the slew of fashion week reviews: fall/winter 2012, part iv

Part I, Part II, & Part III. This is the last one, I promise.

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REEM ACRA

A tribute to the roaring twenties and Art Deco, where the influences are apparent but hardly literal. It’s quite luxurious, from the waxed red floors to the clothing themselves. Raise your martinis to unapologetic opulence at its finest; let us celebrate the recovery from a recession.

Reem Acra presents the alternative to forties Hollywood glamour – this is the underground version of a bygone era.  Glitz and glam through private eyes, masked by boozy bars and smoky hazes. Swaying figures, martini glasses in hand, who have abandoned their great, great-grandmother’s shapeless shifts for beaded gowns. She sets the martini glass on the bar – she can be that woman of her past, and more. Cheers to femininity! All the other ladies in the bar do the same.

A beautiful brocade for the daytime – paired with a slinky black pant and little black tank for a night out, or with light denim skinnies and Isabel Marant booties for day time. Her nighttime escapades are mysteries; you’d only get a glimpse through Swarovski-embellished flashes as she walks by, and wonder.

She’s the woman who has the ability to wear leather or mesh, and yet all eyes remain in their sockets. She is no lustworthy object on the job (though she is) – she is powerful, a dominatrix in her field.

And once she prowls the night… the gowns speak for themselves. Tricks on the eyes, illusions of skin and glittering gold.

Here comes the Prohibition, part II.

Roland Mouret

This is the brand of the older, mature woman. Late twenties to thirties, when she is all woman. She embraces not only her femininity, but  her womanity wholly.

The fabrics are beautiful; clinging to the body but allowing full range of motion and ease of movement. Comfort and fashion are attainable, as is professionalism and style. As a younger woman it seemed that one had to be sacrificed for the other – her older self knows better.

A gorgeous and refreshing color palette for fall. I love black and jewel tones as much as the next faux New Yorker, but for the sake of full disclosure, colors are contagious and deliriously exciting. Dove grey – as opposed to anthracite and slates – awakens black. Mint greens, soft blues, a pastel yellow. Delicious and creamy, yet when draped so elegantly, look just right.

I adore the last dress. An LBD so basic that the tiniest detail makes all the difference. It’s something a dancer slips into after classes, be it for taking the subway home or for drinks afterwards. It loves the body, and the body love it – it offers freedom of expression, of movement. But it’s the single bow detail on one shoulder that pulls me; from afar it could be a hanger tag mishap, but not.

A delicate touch.

Theysken’s Theory

For the reformed grunge-chic or recovering Alexander Wang junkies who wish for the return of his first few runway shows. Perfectly undone, effortless, never contrived.

I wish I was cooler. Edgier, or edgy enough to pull off such outfits. The styling was fantastic; nothing was taken away from the clothes, and each piece could be evaluated and valued standing on its own. No distractions, no unnecessary additions or fluff. It’s hardly me in a stylistic sense, but the intersection of high fashion and wearability (yet again!) is fantastic.

Such great sweaters and coats. And those grey hot shorts! So sweet.

Vera Wang

Vaguely futuristic yet still femme. It’s all a bit The Fifth Element, in terms of aesthetics, styling, and storyline (great movie, by the way). A peachy color palette that stands out amongst slews of earthy gradients or cool neutrals. Fall-ing (pun intended) forward a touch spring; it’s very progressive, very cool. The gradients and ombre, combined with fabrics that played with the light, was very modern for Wang.

Technology comes to mind, for some reason. It’s futuristic in the most unconventional sense in that there’s no boxy structures or alien-like projections from the clothing – it’s purely beautiful drapery (no surprise from her) and construction. Lighter-than-air blouses. Filmy skirts. And, of course, the well-tailored pant. (It’s all about balance.)

From peach and tangerines, to black – I adore the contrast. I adore the play with layers, prints, fabrics, and don’t think pictures do it justice.

(A more personal note: in my mind I’ve substituted the orange shorts as a stream-lined pencil skirt. Nobody looks good in that biker length…).

Versace

I had to include Versace out of tradition; it will always be a favorite. This gothic interpretation for fall, though not a fan, was applaudable. It’s an interesting choice – deviation, more like – from the usual eighties prints and jewel tones the fashion house is known all too well for. What I love about Versace is that Donatella never takes the brand too seriously, made clear with a concession of dresses emblazoned with logos; it was an unexpected touch of humor with an ironic take on pretension.

The gowns never disappoint. Never.

And as an aside I should note that I always seem to favor spring summer collections over the fall/winter shows – it’s applicable to ALL Designers. Strange, considering I love fall fashion.

Victoria Beckham

Another consistent favorite, regardless of the season or year. I’d wear anything this woman makes. I could care less whether she actually designs the clothes (not the point, here). I really could. What I do care about are clothes that work. It’s clear she – the brand – has a good understanding of what works with the woman and what she wants.

The clothes, I think, speak for themselves. Beautiful silhouettes, a sophisticated, tonal palette, truly timeless and completely wearable. It’s seamlessly styled, with just enough detail to add dimension without taking away from the beauty of simplicity. It’s luxurious, it’s desirable, and above all, it’s practical.

And the red-orange lip on a bare face? The perfect accent.

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