The legendary Ralph Lauren is so frequently inspired by sports, whether its spectators (as in his "Downton Abbey collection") or the actual people doing it (last spring's surfer chicks). Yesterday it was a mix of the two - horseback riders headed to the safari, in a nutshell. That essence was seen in the first few opening looks - suede jodhpurs paired with bright colored satin tops. The color combination, although sometimes a little hard on the eyes, felt pretty fresh after the monochromatic showing six months ago. The latter part of the inspiration was in full force with loose-fit shirt dresses and YSL-like skirt suits paired with chic hats and luxe bags. Black pieces were almost surprisingly alluring - high slits and exposed shoulders showed just the right amount of skin, while crossing into tacky territory. The same couldn't be said for a few of the presented gowns. A particularly unfortunate was a bright pink embellished T-shirt and tulle skirt combo that felt more Sherri Hill than Ralph Lauren. New York's debutantes and A-list actresses alike will go mad for some of those tulle gowns, whereas the throwback-to-Veruschka closing dress is the perfect addition to an upcoming safari inspired fashion spread.
There's a fine line between minimalistic and morose. Calvin Klein's creative director Francisco Costa walked that line with his latest show. What is usually a smash of a show, at times felt a bit boring. The thought process and execution were all well and good, but the lack of diversity was a tad bothersome. I loved the elongated silhouette - racer-back tunics over impeccably tailored culottes and midi-skirts (in navy, black and white) were pretty cool, in part because they were accessorized with thin, metal belts right under the bosom. Another thing I must point out is that only the last day of Fashion Week we witnessed the return of the chunky platform shoe (if it wasn't for the peep-toe, I would've loved them more). Welcome back! The little gems in the middle of the show were richly colored leather minis and jackets. Particular treatments of fabrics at the end of the show gave us a few glamorous, but somewhat unflattering looks.
You may like his stuff, you may hate his stuff, but you cannot deny that any Marc Jacobs collection gives you plenty to think about. When I first logged on to the live stream, I was taken aback by the pinkness of...well, everything. Benches the guests sat on were covered in hot pink shag carpet and at the center of the runway, Jacobs' team built an idyllic looking pink house. Another thing that was surprising was that all the show-goers (including Anna Wintour) had huge headphones on which was explained by Jacobs in a way that he wanted to provide everyone with a personal experience of the show. Kind of genius, right? From the first girl out (Joan Smalls, FYI), there was an aura of uniformity surrounding each piece. Washed out greens and blues, lack of make-up and blunt black Anna-Wintour-on-a-bad-day wigs didn't have a lot of joy, but surely packed a powerful kick. I might be standing alone, but I felt a sense of menace with a few looks - models carrying five bags seemed to be moving away from a darker place, even though its outside was pink. Gold buttons and large pockets, an obvious military reference, weren't literal in a way that the pieces consisted of sturdy-looking fabrics and girly ones, such as satin. Almost as if a baby doll dress had an affair with a military uniform. Bags were a huge part of the collection, with certain dresses seeming as if a clutch bag was sewn on to it. Women, rejoice, for you'll be able to go hands-free! The decorations provided a whimsical element - graphic, 60's inspired appliqued flowers, whether on gorgeous floor-length columns or Twiggy-like collared minis. It is so incredibly fitting that Jacobs closed the New York portion of the Fashion Month, considering that his was the show truly worth waiting for.
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