When you get an invitation to a New York Fashion Week show hosted by Bill Nye with Buzz Aldrin modeling, how can you say no? Is this for real?!
Claire Pettibone has always been a personal favorite – so distinct in her vintage 1920’s – 1940’s inspired aesthetic. Femininity shines through, but for the artsy, creative bride…or the bride who appreciates a bit of old fashioned flounce…or the bride who wants something romantic and bohemian.
Temperley London went for it this time with a Fall 2017 collection full of bohemian fantasy, modern romance and even some pops of color.
I have so much love for the Temperley London looks – they’re always light as air ethereal, but so creative in the way they are infused with glamour and bling like a racer back embroidered with crystals, a floating hand-beaded shoulder, intricate sheer lace panels…it’s all so luxe, but so light.
When Queen’s Bohemian Rhapsody is playing, you know the energy of the collection is going to be high. Infused with the ’70’s vibe, Zuhair Murad‘s Fall 2016 Couture collection broke out of the princess shimmer gown stereotype and went a little rocker, a little hippie chic, and a little Gustav Klimt art piece.
The base looks were very much house Murad, with sheer skintight embroidered body silhouette gowns, jumpsuits, a caftan, mini dresses, and a stunning bridal gown to close the show. The vintage 70’s vibe was infused with ruffled hemlines over thigh high boots, velvet capes, dipped down cartwheel hats, and intricate macrame embroideries.
With Pierpaolo Piccioli and Maria Grazia Chiuri as the dynamic duo at the helm of the Valentino fashion house, the runway shows have always been a bit magical. Not so much because of lavish settings or props, but because of the high culture for the inspirations of their collections. You are immersed in the society that Piccioli and Chiuri have either dreamed up, or are emulating through their designs, and with their strict and exacting detail coupled with their romantic aesthetic, the result is intoxicating.
This year, the Fall 2016 Couture collection celebrates the 400th anniversary of William Shakespeare’s death through Elizabethan period inspiration. There were puffed sleeves, lace up vests, high white ruffs, cleric’s robes, cinched bodices, doublets, brocades, and lattice work.
With a Madison Avenue store set to open in 2017, it was New York as Elie Saab’s muse for his Fall 16 Couture collection, which was chock full of sheer Saab staples, but a few new surprises as well.
Karl Lagerfeld is known for creating dreamlike backdrops for his runway shows, and the Fall 16 Couture show was perhaps the apex for most Chanel fans who were there to witness it. Lagerfeld actually flew in the ateliers and their workshops in which the magic of Chanel is made, and gave Chanel coveteurs a chance to witness – during a live runway couture show – the actual process of making couture clothing. Apparently, there was nothing staged about it. He instructed the ateliers to continue their work just as they had back in their actual shop. Um, what?! What an incredible jaw-on-the-floor moment!
Citing Dior’s 1947 New Look Bar jacket as principle inspiration for its Fall 16 couture collection, Lucie Meier and Serge Ruffieux, interim designers for the fashion house, chose the perfect note to exit on. If rumors are true then it’s Maria Grazia Chiuri of Valentino who is heading over to become the new artistic director of Dior. As for now, if this is in fact the duo’s last collection as interim head designers, what a way to go.
The focal point was dreamy movement in Alberta Ferretti’s Fall 16 Couture collection, and to this end, there was a plethora of vintage vibed fringe, beading, pearls, and flowing silks wafting through the halls of her Rue du Faubourg Saint-Honoré shop.
An incredible departure from Donatella Versace’s house signatures of ultra sexy, amped up embroideries, and logos, the Atelier Fall 16 Couture collection showed powerful pieces that showed off the house’s softer side, with draping, tailoring, and sculpting. The show opened in stellar drama, with Karen Elson in a cinched waist blush cashmere coat lined in mint, with one lapel falling off the shoulder, revealing a scarlet bustier gown underneath.
Versace started with rich and unusual color combinations in crimson, blush, lavendar, grey, and sky blue with mostly long silhouettes, building sculptural and draping details to create long, arcing shapes around the female form.