Milan Fashion Week Starts Today
So, I decided to kind of breeze over London Fashion Week, simply because so many of the London brands have little-to-no influence or presence here in the United States. There are, of course, exceptions (like Burberry and Vivienne Westwood) but for me it was more of a nice break between New York and Milan. AND MILAN IS FINALLY HERE, starting off with a strong opening this morning by Frida Giannini for GUCCI.
Marc Jacobs created a stunning speakeasy Thursday night to close the curtain on New York Fashion Week.
With a line of models draped over chairs, Jacobs mined different eras to shape the new look for next season. He confirmed some trends for spring that were previously seen on runways over the last eight days of previews and he created new ones with a mix of filmy fringe, Western-style shapes and drop-waist dresses.
The 1920s, 1960s and what might pass for futuristic fashion in Year 2050 were represented in shades of baby blue, grass green, wine red and luminescent white. Some models wore clear ankle boots and others walked in modernesque turbans. There were beads, athletic influences and tons of tiered skirts.
Stephanie Solomon, vice president for fashion direction at Bloomingdale’s, saw Paris in the Jazz Age — fast-forwarded to today. “It was the speakeasy for the summer of 2011,” she said, “but when you looked at the innovative fabrics and how he styled it, it was very, very modern.”
Jacobs, the industry darling, usually shows earlier during the New York previews, before editors, retailers and stylists flee for Europe. But Jacobs changed his slot this go-around to allow for more time for deliveries slowed by Hurricane Irene.
Joe Zee, Elle’s creative director, could get used to this. “To end the week like this is how it should be. It’s like he’s the director of this great production,” he said. “I love that it’s not a literal interpretation of any one thing. It’s a potpourri that works.”
This isn’t the first time Jacobs has experimented with stiff, transparent materials, such as cellophane and silicone, and he’s figured out how to make them work in a wardrobe instead of looking like a costume. The key seems to be more classic silhouettes: He offered chemise dresses, crew-neck sweatshirt tops and a shift-shape coat.
Jacobs added to the mix chambray cargo-style suit pants, faux crocodile coats and several outfits in gingham prints enhanced with sheen. The finale outfits were covered in Deco-style beading, although his version were plastic metallic studs. It was full-on embellishment, but done with a light touch.
Digesting all the catwalks for consumers, Solomon said Jacobs help hone in what will have a lasting impact.
“Marc confirms all the things in your head — the fringe, the flapper waist, all the shine that’s going on. You’re wondering which is more important — this or that — and then Marc says it, and you’re focused.”
