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14 Feb 14 at 12 pm

General Idea AW14

tags: general idea  nyfw  mbfw  fashion 

12 Feb 14 at 7 am

Alice and Olivia Fall 2014

tags: mbfw  nyfw  fashion 

10 Feb 14 at 9 pm

Alice and Olivia Fall 2014

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For Spring 2014, we can undoubtedly crown Christopher Kane “the indisputable master of the flower motif.” Christopher Kane’s collection altered and explored the common motif to the extreme creating a witty and mesmerizing collection of beautifully crafted clothes embellished with petal shaped cut outs, sequined floral motifs, and exuberant colorful appliqués. “We live because of flowers and trees, they produce oxygen, but we take them for granted” explained Christopher Kane.

The show opened with three black ensembles, remarkable and distinctive for their large petal shaped cutouts outlined in glossy metallic patent leather. The cutouts symbolizing sterilized petals were strategically placed as collars and pockets on a suit or softly floating on a skirt ensemble in addition to sweaters and trousers. In many of the garments, the petal motif was inset to reveal cutouts of sheer mesh panels or gracefully applied around the neckline.

These were followed by a mint green dress was ornamented with peek-a-boo cutouts outlined in white leather, revealing glimpses of skins underneath. MaryJane heels in Napa leather served as an eccentric twist to the elegant dress.

Christopher Kane demonstrated his level of craftsmanship by ironing and bonding the garments himself. He heat – pressed fabrics together, melting them into one, and spray – painted shirts and dresses in luxuriant colorful holographic tinsel fringed by a candy floss haze of fibers. To make his point, he sent out a knee length body conscious dress that was stunning in its array of colored hologram tinsel and delicate crystal straps. The dress paired with silver metallic sling backs with folded back edges that matched the dress’s gleaming iridescence.

Christopher Kane’s exploration of the floral motif did not seize to amaze. His botanical inspired designs cheekily illustrate the anatomy of flowers and the elaborate process of photosynthesis on dresses and skirts. A nude, deep v-neck blouse illustrated the scientific aspect through its laser cut snippets of flowers and arrows. Black flowery straps made the ensemble all the more lovely which he paired with a nude pleated skirt vaunted with flower diagrams.

Christopher Kane also explored the sexual undertones of flowers, including the anatomy and reproduction. “I started thinking about how incredible flowers are, how the female sexual organs have so much in common with the internal structural of a flower. “When I was growing up, my mum always used “flower” as her word for vagina – it’s a Scottish thing. I prefer sex to be an undertone in my clothes as well, rather than too obvious, so I was interested in how flowers are graphic but concealed and suggestive at the same time.”

The last look of the collection was a sheer black structured blouse and skirt detailed with arrows pointing at each other with a beautifully sequined buttercup flower placed in the middle, adding a jolt  of color. The word flower in white lace was sewn in just below the buttercup motif. Leave it to Christopher Kane to put such a unique emphasis on his inspiration and transform it into a compelling and seductive collection.

For Spring 2014 Jason Wu downplayed his power silhouettes in favor of a more relaxed glamour. Wu went back to the light-hearted, feminine, prettiness that initially helped propel him to fame. His latest collection felt lighter and featured clean, simple lines. “It really was all about exploring ease and femininity,” said Wu

The show opened with the late 1990s it-girl, Karen Elson, wearing a semi-sheer, gold bias cut halter dress subtly adorned with fading sequins at the hem. This was followed by a series of sparkling bias-cut slip dresses paired with biker jackets or deconstructed safari blazers and the new “goes with everything,” ribbed sweatshirt. Wu’s utilitarian sportswear mixed with more glamorous pieces had a laid back, glamourous feel. His playful combinations of utilitarian pieces mixed with dressed up elements complimented each other perfectly, as in a sheer white organza blouse with strategically placed patch front pockets paired with white tailored shorts, and flat strappy sandals.

A great example of this new found ease was a monochromatic nude, rose beige ensemble composed of a strapless silk top knotted at the center to create a sweetheart neckline with softly draped folds paired with slim tailored trousers that tapered at the ankle and worn with flat nude sandals.

Wu demonstrated that he can leave the shoulder pads behind. Instead he focused on his deft draping skills, which were evident in a number of evening dresses that fit like a dream. Out came a cerulean blue halter dress, sequined from head-to-toe displaying a tiger-esk pattern with a low, seductive cowled back and exposed black bandeau over boy shorts. Next came a beige, deep-V, bias-cut dress with a side slit down to there - in a sequined ombre degrade with an undercurrent of seductiveness. As if that weren’t enough, for the grand finale, he sent out a high-glam, figure-hugging black paneled gown with sheer lace cut panels at the hip and a trailing chiffon fishtail. The dresses were carefree and simply cut without trying too hard to be sexy - which made it all the more seductive.

By Aneesah Woolfolk for Global Fashion News

Marissa Webb is only in her third season, but she continues to present a clear and focused view of her highly defined personal aesthetic. The former designer for J. Crew, honed her skills as Head of Women’s Design, creating high-fashion looks that are accessible to the modern woman. With a keen eye on the trends and an instinct for what women really want to wear, Marissa delivered a spot-on collection of military and moto inspired jackets and jeans that served as the building block

Webb describes herself backstage as a tomboy in a tutu, which is a part of her design aesthetic that translated quite literally into one of her ensembles. A slim tailored black shirt and tie, worn over a frilly black tulle skirt, was nipped in by an army green corset trimmed with strips of black tulle stretched across the front. It is playfully combined looks like this, that really defined the collection.

Webb toughened things up a bit with a hint of military and motorcycle jackets and pants with leather insets, but her strongest pieces were her ultra-light tweeds. Each individual piece is able to stand up on it’s own, or can be combined with a myriad of others from her collection. A dainty black lace, top with sleeves that reached nearly to the elbows is layered over a sleeveless black tank and skirt. The skirt in gray tweed was slashed asymmetrically from waist to hem, and inset with a black leather panel, creating the look of an angled wrap-around skirt.

Webb’s garments also have the unique quality, that isn’t always easy to achieve, which is the seamless transition from work to play, be it a gallery opening or cocktails. Webb uses zippers that can be pulled up or down, and layers that can be removed entirely to completely restyle a look. One such ensemble, a mottled gray tweed, sleeveless mini-dress with zippered vents unzipped all the way up to the hip was left open to reveal a pair of buttery-soft, black leather shorts. Shorts were prominent in the collection and Webb elevated them with clever styling your boss wouldn’t look at you sideways for wearing to the office. Rendered in black leather, gray tweed, and red silk, they can easily be styled for work or an evening out on the town.

The shoes, which Webb designed herself, were incredible five inch stilettos in black, silver, and moss green leather with a reflector stripe running down the back, and multiple straps that wound around the ankle. These vampy pointed heels gave a wink and a nod to the bondage-y trend that has been steadily seeping into fashion. This was confirmed with the final look. A simple black, sleeveless, cotton jersey floor length dress, cinched with a black leather, corset and harness that met in the back with a buckle.

For spring 2014, Marissa Webb found the sweet spot between high-fashion and great individual pieces without sacrificing style. Her collection is a translation of urban street styles with an edginess that can be mixed and matched regardless of the level of fashion literacy. She offered something special for every girl, which ran the gamut between tough and edgy, to delicate and girly. Marissa Webb is a designer to watch!

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16 Sep 13 at 7 pm

Vivid colors on the runway at KaufmanFranco. #mbfw #nyfw #kaufmanfranco #fashion

Vivid colors on the runway at KaufmanFranco. #mbfw #nyfw #kaufmanfranco #fashion

16 Sep 13 at 6 pm

A structured swim look at KaufmanFranco. #nyfw #mbfw #kaufmanfranco #swim #fashion

A structured swim look at KaufmanFranco. #nyfw #mbfw #kaufmanfranco #swim #fashion
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16 Sep 13 at 6 pm

Black and leather bicker jacket with watercolor details at Concept Korea Spring/Summer 2014 #NewYorkFashionWeek #NYFW #MBFW #WomansWear #Fashion #Style #Beauty #ConceptKorea #chic #leather

Black and leather bicker jacket with watercolor details at Concept Korea Spring/Summer 2014 #NewYorkFashionWeek #NYFW #MBFW #WomansWear #Fashion #Style #Beauty #ConceptKorea #chic #leather
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16 Sep 13 at 6 pm

Wow what an amazing collection by Theyskens’ Theory #NewYorkFashionWeek #NYFW #MBFW #WomansWear #Fashion #Style #Beauty #TheySkens #chic #sheer #colors

Wow what an amazing collection by Theyskens’ Theory #NewYorkFashionWeek #NYFW #MBFW #WomansWear #Fashion #Style #Beauty #TheySkens #chic #sheer #colors