The collection was in part 60’s, in part 80’s, but wholly modern in every way.  The overall feeling was one of Jetson’s meet Mary Tyler Moore.  “The line was inspired by Intersection:  When one idea or direction meets with another”.  The inspiration is evident in nearly every silhouette where textures, colors, & proportions of various ends of their respective spectrums are juxtaposed against one another with the result being a stronger new whole.  While the collection is predominantly a dressy day collection, there were some surprisingly strong light evening pieces – light in function, not weight.  This is a collection that is infinitely wearable & not only as full ensembles.  The pieces would blend beautifully into a modern woman’s wardrobe to provide the yearly sought seasonal punch.

RAOUL has not made a huge splash on our shores… yet… but with offerings like the ones shown for Fall 2012, I suspect the collection’s zenith is just over the horizon…

-Scott French

Designer’s website:  www.raoul.com

What we’ve said:  Resort 2012

Architecture is her main point of inspiration in her work & for Fall 2012, she seems to have found the Art Deco Architecture – think Radio City, The Empire State Building & the Chrysler Building – as particularly inspiring as the geometric details of the era are evident throughout, especially on sleeves & waistbands.  The customer she has in mind?  A 25 to 40’s professional woman who is looking for a wardrobe based in separates that can easily transition from day to evening with a simple accessory update or a layer removed.  To that purpose, it’s no surprise that there’s always a base of Black to which the colors work back.  Her colors are strong – Red (she refers to as a “Red-Orange like lipstick”), Electric Blue, Navy, Camel & a surprise addition of a Dusty Orange that seems like an odd addition on the face, but works in nicely when viewed as a whole.

The silhouettes are predominantly dress based, ranging from fit & flare, shifts, & even some full options like tunic shapes or true A-lines.  There are some inventive takes on pants as well, one that merits special mention had a geometric peaked-front waistband pant that beautifully embodies the day to evening design credo of the collection.

While the collection is created in a “truly designer” manner, meaning that Ms. Pomerantz doesn’t simply shop the market for popular styles & reinterpret them in her own way, the way so many others in the genre are wont to do, she does compare herself in spirit to the well established names like Milly, DVF & Nanette Lepore, but only in terms of who the Dana-Maxx collection hangs with in stores.  She studied both fashion design & business in school & judging from the way she creates her collection & speaks so confidently about it in a matter of fact, no nonsense manner, it’s pretty obvious she didn’t just take the business courses to fulfill the requirements of a major.  Dana-Maxx is a collection that is not only of a high quality of design, it’s also perfectly merchandised & produced (100% in the U.S.A. by the way…) to sell… aka:  Success!

-Scott French

Designer website: www.dana-maxx.com

In an exhibit celebrating the heritage of fashion’s most iconic monogram, from Louis Vuitton’s beginning to Marc Jacobs’ current work as creative director and instigator of the women’s ready to wear collection, each man stands alone, representing the LV brand as innovators in their respective eras. Beginning with the story behind the birth of the luggage company under the direction of Louis Vuitton, and concluding with it’s contemporary image created by Marc Jacobs, the exhibit is divided into two floors, one dedicated to each designer. Coming from two different eras and two different design mentalities, it was a challenge to find the correlation between Vuitton and Jacobs’ sense of purpose in their approach to the heritage brand.

Specializing in the ‘packaging’ of fashion, Louis Vuitton is known for creating trunks with custom interiors, such as one for four ladies hats, or containing a fold out cot, or one trunk for all the layers of what would comprise a Charles Worth gown (Vuitton worked closely with Worth and the two had neighboring workshops). Although the iconic trunks are beautiful in compositions behind glass, it is this story of Vuitton’s beginning and innovations that is perhaps the most interesting when considering the parallels between the two men. Namely his desire to modernize luggage with new materials that would reduce the weight, and new assemblage techniques that would protect both the trunk and its contents from time and from the elements.

In the early days of industrialization, Vuitton’s product filled a void and established him in history as a visionary interpreting the changing needs of the time. Concluding the display on the first floor was a video showing the hustle and bustle of daily life in Paris in the late 19^th century, with Parisians emerging from underground through the art-deco station entrances or looking out for the many buggies as they crossed the busy streets. The moving pictures continued upstairs in a mosaic of inspiration that collaged movie clips and photographs covering 20^th century pop culture from Bette Davis to Bette Midler: a view into Jacobs’ mind’s eye. With no real transition possible between the two design universes, the solution was, instead, extreme contrast. You leap ahead eras in time and across cultures just by walking up the stairs.

A wall of handbags, spanning the 15 years of Jacobs’ career at Vuitton, told the story of each collection, as a kind of icon for the season. In his own words Jacobs calls the bags the “star” at Louis Vuitton, saying that “you could probably take the bags from any collection and it would somehow give you the entire spirit.” Within the context of the exhibit, you could probably say the wall of handbags expresses the entire spirit of his work at Vuitton. Especially the collaborative bags with artists like Stephen Sporuse, Takashi Murakami & Richard Prince. In this sense, his attention to the bags is consistent with the original raison d’être of Louis Vuitton, the company.

His affinity for collaboration and doing nothing if not all the way made for an entertaining visual journey. The heads of the mannequins, in one display, were models of the animals corresponding with the material of the garment, ostrich feathers, crocodile, skunk. The heads in another display, as if glittery blue balloons, had the knot tied off like their hair was pulled back tightly in a bun. One giant clock-like mechanism with giant gears and cogs had a dozen pairs of legs sticking out from the axis like the arms of a timepiece. How else was he supposed to display the shoes?

As a joint exhibit, it was a strange mix of two different worlds- one of theatrical high fashion, and one of haute couture heritage that doesn’t exist anymore in the present fast pace of the industry. One wonders what Louis Vuitton himself would think of the business existing in his name, and whether in his eyes the company that he started still exists. Vuitton’s world was one of functionality, classic design, and a signature look that remained identifiable, yet discrete. Jacobs’ world is one of theatricality and explosive color and jazz. Without a transition, the disjointed narrative between the two is better appreciated independent of each other. At which point you can really acknowledge the brilliant achievements of Louis Vuitton, and of March Jacobs, each in his own right.

- Lee Anderson, Parisian Correspondent

website: www.lesartsdecoratifs.fr

Exhibit through September 16, 2012

With provocative expressions, mile long legs and animalistic movements, the women of Helmut Newton scale the walls of the Grand Palais this summer in a retrospective event not to miss. Newton is celebrated for his empowering portrayals of women through his fashion photography. Having championed the integration of taboo themes into mainstream image making, we remember Newton for the overt androgyny, conflict, and eroticism within his work. Confrontation and tension charge his compositions and make his women powerful and strong, even revolutionary in their time.

Emphasized by his narrative style, there are many layers to his work, most obvious in his naked/clothed images, or his Polaroid shots with a more intimate, behind the scenes feeling. Particularly striking as full scale prints, some more iconic works take on a life of their own, like the Yves Saint Laurent tuxedo shoot on a darkened Parisian street. You can quietly transport yourself to the location, a voyeur on the scene of a staged moment captured so genuinely.

Making leaps in fashion photography with his subversive language, Newton added intrigue and sex appeal by creating narratives that gave life to the fashion he shot. The retrospective of his work is also a reminiscent of an era. It is a story of a time of change, when Newton’s images pushed boundaries, challenged viewers, and icons were born. The aggressive figures, the intensity of the compositions, and the dynamism of the entire body of work create an impressive experience inside the minds eye of a master.

Helmut Newton at The Grand Palais through June 17, 2012

- Lee Anderson, Parisian Correspondent

Mountain Exploration is predictably Brown & Earthen in tone set off by the moody Blacks & Grays that can be found in the rocky mesas & jagged crags of the peaks themselves.  Butter soft corduroys, which subtly mimic the peaks & valley of the mountains & valleys, are further complemented by the luxurious hand of fine gauge cashmere & woolen knits to create a cozy statement that is not normally associated with the bespoke tailored aesthetic.  These are dress clothes that allow the gentlemen who wear them to transition seamlessly from city to country without the normally requisite wardrobe change.

When the collection turns to the Sea, the colors are the main tack, with this palette being a no less predictable Blue based one, however, newness is added in by using Navy as the dark in places traditionally reserved for Black.  Examples include a super Dark Navy velvet Smoking Jacket & a Charcoal Gray suit that upon closer inspection is flecked with undertones of Navy to add a breath of freshness to the Ascot Chang flannel of countless seasons past.

The entire collection makes ample use of pattern in windowpanes, fresh mid-scale tartans & intricately striped rep ties in combinations that will make the traditionalists amongst their audience bristle with fashion discomfort, but the younger end of their market & the young executive being introduced to the label will undoubtedly embrace the more extreme looks with vigor.  Take out the plaid shirt & add an Ascot Chang custom white shirt in place of the plaid & the traditional gentleman will have plenty to love.  This is the genius of the collection’s creative consultant, Michael Macko its best.  Macko possesses a deep knowledge contemporary fashion as well as a rich respect of the traditional.  The Ascot Chang Fall Winter 2012 collection embodies both in a textbook display of what the bespoke custom market needs to remain relevant in today’s culture where fashion is anybody’s game to win.

Truly couture quality custom shirts can be delivered in 3 to 4 weeks with a suit taking a mere 5 to 6 weeks & prices ranging from $200 to $1,500 for the former & $2,750 & up for the later.  In the U.S. there are two retail locations where the Ready to Wear range is available for immediate purchase or tailors are on hand for custom measured orders in Beverly Hills @ 9551 Wilshire Boulevard or in New York @ 110 Central Park South.

-Scott French

Designer website: www.ascotchang.com

Now she’s giving one of our lucky readers a chance to win her signature “Sketch Scarf”, a $198 retail value.  See below for how you can wrap yourself in RECOLLECTION…

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HERE’S HOW TO WIN

Like RECOLLECTION by Sandra Murphy on  Facebook
then
Like TheFashionList on Facebook & Pintrest

-Leave us a comment HERE stating you now follow us  & be sure to include your contact info.
– Open to the lower 48 states
- ENDS Monday, May 28th
-One winner will be picked at random
- Winner + 1 runner up will receive a 1-year subscription to TheFashionList

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Don’t forget to stop by Henri Bendel to meet Sandra during her Trunk show from Thursday, May 10^th to Saturday, May 12^th from 10:00 AM to 8:00 PM.  Her whole assortment will be on display.  Get one for your Mom & one for yourself… how about a 3^rd for your sister… & a 4^th for your best friend…

What we’ve given away: OKA b. Eco Chic Ballet Flats
What we’ve given away: God Save My Shoes Movie Ticket
What we’ve given away: Jack Germain Journal

An award-winning fashion designer, Fischer started his cashmere business in Scotland over 25 years ago. Throughout the years it has grown to provide customers all the world over with the finest in quality, style & fit. Every Christopher Fisher cashmere design is constructed from raw fiber materials that are manufactured by his company.

Clients can choose from three different levels of style—Black Label which offers a chic modern look with a designer flare, Orange Label, a more casual approach to knitwear & Gray Label, featuring an updated look on timeless classics.

The Women’s Spring 2012 Black Label collection literally offers something for everyone. It is a diverse assortment of innovative designs ranging from crochet mini dresses to oversized tunics with several stops in between. The palette mixes neutrals of White, Taupe & Black with Pastel Greens, Pinks & Blues with a Fuchsia top under an Aqua cardigan providing an eye-catching pop of color.

On a slightly different note the Women’s Spring 2012 Orange Label collection has an easy-to-wear feel. With an earthy vibe, Bright Orange, Blue & Lime Green make the perfect complements. A stand-out feature of this collection is the use of color-blocking, mixing solids with solids & stripes.

Cashmere is timeless! In the words of Christopher Fischer—“There is only one level of quality for me, & that is the best.”

-Jacquie Bennett

Designer website: www.christopherfisher.com

The never-ending search for the perfect knit pieces is looking more hopeful. Thanks to designers Valentine Rémusat and George Luong who took on the challenge with their new collection, Les Valentines mixes up and delivers everything we love about knitwear. Bringing their expertise garnered at such houses as Céline, Sonia Rykiel and Tse, Rémusat and Luong tell a story in cashmere that is buttery soft, feminine, and technically masterful.

A grandfather cardigan, the ribbing seamlessly curving down the arm, surprises with a sheer gauze back panel. Another gives the option of wearing the sleeves, or draping them like a shawl around the shoulders leaving the buttoned vest. Carefully considered proportions hang away from the body but manage to be slimming with the perfect amount of slouchiness. Hand picked vintage buttons add that extra personal touch.

Show yourself some love with Les Valentines.  Les Valentines can be found at Pas de Deux in New York

- Lee Anderson, Parisian Correspondent

Designer Isaac Mizrahi promised on his Bridal show invite to put on a show & not bore the audience with “already seen” dresses & he delivered on this promise with every piece that walked the runway.  This collection presented fun, girly, flirty alternatives in a sophisticated & modern way.

The use of black details & even full gowns has been a trend that’s been around for a couple of season in the Bridal market & Isaac didn’t just embrace the trend, but rather took it to a brand new level: edgy, wearable, yet appropriate.  Using a black & white check taffeta for sashes & bows he incorporated not only color but also prints.  Black floral appliqués & lace were great details for traditional amazingly constructed & perfectly fitted off white gowns.  Another great option for the use of color was the introduction of black lace for the built in corsets.

There where also some pink tones in the collection.  From a strapless ball gown with draped bodice in a blush antique pink with, of course, a black sash, to an ivory mermaid bodice complimented by full check pink & white dress with a lace overlay, the use of color was exquisite & never crossed the line to be considered over the top.  The most memorable was a black tulle ball gown with a pink sash with a 3D flower appliqué that proved to be avant garde in color but a very appropriate silhouette wise for any wedding.

Of course there where also some traditional ball gowns that were fully embroidered & ornamented in crystal & pearl bodices, ruffles, laces, sheer details & everything else you would expect to see at a bridal show; however, these pieces were not enough to dampen the spirits of the young, flirty, fun… “new” ideas that made up the balance.

The mix of colors, prints, fabrics & silhouettes was a novel way of taking Bridal outside the proverbial box while always remaining sophisticated & mature.

-Miri Schott

Designer website: IsaacMizrahinyc.com

What we’ve said: Fall 2011
What we’ve said: Spring 2011
What we’ve said: Fall 2010

Designer Rita Vinieris of RIVINI Bridal (a fave or TheFashionList season after season) showed her Alyne Collection in a lovely Penthouse luncheon setting high above the streets of Mid-Town Manhattan.  The collection is a stand alone collection from the RIVINI collection, but is differentiated in pricepoint & is thus positioned just below RIVINI.  Ms. Vinieris explained that there was a customer that was left behind & forgotten about (unintentionally) at the Alyne pricepoint as RIVINI developed into a more designer level collection.

The collection, named as a combination of the designer’s two children’s names, is every bit as beautiful as it’s ‘big sister’ collection, but achieves its message in a more classic, traditional manner.  This is not to say that the fashion has been stripped away… quite the contrary actually.  What is different is much of the all-over beading & ornamentation that exists in the upper tier of this market has been replaced with more strategic use of such detailing in sashes, appliques or accessories.  In its place, high quality, wonderfully tactile fabrications were used in cuts that make the innate beauty of the bride the headline act.  An Alyne Bridal Gown complements the bride & never upstages.

The most striking gown of the collection in this observer’s opinion, was the “Mae”, an A-line high scoop neck, tank style, with plunging back draped cowl gown that was dressed up ever so subtly with a grosgrain belt encrusted with crystals, pearls & opaque stones.  The simplistic, pure beauty of this gown will not soon be forgotten.

Ms. Vinieris chose this setting to launch her namesake jewelry collection as well.  The collection consisted of a capsule assortment of heavily jeweled choker length necklaces encrusted with stone, beads & pearls with ribbon tie closures.  These necklaces make the perfect complement to the Alyne Bridal gowns & would transition into a cherished keepsake the bride would be able to wear for a lifetime to follow, every time serving as a reminder of her special day.  Seems we are witnessing a fashion empire in the making & a stunning design sense being the weapon of choice.  Bravo!

-Scott French

Publicity:  ATELIER Creative Services (www.atelierpr.com)