Ines Di Santo Bridal Fall 2016

October 9, 2015 by admin Leave a Comment

Ines Di Santo is known for her bridal mermaid silhouette. Surprisingly, this season there were very few mermaid bridal gowns; in fact, this collection was a bit of a departure from the Ines Di Santo most bridal editors have become familiar with.

For several seasons, Di Santo has made her stamp on the bridal market by creating bridal looks that are infused with a strong patina of couture craftsmanship. However, this season Di Santo went more commercial.

While many bridal industry professionals love the sculptural beauty of Di Santo’s bridal couture-like gowns, the more commercial direction of the brand does not diminish the sheer beauty and craftsmanship that is still a part of the Di Santo oeuvre

For fall 2016, Ines Di Santo was inspired by light and all of its beautiful qualities. Di Santo’s reference to light and light’s many incarnation explains the ethereal quality of the collection and her move away from her tried-and-true aesthetic of more sculptural gowns with embellished bustiers. And though the light airiness of the collection was beautiful and more commercially viable, Di Santo’s signature aesthetic was missed.

Still, Ines Di Santo understands something that so many designers fail to understand. All collections look better when you have top models walking in her show. And the new direction of your brand will be received better if the clothes walked down the runway on some of the best runway models in the industry.

Images courtesy of Ernest Green/fashionreverie.com

Though Di Santo’s ball gowns with scattered floral embellishments were bit Walt Disney, there were some exceptional standouts that deserve mention and celebration. Standout looks in the collection were Di Santo’s sensual lace sheath with deep V neckline and illusion sleeve accented by appliqued cuffs, sleeveless sheath in Four Ply Silk with scooped neckline and ballet back, sleeveless dropped waist gown with collaged lace tulle skirt and dramatic cathedral-length train, and beaded lace mini with asymmetrical skirt.

—William S. Gooch

Kelly Faetanini Bridal Fall 2016

October 9, 2015 by admin Leave a Comment

Kelly Faetanini looked to the magical world that C. S. Lewis created in his Narnia novels for her fall 2016 bridal collection. In Narnia there is a mystical relationship between talking animals and the humans who live there.

The Narnia fairytale world that informs this collection is expressed in details of intricate hand-beading that resembles evergreen forests, leaf-patterned appliques, layers and illusions of lace on the shoulders and down the back of the gown give that give a projection of vines, and glistening ice crystal embellishments. Also, the frothy, soft tulle overlays reference a Narnia that is covered in lieu of the absence of the lion Aslam.

Faetanini has evolved her bridal design aesthetic that in her early years reflected more fashion as art than what was commercially viable. However, in the past few years Faetanini has found that delicate balance between her own creative oeuvre and what the modern bride will wear on her very special day.

This particular collection was a testament to Faetanini learning how to temper throwing too many ideas in at one time, hoping that it all miraculously melds to make one seamless expression—which its what would happen in some earlier outings. In this collection Faetanini is cohesive in her design aesthetic and added touches of sophistication that elevates her collection without diminishing the youthful exuberance.

Images courtesy of Ernest Green/fashionreverie.com

Though Faetanini started this fall 2016 bridal collection with some bridesmaids’ looks that were rather pedestrian; overall, the collection was quite beautiful with the detachable skirts being a nice, utilitarian element. That said: standout looks in the collection were Faetanini’s short one-shoulder pleated chiffon dress, silk Mikado strapless fit-to-flare with piped Alencon lace corset-style bodice, blush-beaded Alencon lace fit-to-flare with tulle pleated skirt, and tulle ball gown with pleated bodice and color transforming blush embroidery.

—William S. Gooch

Inbal Dror Bridal Fall 2016

October 9, 2015 by admin Leave a Comment

With Inbal Dror you always get the finest European fabrications combined with exquisite detailing all seen through the lens of couture craftsmanship. Never one to rest on her laurels, Inbal Dror every season pulls something new and innovative out of her deep well of creative genius. This season was no exception.

Inspired by the idea of contrasting glamour and decadence in one garment, for fall 2016 Inbal Dror bridal collection ranged from regal Bridal gowns to sultry eveningwear injected with some menswear influences. This season Dror was attempting to find that juxtaposition between frothy bridal wear and an inventive play on men’s tuxedo jackets and tailored button-down shirts. Dror also expanded her color beyond the traditional bridal hues of ivory, vanilla and champagne to include charcoal blush and black.

Like previous collections, Dror likes to emphasize the curves of a woman’s body in her bridal looks. This perspective was again a prime focal point of Dror’s fall 2016 collection. However, unlike previous outings, this collection had a dual purpose. Several of the looks in the collection could also be worn for a night out on the town in any major international city.

Dror has tapped into how the bridal industry is evolving past and industry that only embraces gowns that will worn only that one special occasion or past down as heirlooms. Dror realizes that the modern bride is more utilitarian is open to embracing looks that are nontraditional and border on sultry nightlife clothes.

This fall 2016 collection had something for a wide range of brides, facilitating a wide variety tastes and age demographics. What is consistent about Inbal Dror is that her customer loves luxury couture-inspired looks and does not shrink away from her sensuality and allure.

Images courtesy of Ernest Green/fashionreverie.com

That said; standout looks for this collection included Dror’s body-hugging crotchet pant suit, caviar-beaded double breasted gown, men’s-inspired button-down shirt lace and organza gown with high slits, and charcoal blush mermaid gown with fitted lace bodice.

—William S. Gooch