NEW YORK, May 17, 2006—Karl Lagerfeld has made a habit of turning his Chanel resort shows into spectacles. Last year, he loaded editors and retailers onto Paris buses, then paraded the models in and out at scheduled stops. On Wednesday, he continued the transportation theme, taking over Grand Central Terminal's Metrazur restaurant, and in the process, he gave Metro North riders the daily commute of their lives: Mischa Barton, Naomi Watts, Julianne Moore, and Maria Bello all made their way into the storied New York City train station.
As for the clothes, this was no couture extravaganza, but Lagerfeld hardly skimped on the details: Thin strings replaced button closures on jackets and coats, leather bomber dresses were backed with more-forgiving tweed, and black chiffon cocktail numbers came embroidered with Mademoiselle's beloved chain links. The collection included trusty Chanel hits—the lace twinset in dramatic black and demure cream, bouclé tweed suits shot with crystals or trailing silk streamers—as well as a few surprises. In a nod to the all-American venue, perhaps, he included wide-leg denim dungarees and a logo print that evoked subway-car graffiti.
All 58 looks were accessorized to the hilt; models sported armloads of bangles, shoulder-duster earrings, and ribbons in their hair. Knee-high gladiator sandals (worn with matching gauntlets) replaced fall's spectator boots, and Lagerfeld found an ingenious application for the house's signature quilting motif—a pattern on wedge heels. But it was the location thatwas truly inspired; where will he go next?
Chanel
作者: myprince 时间: 2006-7-10 23:28:31
NEW YORK, June 14, 2006—Say so long to glam rock. Gucci's Frida Giannini has traded in fall's
gold pantsuits and ultrashort metallic jersey dresses for smocking, folksy lace, nautical details, and
dolphin prints. This resort collection marks Giannini's first anniversary as creative director of the
house's womenswear line and a shift back to the feminine and more nonchalant look of her debut efforts. The
show, at Milk Studios' sun-drenched new penthouse, began with a reworking of her mega-successful multicolor
Flora print in porcelain blue and ivory. It appeared on a slim coat, a strapless peasant dress, and a
maillot paired with pinstripe short shorts that were subtly suggestive, rather than overt. Ditto the
colorblocked, almost crafty, jersey pieces and the sleeveless minidresses trimmed with poufy lace—despite
eyebrow-raising upper-thigh hemlines, they were resolutely sweet.
Only the leather and suede motocross jackets in snow white and deep burgundy, along with a few jersey
evening numbers (a short halter style in wine with gold leather straps was the standout), hinted at the sex
and flash that Tom Ford made synonymous with the brand. Fair enough, perhaps—his successor has to find her
own way. Still, the accessories could have used a bit more pop. Giannini has taken the label in a breezier
direction this season—to "1960s St. Tropez," said her program notes—but salt water, sand, and sun be
damned, the Gucci girl expects a souped-up and superluxe bag.
Gucci
作者: myprince 时间: 2006-7-10 23:29:38
NEW YORK, May 16, 2006—With Spike Lee, Harvey Weinstein, and Axl Rose watching from the front
row, John Galliano presented his Dior cruise collection in New York City for the first time Tuesday night.
And if there was any confusion about the newfound importance of this once-insignificant season, the
celebrities, the pink champagne, and the sweeping views of 57th Street through the glass walls of the LVMH
Tower Magic Room—not to mention the posh private dinner at the Four Seasons that followed—dispelled it.
"We're pressured by our customers to show more and more in advance, because of our success here in the
U.S.," said LVMH Chairman Bernard Arnault post show. "John responded with a mix of creativity and
modernity."
.In this case, modernity unequivocally meant wearability. The models' cropped, punkish wigs notwithstanding,
the runway theatrics Galliano regularly produces for Dior's couture and ready-to-wear shows were replaced
here by a lineup of clean, easy pieces cut in innovative fabrics. Pea jackets and trenches came in laminated
cottons, while skirts—pleated or pencil—and sexy, super-skinny pants were shown in metallic linens that
caught the light. A fur made from strips of mink spliced with net and paillettes topped a cocktail dress,
the hem of which was edged with sequins that echoed the skyline silhouetted outside.
Where separates were mostly pared-down, evening numbers featured elaborate cuts and draping. Paradoxically,
the latter had the more relaxed effect. One chiffon frock was suspended from a single brushed-metal shoulder
strap that also appeared as bracelets on clutch bags, and a lamé minidress complete with a built-in hoodie
seemed designed for Dior's youngest followers. For those hungering after a flash of Galliano's signature
extravagance, it came at the finale: a pale mint deshabille gown of chiffon and taffeta that billowed like
the most exuberant of his couture creations
Dior
作者: myprince 时间: 2006-7-10 23:32:12
NEW YORK, June 5, 2006—Oscar de la Renta changed things up for resort. Rather than show in his Seventh
Avenue showroom, the accustomed venue for his cruise line, he chose the dazzling Renzo Piano-redesigned
Morgan Library as a backdrop. And among the reliable assemblage of editors, buyers, and Park Avenue types,
there was a new face: Olivier Theyskens, in town to receive the Council of Fashion Designers of America's
International Award. But if some things were different, the clothes were pure Oscar, from the first trapeze
-back ivory bouclé shift to the last bubble-skirted ball gown in a Marie Antoinette by way of Nancy
Lancaster floral print. In between, he showed mod polka dots, raffia crochet, eyelet, and a white lace-and-
point-d'esprit djellaba that was memorable not only for its beauty but also because it was one of the few
pieces—aside from the show's numerous straw hats and sunglasses—that explicitly evoked thoughts of
lounging poolside at Punta Cana, or some other posh Caribbean retreat.
These clothes, after all, are in stores longer than those of any other season—in some cases from November
until May—and that means they have to cover every manner of occasion. For day, Oscar's ladies can choose
between a ruffle-neck taffeta top with wide-leg twill pants (lunch at The Modern), a silk shirtdress in the
designer's favorite ikat print (after-work power drinks), or a smart navy-and-white houndstooth cotton suit
(Board of Directors meeting). Come evening, it's flirty cocktail numbers in silk faille, gala-worthy columns
with matching rib-skimming boleros, and—rather fittingly, given the show's location—strapless gowns to do
a robber baroness proud.
Oscar de la Renta
作者: myprince 时间: 2006-7-10 23:33:35
my god....
Au coeur de l'Académie des Beaux Arts, Anne Valerie Hash nous a offet un moment de grâce. Perch
ées sur leurs très hauts talons, les jeunes filles au teint de bouton de rose s'élancent, hanches en avant.
Entre pureté virginale et sensualité débordante, les modèles se suivent, dévoilant cette ambiguité sereine.
Tout ici est délicat. Le voile de tulle est brodé, le satin est perlé, et les détails sont étudiés avec
finesse. Qu'elles soient à volants, droites ou boule, et même façon tutu, les jupes sont tiny mini. Sous
couvert de couleurs naturelles, vieux rose tendre, ivoire doux, le corps joue la transparence. La poitrine
et les courbes se dévoilent dans des chemises en mousselines et des bloomers mi-soie mi-tulle. Pas de robes
époustouflantes ou de coupes capilotractées, Anne Valerie Hash s'inspire de l'ancien pour contrer le plus
moderne. Un ravissement total !
Anne Valerie Hash
Anne Valerie Hash 这套增素养眼的说``````作者: 花の浅浅 时间: 2006-7-10 23:34:37
刚才我插队了么?...不好意思..
真的很棒!亲爱的贴图辛苦了~作者: myprince 时间: 2006-7-10 23:35:49
Anne Valerie Hash 口水``口水```口水``:0:作者: myprince 时间: 2006-7-10 23:37:00
