Balenciaga Fall/Winter 2017 Ready-to-Wear Review

     Demna Gvasalia's been at Balenciaga for more than a year now, and this latest collection for Fall/Winter 2017 combined codes of the house and modern twists into something relevant.  Because fashion is certainly a reflection of our times, rather than something that is just decorative, it must be understood that this Balenciaga show in context provides us with a way at looking at fashion and dressing that is relevant to today and next season, integrated with the world. Luxury and glamour must serve a purpose in the world we live in. Today, that world is technology obsessed, thus the fashion should integrate technological advancements to benefit the wearer. Gvasalia took that idea and made it more abstract: warping technical fabrics with couture fabrics for the modern woman. There were motifs of the automobile industry, with car interior mats as skirts and belts, broken rear-view mirrors as clutches, and flags wrapped around the "knife" heels models strutted down in. High fashion today is definitely made the same way cars are manufactured. Mass production and lack of laboratory experimentation dominate both industries.  Tweed, high shoulder skirt suits, and men's shirting played the major role. Then came the brilliant twisting of coat fastenings, skirt constructions, and thick belting. Suiting gave into hyper floral fabric dresses in velvet, and variations of street-ready pieces mixed with couture like fabrics and embroideries. In fact, back when Cristóbal Balenciaga was designing, he was celebrated for creating haute couture that wasn't stuffy, but absolutely incredible and modern, using the highest quality fabrics he could get his hands on. For this show, Gvasalia put his viewers in a massive industrial space, several times larger than needed for a runway. For the last nine looks, actual haute couture pieces reinterpreted by the current team paired with modern bags, sunglasses, and nylon boots paid tribute to the brand's 100 year anniversary. Those "Bazar Shopper" bags came in coordination with the evening wear in an ironic and modern twist. The idea was that because the Balenciaga woman is so busy being modern, she has to carry her life in a bag that weighs twice as she does around with her to galas and ceremonies. Though it would be fabulous to see these bags on the red carpet, the daring combination of gown and tote may only present itself in the editorial pages of a fashion magazine.

Comme Des Garçons Fall/Winter 2017 Ready-to-Wear Review

     Rei Kawakubo's iconic work for her line, Comme Des Garçons, is going to have the highest honor a fashion designer can have: an entire exhibit at the Metropolitan Museum of Art in New York. In fact, it is so important that Kawakubo is only the second living designer to have this happen to. The first was Yves Saint Laurent back in 1983, when Diana Vreeland was the one making the decisions at the Costume Institute at the Met. If you have followed any of Kawakubo's hard work over the last forty years, you would understand why the Met made such a statement with this forthcoming showcase. It is because Comme Des Garçons itself continues to create statements with every breathtaking collection. Every garment is soaked with art and history references, and abstract exploration of physics, the human body, and the human will. This fashion show collection in particular looked back at the evolution of Comme Des Garçons as well as what the brand means today. Starting off with a retelling of "Body Meets Dress, Dress Meets Body", the memorable collection of Spring/Summer 1997 in stark white, rather than the brand's usual black, shows the boldness right off the bat. Evolving from pristine, sculptural shapes, the materials began to develop and whirl around the body into the essence of a floating mannequin form made from industrial fabrics. The mannequin form took off on its own to evolve into hard faux leather, paper, metal, and blood collages that engulfed the body. This is clothing as armor, as insulation, and as a part of human DNA. In fact, it was the blend of the natural world, the industrialized world, and the world within our human bodies that Kawakubo was playing with, mostly. Rather than looking back and self-referencing through a vast archive to celebrate this milestone,  Comme Des Garçons instead chose to keep pushing new ideas as if nothing has really changed. This collection thus solidifies Kawakubo as a powerhouse and one of the greatest designers of our time. Which is reason enough to put her work into the sphere of a Met exhibit, opening this May.

Undercover Fall/Winter 2017 Ready-to-Wear Review

     Undercover by Jun Takahashi was the best fashion show of the Fall 2017 season, hands down. Viewers cried, cheered, and raved at this spectacular display of fashion theatricality. It transcended all other shows this time around based solely on its ability to create a fantastical world in reaction to the world that is currently crumbling around us. Takahashi envisioned a "Utopie", a future where society developes into 10 archetypes, living in harmony, like bees in a colony. There were the aristocrats, the wardens, the soldiers, the young rebels, the nomads, the clergy, the agitators, the choir, a "new species", and the monarchy. Each division, or "acts", as they should be referred to as, were statements of silhouette, fabric mixture, draping, and color theory. Oversized ruffs, cornettes, horns, billowing military jackets and puffers, knee high stomping boots, fabricated wings, and headgear galore blended the collection's reoccurring themes of history, futurism, and nature together in perfect synchronization. And that just what Takahashi wants in the future. In this world of uncertainty and increasing nationalism, perfect synchronization of the world should be a concern for all national leaders. This Undercover performance should remind everyone that we are all human; though we differ in life goals, strengths, and weaknesses, we all can live in harmony and put our differences to good use, where equality reigns as the monarch, rather than a system of government based on fame, wealth, backstabbing, and fear. Takahashi certainly saw inspiration from insects, which all live and depend on each other for survival. Bee and ant colonies cannot thrive without organized equality. A queen mother bee is just as important as the worker bees going out to pollinate. 

Comme Des Garçons Spring/Summer 2017 Ready-to-Wear Review

     The elusive designer Rei Kawakubo is bored with showing clothes on the runway. Instead, she is creating magnificent sculptures onto the human body. They speak as art would about the current world we are living in. Absolutely rich in craftsmanship, these billowing works of art are sewn, embroidered, and draped into romantic silhouettes. In fact, this was the most beautiful collection ever done at Comme Des Garçons. This collection references everything that has come before it within the house and really summarizes the brand as a whole. It is incredibly remarkable that a brand like Comme Des Garçons has managed to transcend decades and not follow the frivolous trends that exist in the fashion world. Comme Des Garçons is its own bubble that transcends fads and creates works at every price point that are beautiful and people still have an immense desire to purchase. This collection in particular was gothic, counter-cultural, and breathtaking. Flat and structured black wool and velvet with white ruffles and bows emulated a girly yet twisted style. Lederhosen with pleats flying off the body in black acid wash fabric was just one example of creating surrealism with clothes. There were countless other examples of surrealism with extremely deep references woven in. Sinister beauty oozed from the surface with the extremely dark color palette and use of latex. Plastic also covered the models faces in a perverse way. Perhaps they're suffocating under the weight of consumerist culture. Perhaps they're committing suicide. Perhaps Kawakubo is explaining her distaste for a world that only cares about the 2-D synthetic image that only appears real. Maybe she's speaking about this Instagram culture, where everyone is taking pictures of the events that they go to, rather than enjoying the experience and creating a screen of separation between the individual and the outside world. Whatever the intention may be, every aspect of this collection has more to do with the real world and all of it's problems, rather than the superficial trends of the fashion industry. 

Maison Margiela Spring/Summer 2017 Ready-to-Wear Review

     Space-age strangeness and soft materials graced this Maison Marigela by John Galliano collection. This time around individual pieces and sets stood out, giving it a wearability and digestibility that didn't happen when the clothes were piled on and on like previous collections under Galliano. Rather, Galliano was much more about the street, pushing forward clothes that people can actually throw on and instantly look incredible in, with insanely amazing makeup and accessories, of course. These looks are ever more enticing, without being too boring. It's much more inviting to put these specific pieces together, rather than totally destroying them and wrapping them around your body in a fabulous way. There is of course the regular intense mixing of garments that shouldn't belong together, yet they do. New inventions in color combinations made everything cutting-edge and fresh, making it unlike any other show in Paris. A delicate black lace dress with detailed embroidery paired with glove-like space boots was one example of the post-modern mix that created something new. Also, an ensemble of a near-black plaid trench coat dress belted with a patent leather waist belt, black leather platform pilgrim boots, plastic bracelets over the jacket, and a brown leather messenger bag was a personal favorite look. Perhaps the story behind the look is that she's a futuristic business woman with a bit of a kooky side but is still professional and intimidating when she needs to be. Whatever the case may be, it was exceptional. The incredible technique of Galliano for Marigela has been posted on this website more than once, but there is little to complain about. Galliano is a mastermind of fashion and always has been. This was certainly justifying that point. So sorry, haters of Galliano for Maison Margiela (if there is still any of you left) but this is Fashion with a capital F!

Marc Jacobs Spring/Summer 2017 Ready-to-Wear Review

     In uncertain times within the fashion world, Marc Jacobs has concocted a business strategy that combines his old diffusion line, Marc by Marc Jacobs, into his main brand to make the vision available to more customers. The brand has been going through with this plan for two years now, and can be seen on the runway with the mix of $200 denim jackets paired over $2,000 embroidered dresses and nearly everything in between. For example, in the Fall 2016 collection, there was layering of cheaper denim jackets over sequined bell-shaped skirts that were more than triple the price of the jacket. This time around for Spring, Marc Jacobs built up a massive rave filled with thousands of soft lights. When it comes to raves, an individual goes to forget something, escape reality, and enjoy the surreal, by usual use of hallucinogenic drugs. It makes sense then, to have vibrant colors smeared into Marie Antoinette-esque fabricated gowns that were slashed short to reveal sky-high platform boots. There was also 1990s inspired shimmery prints on tailored pants and jackets in powder blue, lilac, and soft pinks. A celebration of youth sub-cultures of today as well as yesterday. Blitz Kids, Lolita, grunge, and glam rock all danced around as inspirations for the anti-subtle looks that stopped through the wide and ethereal set. Once dissected into individual garments, the clothes themselves carry on the theme of showy Americana that Marc Jacobs has been playing with in these past few years. In fact, some of the pieces are actual repeats of pieces that came a season or even a year before it, just in different fabric or color to match with the current collection. This is something new in fashion. Rather than chucking out everything that was done before in a previous collection and completely restarting, some staple pieces are constantly available but made new again with the new runway collection, making them appear fresh and have a longer shelf life at the same time. Psychedelic and fun twists and turns finished off a New York Fashion Week that is otherwise tragically boring and commercial without Marc Jacobs.

Maison Margiela Fall/Winter 2016 Ready-To-Wear Review

     John Galliano is absolutely striding with his creative direction of Maison Margiela. This collection was fantastic in the sense that it combined new color palettes, like safari khaki mixed with royal violet and Prussian blue. There was something incredible with this collection, where you could assume that most of the pieces shouldn't go together, but Galliano did put them together, and did it beautifully. In a world where everyone claims that fashion today is not at all original, and that "everything's been done before", there exists the spectacular shows of Maison Margiela by John Galliano. Pure elegance filled the air with mixed militaristic styles and baroque dresses and perspex jewelry that styled every look. It is interesting to see the dynamic of everything that could be seen as "thrown together" like the powder blue collar on top of a distressed white jacket, white lace, green accents, pearls, and an olive green skirt with a black bag. Once dissected, you see that the collection is soaked in sophistication. So much, in fact, that every single piece, on their own, could be worn by every type of women interested in fashion. You may not think this looking at how the clothes are styled, but you must be able to see the pieces on their own. It is not random decoration, like countless other designers that are frustrating and sabotaging their own fashion industry, but a focus on new silhouette. Which is what fashion is supposed to be anyway!

Gareth Pugh Fall/Winter 2016 Ready-to-Wear Review

     This season, Gareth Pugh has shown that he can be an excellent tailor. He understands the craft and isn't just interested in creating shock. This is evident in sharp-shouldered jackets, nipped matching skirts, and new shaped jackets that draped over the shoulders, which show that Gareth Pugh is a innovative force in fashion. The creamy brown leathers of gloves, shoes, briefcases, and garments mixed with camel colors that looked soft as butter seemed extremely traditional for a designer like Pugh, but he was still making a statement. Hannibal Lecter-esque masks with earthy leather dresses created a hard edge to the clothes. It is quite a comparison to the way of dressing for a workwoman in a workman's world, as it was in the 1980s. In fact, simply Googling "1980's power dressing" and you see the same fabric, traditionally used in men's suiting, used in women's power suits with the same sharp shoulders. Those extreme angled shoulders may seem like a caricature of the 1980s, and perhaps that's exactly what Pugh was thinking about. An element of ideas gone by that women have to dress like a man to seem powerful. Or, perhaps, he is stating that there is nothing wrong with androgyny and that there is in fact, a power in thick, structured clothes as the ones seen in the show. Whatever the true idea may be, Gareth Pugh cultivated yet another fantastic collection paired with interesting ideas, shapes, and accessories with roaring theatricality. 

Marc Jacobs Fall/Winter 2016 Ready-to-Wear Review

     This was the most interesting thing of New York Fashion Week. With all the hype of celebrity designers, all the talk of the fashion calendar changing forever because of Burberry's announcement for how they are going to present their clothes from now on, and the overall monotonousness of other New York collections, out comes Marc Jacobs' gothic and enticing collection on the last day. Set up in a stark white circular setting, the elongated models came out, shadows first. The clothes were gothic, reflecting on the dark alternative subculture. There were massive amounts of clothes, with layering techniques of oversized lacy collars, thick Victorian skirts, punkish bricolage slogan sweatshirts, distressed denim adorned with safety pins and chains, Tim Burton-esque striped stockings, and massive platform high heeled boots. Punk is usually associated with loud and fast music, but the score for the show was quite the opposite. Instead, a single bell chime over and over was the only chosen soundtrack. The soundtrack and venue gave the atmosphere a very ghostly vibe. Besides the gothic subtext, there was elements of vintage nostalgia, and new ideas. Though the model's eyes and lips were black, the clothes were not totally noir. Beautiful jades, purples, and browns covered jackets and furs stockpiled together with flashes of pink bags. A massive collection, full of so much interesting combinations and pairings, manages to really show a focus on individual pieces. For example, massively embellished coats for the harsh winters were a major highlight. Also, red-carpet worthy sheer gowns of elongated 1920's shapes flowed and swung around in a dazzling display. It is hard to list everything in this collection, in fact, because there are so many offers of different styles. It is no doubt full of references, that mix in fondue pot of luxury and beauty. What fashion needs, I believe, is a sheer presentation of ideas that is maximalist and in your face. This is because when you push creativity and an emotion, you allow an audience to respond with an emotion.

Alexander McQueen Spring/Summer 2016 Ready-to-Wear Review

     Sarah Burton made it known to everyone who asked that this collection was inspired by the Huguenot people, a French Protestant sect that settled in Spitalfields during the late 17th century. The Huguenots were excellent embroiderers, who were fantastic at making silks, making Spitalfields one the greatest silk exporters at that time. According to legend, when they made the pilgrimage to London, many Huguenots only had seeds and bulbs of different florals in their pockets. It is important to understand Sarah Burton's references when dissecting an Alexander McQueen collection, because without it, it could assumed that this collection (or any collection she has headed) as just another stint at Victoriana or an interpretation of the Arts and Crafts movement. However, as excellent as these inspirations are regardless, there is always a much deeper meaning within the exquisite clothes at Alexander McQueen. Firstly, there seems to be an element of fragility and softness in this collection that I feel moves the brand forward because it is something Lee Alexander McQueen had never done. Rather than transforming the women into sea creatures, murderous animals, or mentally insane patients, as Lee McQueen would've done, Sarah Burton manages to show the pure woman in soft makeup and lightly brushed locks and send them down the wooden catwalk in soft wrapped silks, sliced and frayed taffeta, and expert tailoring. This collection is separate from different McQueen collections because there wasn't anything strict about it. No corsetry, no binding with harnesses, only soft clothes with couture-like embroidery. In previous collections like VOSS (Spring/Summer 2001), for example, the clothes were so spectacular and original that many deemed them unwearable. This collection, however, was still spectacular and original but most, if not all, of these clothes are wearable. Fantastic coats that seem organized and deconstructed at the same time, soft dresses and kimonos in dusty pinks and creams, and embroidered denim jackets and distressed jeans are all examples of this. Some of the best pieces included warped coats and jackets that had a decadence of historicism and modernism. There was heavy silver chains over some jackets that were incredible, along with thinner necklaces over dresses that will sell well. In conclusion, this collection was seminal and beautiful with soft beauty and intoxicating historicism. 

Maison Margiela Spring/Summer 2016 Ready-to-Wear Review

     John Galliano's latest collection for Maison Margiela was a kaleidoscopic success. By now it is understood that Galliano's directing and the house of Margiela's techniques together make a beautiful pair. There is an element of DIY and reworking of exquisite techniques that makes the fashion modern. The clothes shimmered and flowed around the highly stylized models in a way that is absolutely breathtaking and unexpectedly humorous. The looks are steely, chic, powerful, and playful, sometimes in all the same garment. Also, there is an element of androgyny that Galliano has played with before that I feels right for the time. Today there seems to be a question of importance of or the relevance of gender in fashion and in clothes. This is something near and dear to my heart currently because I personally believe that clothes should not be gendered, and that people shouldn't be required by society to wear something assigned to them by their sex. In this collection, I feel that Galliano has the same concept in mind. He explores and travels from masculinity and femininity in an almost, dare I say, Bowie-esque way. Acid green pantsuits, geometric and bright eye makeup, and strange proportions are perhaps examples to prove my point. On another aspect of this collection, I would agree with several journalists who have pointed out a oriental play on detailing and styling. I understand the references, but frankly I believe that there is thousands of other pieces of inspiration that goes into designing a collection like this. Yes, there is geisha-like styles of hair, makeup, and embroidery, but there is also countless of other things in the pot besides the East Asian inspiration. For example, I see a lot of 1960's futurism in this collection. The silvery gowns and white spaceship-like shoes are prime pieces that highlight this idea. Case in point, this collection is fabulously complex without being too heavy. It's a breath of fresh air while embracing maximalism rather than minimalism. I really think we need to embrace creativity and we need to have fun in fashion, rather than allowing fashion to become something that is too simplistic without much thought or commentary on the world we live in. I hope that more designers, new and experienced, will look at this collection as inspiration for future ideas because I truly do love the complexity that goes into Maison Margiela currently. 

Gareth Pugh Spring/Summer 2016 Ready-to-Wear Review

     Gareth Pugh is a designer who can be quite unpredictable. Show-goers have often stated that the nuances of his shows always seem unexpected and different. I would say that this show is perhaps the biggest shift I've seen since I began following Gareth Pugh. For one, this collection seemed a lot less heavy, dark, and somber. Usually, even for Spring, Pugh's clothes are hefty in layering and materials. However, this time around the bouncy fabrics wafted off the models in electric reds, blacks, and whites. When there was hardness and weight, like the black leather dresses, it was cut short, allowing model's legs and arch-killing stiletto high heels to show. In fourteen of the looks, legs were covered in second-skin latex tights. At first glance, most people would view the styling of this collection as clownish or pertaining to the circus, but when you read into it under you understand Pugh's influences, you see that the biggest influence of this collection is the performance artist Leigh Bowery. Bowery might not be a household name, but he was a truly unique and strange individual who can be described perfectly as a living work of art. His canvas was himself, and his infamous club Taboo in the mid 1980's. I think Gareth Pugh really brought the attitude of those club kids to the catwalk, with high energy music, models, styling, and constructions. All of the outerwear was draped and belted in excellent geometric shapes, making the actual clothes extremely forward-pushing, something not very common in an environment obsessed with nostalgia. Overall, a fantastic, high energy collection that was unexpected and fantastic for Gareth Pugh.

Iris van Herpen Fall/Winter 2015 Ready-to-Wear Review

     Iris van Herpen is an extremely interesting designer who's risen up to the spotlight these last few years. From displaying models in vacuum packed displays to warping and creating fabrics using 3-D printing and advanced printing techniques. Seeing what this designer has done in just a few seasons amazes me as I see that she has in fact already moved fashion forward in a way unlike anyone else is today. That being said, the designer's latest collection displayed holographic and sculptural creations that compliments the body of the wearer as well as hightens it. Herpen also uses rich colors in icy blues, purples, earth tones, blacks, reds, and oranges all creating something original and likable in something so forward thinking. The designer also paired with Noritaka Tatehana to create unique heeless shoes that looked like caged stalactites protruding from the sole of the foot. Incredibly made and extremely forward thinking? What could be better?

Alexander Wang Fall/Winter 2015 Ready-to-Wear Review

     Alexander Wang is a designer that I have never reviewed on this blog before. Personally, I have felt in the past that his clothes have been more athletic and therefore, not really my taste. Sure, he’s a noticeable designer who is now creative director of the wonderful Balenciaga brand in Paris as well as his own in New York. He also creates great clothes and accessories that are usually in grayscale for both brands. He’s sort of known for that kind of thing. Oh, and let’s not forget his recent collaboration with H&M that crashed their website and completely sold out in a matter of days. However, why I am reviewing his latest show for his own brand is another matter. Shown during New York Fashion Week, this collection was mostly black, and very very goth. The models were Frankenstein-esque with hunched shoulders, menacing faces, and stopping, thick soles of very tall boots on a black catwalk. Nearly every piece in the collection was black, except for a few exceptions of beautiful red plaid coats, white studded cable knit sweaters, and light blue jeans tucked into cherry red boots. A carved and shiny black leather jacket over zippered and chained pants with a studded bag, for example, was one complete look that entrapped all the motifs of the “darker side” aesthetic. Other wonderful looks like a knee length dress with heavy vertical rows of chains created a strong yet feminine and beautiful message. There were massive coats with broad lapels that draped and framed magnificently over turtlenecks just oozing with hardware. Towards the end of the collection, fabrics became sheerer, softening the image and revealing skin.  A few dresses in particular held a futuristic print of lines strategically placed and corseted at the waist. This was a strong and dark collection for Alexander Wang that certainly grabbed my attention.

Givenchy Spring/Summer 2015 Ready-to-Wear Review

     I think its about time I address this Givenchy collection. Deep and rustic color palliate, lace up high heeled sandals with second-skin leather pants, and symbols of gypsies are some of the major themes. What made this collection for me was the edginess, a word I fear I use too much. But honestly, without edginess, would anything be really new? Regardless, Ricardo Tisci's inventions for next spring were sexy, strong, and full of spice. The clothes were menacing and beautiful, tough, and flowing, lacy and leathery. This collection has much more character, different from the usual "street-style" looks Tisci has made Givenchy known for. The lacey fabric and the lace up motifs on chests combined classic frivolity and of-the-now sexiness.

     

Alexander McQueen Spring/Summer 2015 Ready-to-Wear Review

      Alexander McQueen's Spring/Summer 2015 collection was shown in a black oak room that displayed two massive white sculptures of orchids. The brilliant white sculptures were designed by Marc Quinn, an artist who focuses on nature as well as the human condition. It brought an artistic beauty the show worked around in. When the first model emerged, her knee high lace up boots clacking to the beat of the music. Her face was incased in a black plastic mask that brought about an avant-garde feel. With McQueen, avant-garde is always expected. There was a harmony of Eastern influences. Samurai armor-like harnesses and face masks layered over soft florals of kimonos. This wasn't all together new territory for McQueen, considering Lee McQueen's Spring/Summer 2001 "VOSS" collection, which dealt with Eastern Exoticism, for example. However of course, that collection was much more uncomfortable and extreme. This time around, Sarah Burton has relaxed the aggression and given a much more soft and elegant look for the McQueen buyer. This doesn't mean that Lee McQueen is lost, it isn't an abandonment and reinvention of the brand. There still is avant-garde dark beauty that made people pay attention to Alexander McQueen. Upon further investigation into these beautiful clothes, I noticed that harnesses and different panels aren't neatly sewn together or layered over each other. Rather, they were pieced together loosely, exposing thin amounts of skin. So, the not all the clothes aren't as simple as they may seem. Sarah Burton must love her details. But of course, the devil is in the details, as they say. Even though the clothes were heavily structured with sharp tailoring and rich fabrics, there was a sexuality to it all that's quite riveting. Perhaps it's the shiny black leather straps up against sheer sleeves. Perhaps its hard black leather painted with vibrant reds and whites. There's a force in this collection, it makes me smile that it hasn't been lost in the brand since the loss of it's creator more than four years ago.

Gareth Pugh Spring/Summer 2015 Ready-to-Wear Review

     Finally! Insanity during fashion month. I don't mean the usual fashionistas running around every major city to see fashion shows but a show itself. I feel as though that this fashion month has been very corporate, very commercial. They were standard clothes practically expected from specific designers. Though Gareth Pugh is know for avant-garde and creative, this collection stood out. Instead of the typical bright colors, light fabric, and florals ("Florals, for spring? Groundbreaking."), Pugh devised a collection of thick, natural-colored looks that have restored my faith! Blacks contrasted whites in beautiful overall geometric prints. The presentation also displayed burlap like fabrics after soft white fabrics that were often shredded for added effect. Hoods, high leather boots, and absurd headgear that seem to belong in "American Horror Story". The entire presentation is spectacular. In fact, this collection is a first to Pugh; his first presentation not on a runway. That didn't matter, the concept of shock was still there. The clothes stood for themselves and were absolutely perfect. With avant-garde styles you have the negative possibility of the clothes looking too "costumey". This was not the case at all. Luxurious chiffon was shredded and silk to look like the burlap. "Frayed luxury" was what Gareth Pugh stated about this collection. The entire collection is extremely smart in the sense that its unexpected, but forward thinking and plausible.

Milan Fashion Week Spring/Summer 2015 Favorite Looks

    As the third big Fashion Week this month, Milan seriously impressed. Big names like Prada, Gucci, Versace, Dolce & Gabbana, and Fendi brought new ideas for their fantastic and well-known clothes. Costume National presented great looks in lush fabrics like suede and lace, in mostly dark colors with a shock of deep purples and blues towards the end.  Overall, Milan was exciting! Next, perhaps the biggest Fashion Week of the month: Paris!

Prada Spring/Summer 2015

London Fashion Week Spring/Summer 2015 Favorite Looks

    London Fashion Week showcased some great designers last week, and I would like to post my favorite looks and highlights from London. This collection of looks relates my previous post on New York Fashion Week because of the selections of looks in dark as well as stark shades.

Tom Ford Spring/Summer 2015

Christopher Kane Spring Summer 2015

J.W. Anderson Spring/Summer 2015

Photo Credit: Style.com

NYFW Spring/Summer 2015 Favorite Looks

     If you haven't noticed (which is nearly impossible considering the media attention), it's New York Fashion Week. Every September, multiple American designers all present their Spring/Summer 2015 collections. Here is a composition of my favorite looks throughout the week. Not surprisingly, I either prefer dark, rich colors, or stark whites. Or a combination of both.

Proenza Schouler Spring/Summer 2015

Marc by Marc Jacobs Spring/Summer 2015

Marc Jacobs Spring/Summer 2015

Public School Spring/Summer 2015

Opening Ceremony Spring/Summer 2015

Photo Credits: Style.com