Friday, June 16, 2017

Protagonist Spring/Summer 2016.

Tues. 089/08/2015.






While one of the creators of the Protagonist label said her farewells before this Spring 2016 season, the design team left behind fulfilled the task of living up to the principles and ethos of the house. Building a collection on Rock Solid luxury basics can be, at times, dangerous waters to wade into, the clothes can often come off as bland and lifeless and reek of what women already have in their overfull wardrobes. When handled properly, however, it can be a revelation of nigh biblical magnitude and can inspire a woman to see the banal as the radiant apotheosis of chic! That's hat has been achieved here.

Sleek is a word well used and often overused, but there was a stripped down, pared back purity and unfussiness that could only be called that. Sleek! Lithe. These clothes were meant for function, not lollygagging around just looking impossibly poised and nonchalant (although they fit that bill also, immaculately) There was motivation and movement in these clothes, despite their sparseness of detail and aesthetic sobriety. This would lead one to think, boring, and that would be foolish, for the clothes excited on a very base and immediate level of chicness. A perfectly proportioned and balanced Black pants ensemble with a long belted wrap coat/jacket, devoid of any extraneous detail, a elongating White jumpsuit shed any of it's retro connotations and seemed as pure as the dawn light.

This collection, from top to bottom, excelled in it's achievement of creating the perfect, modern wardrobe for a woman that has more confidence in herself than in her clothes. No one can hide behind the startlingly reductionist silhouettes provided here, but then again, the Protagonist customer has nothing she is in care of hiding anyway! The Protagonist woman is a woman who speaks for herself, her clothes are simply an amplifier for that voice!





That's All.





Bye4Now!


Wednesday, June 7, 2017

ATM Anthony Thomas Melillo Spring/Summer 2016.

Tues. 09/08/2015.






Anthony Thomas Melillo's Spring 2016 collection was a pure and minimal offering of sumptuousness cloaked in austerity. Melillo's brief treatise encompassed sleek and slickly tailored pieces with easier, relaxed offerings given as beautiful counterpoint. Which shouldn't be much of a surprise, owing that Melillo's guiding motivations have been to create the ideally perfect T-shirt for his woman, and there was ample evidence of those on show as well as superbly cut blazers and slender pants. Nothing here was super attenuated, but all was created to elongate and winnow a woman's silhouette without squeezing her like a sausage in a casing. 

The collection had a legginess to it that was in no way owed to abbreviated hems, in fact, there was a since of modest sexuality that was more evocative of sensual than outright vampy. Slim pants gave the illusion of mile-long legs, and all were cropped, either above the ankle or just below the knee. Body limning dresses played with length more casually and freely, playfully going to mid-calf and others creeping up much higher on the legs. 

With the collection being so restrained with colour and shape, Melillo designed pieces that were still impactive and eye-catching... A Putty coloured coat dress that opened the looks was a practice in Utilitarian chic that was mouth-wateringly covetous, while a simple Barley coloured shift dress read as austere, but was certainly an attention getter! The scene-stealer though, had to be the Pale Moonlight Silver ensemble of a slim coat and pants with one of Melillo's signature drape-y T-shirts underneath, an outfit that could travel from any boardroom to any party zone this side of the Atlantic! Melillo's sureness in what he does and what he wants to create, gives his collections incredible gravitas and depth, even with simplicity and an ascetic approach being his calling card. To be sure, Rarely has so little had so much Oomph! 





That's All.





Bye4Now!

Wednesday, May 10, 2017

Tomas Maier Spring-Summer 2016.

Tues. 09/08/2015.





Tomas Maier Spring-Summer 2016.

Fresh, Relaxed and Colourful. Tomas Maier's Spring 2016 collection hit all the right notes for the woman looking for easy and cheerful pieces with an innate sense of chic. Bright colours abounded and made for a gay feeling in pieces such as the opening scintillating Coral wrap dress or in a super easy to wear Easter Pink Linen sundress. As balance and counterpoint, there were darker shades and they lent a gravitas that was well needed and grounding from all of the perky shades on view. Most effective, a nonchalant beaded slouchy tank worn with dark cropped jeans had plenty of attitude but never crossed over into rough.

Also of note, the pretty tie-dyed sundress and the Mustard utility jacket and short set both had desire written into their DNA and both outfits would fit in anywhere the sun was shining from Palm Beach to Palm Springs! Maier's own collection is far removed from his elegantly cerebral collections at Bottega Veneta, but they both express the same caliber of profound respect for dressing a woman in a Chic and Classy way. Though, his eponymous labels work may be on the less erudite end of the spectrum, it is not one less bit desirable!





That's All.





Bye4Now!


Spring-Summer 2016.

Weds. 05/10/2017.





Dear Readers,

Lots has been going on in my life. But I am so happy that there have been those that have stuck with reading my posts. You encourage me deeply. I am trying to get this all down before the new year starts and have caught up all the shows... as Herculean a task as that is when in just a few weeks it will be Fall Couture 2017 and then Spring 2018 Ready-To-Wear just a few scant weeks after that... and we are already heading into Resort 2018 as we speak... so lots to catch up on!

Please, Keep reading and please, I Beg, comment and suggest this site to your friends who like fashion. I always love feedback and hope to finally get some! 

Thank You! Take Care! 





That's All.





Bye4Now!

Valentino Fall/Winter Haute Couture 2015-2016.

Thurs. 07/09/2015.






Rome. Home of Fendi, which showed it's one-off collection of Haute Fourrure the day before, and to Valentino's ateliers where the diabolically romantic and elaborate confections of Maria Grazia Chiuri and Pierpaola Piccioli come to life. It was also where they decided to pay Homage to the eponymous master himself, Valentino Garavani, and in effect, to both of their own Italian heritage. What transpired happened to enrapture those that seen it in it's live form. Seeing the video and not being there in the magical space of the Piazza Mignanelli might have dulled the sensation of breathlessness for me, but all I can say is that, as obviously majestic and creatively exquisite this collection was, it was dreadfully, much of the same we've come to expect from the house with little variant of any kind.

The bloom has been off the proverbial Rose for Chiuri's and Piccioli's penitent, virginal, faux naïf vision for the house for quite some time now, and what has happened is that the collections suffer, morosely, from a sameness, that to say is dulling, would be to far too kind a degree of understatement! The duo's work has almost become as predictable as a Metronome, with the same painfully boring sense of repetition to boot. This collection, filled to bursting with glorious works of Alta Moda, could also double for any of the last 6 collections from the house! The high necklines, the sheer tulle and lace, the plodding, leaden floor sweeping hems, the monastic sense of restraint... all present and accounted for plus a few other tropes that have made the rounds.

Were there Dazzlers that stood out among the pack? Certainly. The show ending sextet of limpid, scandalously sublime Black Velvet gowns were heady fodder indeed, and there were others, however, those pieces still hearkened back to work that they have done already, so going into detail would be to reiterate praise that has been given before. As a celebratory return to Mother Roma... The collection was a thrilling success, I can't in any good conscience say that even as repetitive as it is, that most of the pieces were not Fantastically Extraordinary. But leave with this thought... As good as Chocolate Cake is... No one wants to eat an entire one, Correct? That is the equivalent of what Chiuri and Piccioli have been serving... One Hideously Rich and Lavish Chocolate Cake after another... Honestly... At this point... I am in the mood for some Gelato. Aren't you? 





That's All.





Bye4Now!


Zuhair Murad Fall/Winter Haute Couture 2015-2016.

Thurs. 07/09/2015.





Zuhair Murad Fall/Winter Haute Couture 2015-2016.

What can be said that hasn't been said before... Beautiful, Glamourous, Exquisite... Blah... Blah... BLAH! Zuhair Murad's Fall/Winter 2015-2016 Haute Couture collection was a predictably boring succession of the same dulling wares he (and his Lebanese compatriot Elie Saab) has been producing for almost the entirety of his career. One showstopping, treacly, glittery, deathly dulling piece after another with little variation. This time it was the Galaxy of Stars that he alighted upon... Whatever! It didn't help the collection elevate itself in one single way! In fact, it was one of the weakest collections from Murad seen in a while. It was heavy and plodding and no excitement to be found, frankly, I don't want to sound like my needle is stuck in the groove, but why shouldn't I??? Murad is suffering from the exact same complaint!





That's All.





Bye4Now!

Fendi Haute Fourrure Fall/Winter 2015-2016.

Weds. 07/08/2015.





Fendi Haute Fourrure Fall/Winter 2015-2016

"Silver Moon" was the overarching theme to be found at the house of Fendi's first foray into Haute Fourrure. It was an Alta Moda/Haute Couture collection in all but name, and as such was a display of the maddeningly extravagant technical skills of the Roman Furriers ateliers. The Fendi sisters. led by Silvia Venturini-Fendi saw this as a chance, one, to celebrate the dazzling facility of it's craftsmen and women and two, a way to showcase the mastery of the craft of house designer Karl Lagerfeld, who would be celebrating (well, HE HIMSELF, wouldn't be celebrating, as allergic as Unkle Karl is to anything with a notion of the backwards glancing) 50 years designing for the house. One can fairly imagine it was akin to pulling teeth to even get Karl to commit to doing something that was in any capacity a recognizing of his tenure at the house, but Lagerfeld also likes to challenge himself, and push the limits of the people who work for him. Truth told, he seemingly enjoys pushing himself more.

So, this was an opportunity to show just what the Fendi family's technicians could achieve with fur. And, Oh! What they did accomplish! Firstly, Lagerfeld chose the Théâtre Des Champs-Élysées for showcasing the collection, famous for the infamous 1913 debut of Stravinsky's "Le Sacre du Printemps" and rightly so, Lagerfeld used it as score for the show. Secondly, as with the most recent Fendi collection, there was a influence of Giorgio di Chirico, with a huge backdrop of his painting "Piazza de Italia" serving to drive home the point. (Side Note: Chirico's painting is from 1913, also, same year as the debut of "The Rite of Spring, Lagerfeld's mind is dizzingly agile!)  As to the collection itself, Lagerfeld is always plucking and taking from different eras and periods to synthesize something entirely foreign to those times, but provocatively reminiscent of them as envisioned in the modern context. So, one could eek out allusions to Poiret in the cocoon coats or the 1940's as seen through the prism of Ridley Scott's dystopic and futurist vision of Sean Young in "Blade Runner" (The strong Joan Crawford Shoulders, the hair whipped up by Sam McKnight) or the highly stylized Glamour of Erté in the silvery, stylized floral embroideries and elaborate configurations of some of the pieces.

Even with all that boiling together in the stockpot, it never for one second felt trapped in any past, to be sure, it felt entirely of the now, maybe even a little, of the future now. The "Silver Moon" moniker of the collection lent itself more than subtly to the proceedings... everything was shining, almost glowing, but in that darkened theatre, it was as if we were watching some nocturnal migration of pelted beings saunter before us, embraced by the shimmery, ethereal glow of moonlight. The opening exit was all the proof that was needed, a tulip hemmed hooded mantle in deepest, darkest natural Sable (One cannot even FATHOM how much the price of this coat possibly could be) with a sweeping-the-floor train, slinkily stalked the runway and undulated as if it was Velvet. The Silver frost that all natural Sable has seemed even more eerily luminous in this and the following Sable exits that glided out. From this almost, demure opening, things began to shift into high gear as Lagerfeld and his seamstresses began to puzzle-piece together, imitate, reconfigure and pretty much destroy every conception of what fur can be... splicing together two or three diverse pelts into one organic whole... Cutting small pieces of fur of unknown varieties and applying them as applique embroidery ONTO FUR... Feathering long hair Mink to look like something from an ornithologists textbook yet never had these feathers arced skywards for a second! Attaching sheared Mink in a rippling Zig-Zag effect onto clear Plastic in a brief shift dress had to be the height of disregard for the precious nature of fur and made this piece even more delightful for it!

There were Stripes and zigs and zags and Mongolian Lamb mixed with Chinchilla and surmounted as a deliciously gaudy border on a White Broadcloth coat, there was Ermine that looked like Chinchilla, Chinchilla that looked like Lynx, Lynx that looked like... well... The most ungodly expensive and desirable thing in Lynx that any woman could hope to own! There was even needlepoint on Fur! FUCKING SERIOUSLY? Lagerfeld defied every single idea and conception of what Fur is in this monumental ode to all things pelted. It was a Brain-Scrambling masterpiece that will long give evidential proof that Lagerfeld occupies a space that no other designer has ever dared to dream of, and none that are still here, could hope to ascend to. He has no peer. He is an Island. One of Supreme Fashion Paradise. And one, we all hope that we can wash up on it's shores!





That's All.





Bye4Now!