Michael Bastian: Still shining
By Benjamin Le Hay for RunwayResource.net
Michael Bastian epitomizes classic all-American chic. Handsome cashmere sweaters with bold preppy colors add a hint of the fashion forward aggression that is so often lacking in the wardrobes of stylish men, this side of the pond. Now with commendable creations for Gant also well under his control, Bastian has quickly turned into a deservedly respected fashion darling. Having pervious helmed the position of Men’s Fashion Director at Bergdorf Goodman his show was packed with traditional Beau Brummels and loyal supporters.
This season, Bastian and set designer Jason Courson constructed a dazzling back drop reminiscent of a New England boarding school. At the head of the runway was a shattered glass pane, with the remnants of broken glass strewn about the catwalk. Brawny (and gorgeous) models quickly traipsed the runway in splendid cashmere blazers, hunting jackets, plaid separates and Dr. Martin boots. Colors ranged from traditional reds, blacks, Pine green, olive and browns to pops of daringly confident pink and navy.
It’s always easy to relax with Bastian, since nearly every look works. It’s never safe, but traditional enough to always be successful. Instead, scholastic chicsters simply need to drool over which outfit fits their personality, body and skin tone.
A red plaid, quilted nylon hunting jacket set off the show, with positive responses, then eventually came a progressive, chopped-off and washed vintage kilt. A black waxed, leather motorcycle jacket adorned with fun zippers was a welcomed surprise and a cut-lined gray wool/cashmere blend tipped jacket also deserved praise. Other standouts such as a navy nylon and gray wool techno flannel racing parka, an olive Shetland wool herringbone tweed gun patch jacket in red, and a navy windowpane check wool/cashmere double breast jacket personified Bastian’s erudite, mountain-man sleekness. Towards the end there was a gun check vest in cream and a pink pin-wale corduroy dinner jacket both with shawl collars — and Chad White. No one left unsatisfied…
Showing posts with label NY Fall 2010. Show all posts
Showing posts with label NY Fall 2010. Show all posts
Saturday, March 6, 2010
Saturday, February 27, 2010
NY FALL 2010: VPL by Victoria Bartlett
VPL by Victoria Bartlett
Benjamin Le Hay for RunwayResource.net
With nearly 60 looks, Victoria Bartlett had plenty to say with her fall/winter 2010 collection. While the show was titled “Shadows,” no one theme seemed evident, as the clothes wandered somewhere between nomadic Sahara and apocalyptic beach. In the beginning, Bartlett hid bras, leggings and undies under coats, vests, shift dresses and multi-color bandage bodysuits. The palette dabbled in tawny, seal brown, putty, nude, gold, camel, sea, dull violet and gray. She used a mélange of leather, jersey, wool, mohair, cotton and silk materials that were fluidly blended, layered and draped together. There were fun accessories such as rope and leather chain-link belts and bracelets. A provocative coal silhouette shift dress over a purple fractional bra with fake tan, twisted gloves and taupe bandage boots worked well.
There was plenty of subdued sheen and sparkle with a silver, free fall cardigan, matched with a silver patch, bandage bra, tar fragment pants and purple bandage boots. Jaclyn Mayer’s Orly Genger jewelry complimented the VPL garments beautifully.
Other successful looks included a military torsion tunic with a green warmer and military boots, paired with a gold tiered jacket. Towards the end — which was a parade of bodysuits and bandage—highpoints included a long leg, braided bodysuit in a hodgepodge of camel and sand colors; and an alchemy hair corset and bodysuit, both weaved in plums and pewter. Although there was a lot to take in, these contemporarily ethnic pieces would mix and match well together, or hold their own as separates.
Benjamin Le Hay for RunwayResource.net
With nearly 60 looks, Victoria Bartlett had plenty to say with her fall/winter 2010 collection. While the show was titled “Shadows,” no one theme seemed evident, as the clothes wandered somewhere between nomadic Sahara and apocalyptic beach. In the beginning, Bartlett hid bras, leggings and undies under coats, vests, shift dresses and multi-color bandage bodysuits. The palette dabbled in tawny, seal brown, putty, nude, gold, camel, sea, dull violet and gray. She used a mélange of leather, jersey, wool, mohair, cotton and silk materials that were fluidly blended, layered and draped together. There were fun accessories such as rope and leather chain-link belts and bracelets. A provocative coal silhouette shift dress over a purple fractional bra with fake tan, twisted gloves and taupe bandage boots worked well.
There was plenty of subdued sheen and sparkle with a silver, free fall cardigan, matched with a silver patch, bandage bra, tar fragment pants and purple bandage boots. Jaclyn Mayer’s Orly Genger jewelry complimented the VPL garments beautifully.
Other successful looks included a military torsion tunic with a green warmer and military boots, paired with a gold tiered jacket. Towards the end — which was a parade of bodysuits and bandage—highpoints included a long leg, braided bodysuit in a hodgepodge of camel and sand colors; and an alchemy hair corset and bodysuit, both weaved in plums and pewter. Although there was a lot to take in, these contemporarily ethnic pieces would mix and match well together, or hold their own as separates.
NY FALL 2010: Y3
Y-3: Fighting Fashion
Benjamin Le Hay for RunwayResource.net
Y-3 is always the show that the fashion crowd looks forward to for a much-needed dose of fun and frivolity. With the Park Avenue Armory packed to the brim with such notables as Ciara, Justin Theroux and Terry Richardson; the Y-3 team kicked off the presentation of their Autumn/Winter 2010-11 collection with haze and fog on the runway cut with a fantastic laser show by British art collective UVA.
Y-3 is about sportive technology infused with traditional construction complimented by Yohji Yamamoto’s futuristic genius; so the lasers were a perfect fit. For this season however, Y-3’s sportive elegance turned more too custom English tailoring — classic shapes updated with modern materials, or vice versa. Yamamoto injected a considerable amount of his routine humor into the collection by using underlying themes such as masked superheroes like Zorro and the Scarlet Pimpernel to jailbirds on the run.
At first, models paraded down the runway to revamped tunes of Simon & Garfunkel in a variety of gray and black plaid ensembles including rouched jackets with zipper accents, cowl neck warm up suits and sporty blazers; worn with awesome silver and neon patent leather wedge heels on the women and pump sneakers on the men.
The collection then segmented into traditional military garb, deconstructed in a contemporary light as Yamamoto explains, "Recently the trend has been for tighter and shorter and sexier clothes. I wanted to wrap the body again, and not show too much."
Classic A-1 flight jackets with fur collars, long dramatic capes, cashmere utility warm-ups and car coats were showcased in navy and black. This slowly progressed into jersey dresses with tier bottoms, cloaks, shawls and oversized jumpsuits — all accessorized with luxurious excessive scarves in more navy, cranberry merlot and black.
Note: a men’s nave/olive sleeveless cape with toggle, should be purchased as soon as humanly possible!
Humor resurfaced again with wool sweaters, hoodies and cardigans embellished with kitten patches and phrase like, "I'm thinking prison break" and "World is not fair."
Benjamin Le Hay for RunwayResource.net
Y-3 is always the show that the fashion crowd looks forward to for a much-needed dose of fun and frivolity. With the Park Avenue Armory packed to the brim with such notables as Ciara, Justin Theroux and Terry Richardson; the Y-3 team kicked off the presentation of their Autumn/Winter 2010-11 collection with haze and fog on the runway cut with a fantastic laser show by British art collective UVA.
Y-3 is about sportive technology infused with traditional construction complimented by Yohji Yamamoto’s futuristic genius; so the lasers were a perfect fit. For this season however, Y-3’s sportive elegance turned more too custom English tailoring — classic shapes updated with modern materials, or vice versa. Yamamoto injected a considerable amount of his routine humor into the collection by using underlying themes such as masked superheroes like Zorro and the Scarlet Pimpernel to jailbirds on the run.
At first, models paraded down the runway to revamped tunes of Simon & Garfunkel in a variety of gray and black plaid ensembles including rouched jackets with zipper accents, cowl neck warm up suits and sporty blazers; worn with awesome silver and neon patent leather wedge heels on the women and pump sneakers on the men.
The collection then segmented into traditional military garb, deconstructed in a contemporary light as Yamamoto explains, "Recently the trend has been for tighter and shorter and sexier clothes. I wanted to wrap the body again, and not show too much."
Classic A-1 flight jackets with fur collars, long dramatic capes, cashmere utility warm-ups and car coats were showcased in navy and black. This slowly progressed into jersey dresses with tier bottoms, cloaks, shawls and oversized jumpsuits — all accessorized with luxurious excessive scarves in more navy, cranberry merlot and black.
Note: a men’s nave/olive sleeveless cape with toggle, should be purchased as soon as humanly possible!
Humor resurfaced again with wool sweaters, hoodies and cardigans embellished with kitten patches and phrase like, "I'm thinking prison break" and "World is not fair."
NY FALL 2010: Risto
Risto: Cocooned
Benjamin Le Hay for Runway Resource
Following stints as a design assistant at Jean Colonna and Thierry Mugler, Risto Bimbiloski, originally from Macedonia, has plenty of flavorful skill and style for creating head-turning fashion. His factory, which looks after the production requirements of all his collections shines when it comes to handcrafted knits and industrial cut-and-sew garments.
For this season, Risto drew inspiration from the landscapes of Nicola Sassoon fused with distorted digital imagery. Voluminous and excessive silhouettes in Risto’s signature chunky, sumptuous knits abounded. Visual depictions of blurry jungle forests, waterfalls and waves cresting at midnight seemed to dance on a variety of abstractly cut dresses, jackets, cardigans and hoodies.
The show kicked off with several knit capes in silver, robin egg and fog — each bordered in silver or gold threading and beads. Outer garments and cashmere sweaters appeared to cling to the body like spider webs. They encased colorful dresses and tops in rainbow, watercolor-pastels.
The overall mood and styling of the show symbolized a butterfly or moth muted by its dreary cocoon. This gave a sense of off-kilter balance and displayed the mismatch and versatility of each piece. A slit-back dress in a Fair Isle/Python silver print turned heads, as did a parka with wool and cashmere lining in black midnight, with the hazy image of waves. The collection’s leggings also were noteworthy with the collision of double materials such cashmere, Lyrca, patent leather and wool, merged at the inseam, certainly a designer who juxtaposes fabrics, styles and shapes for a provocative effect.
Benjamin Le Hay for Runway Resource
Following stints as a design assistant at Jean Colonna and Thierry Mugler, Risto Bimbiloski, originally from Macedonia, has plenty of flavorful skill and style for creating head-turning fashion. His factory, which looks after the production requirements of all his collections shines when it comes to handcrafted knits and industrial cut-and-sew garments.
For this season, Risto drew inspiration from the landscapes of Nicola Sassoon fused with distorted digital imagery. Voluminous and excessive silhouettes in Risto’s signature chunky, sumptuous knits abounded. Visual depictions of blurry jungle forests, waterfalls and waves cresting at midnight seemed to dance on a variety of abstractly cut dresses, jackets, cardigans and hoodies.
The show kicked off with several knit capes in silver, robin egg and fog — each bordered in silver or gold threading and beads. Outer garments and cashmere sweaters appeared to cling to the body like spider webs. They encased colorful dresses and tops in rainbow, watercolor-pastels.
The overall mood and styling of the show symbolized a butterfly or moth muted by its dreary cocoon. This gave a sense of off-kilter balance and displayed the mismatch and versatility of each piece. A slit-back dress in a Fair Isle/Python silver print turned heads, as did a parka with wool and cashmere lining in black midnight, with the hazy image of waves. The collection’s leggings also were noteworthy with the collision of double materials such cashmere, Lyrca, patent leather and wool, merged at the inseam, certainly a designer who juxtaposes fabrics, styles and shapes for a provocative effect.
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