NY Fashion Week: office-wear with edge and power-suits with a softer touch
Globe Style's Amy Verner has packed up from Paris and landed in New York to cover Mercedes-Benz Fashion Week. On Monday, designers including Donna Karan, Phillip Lim and Jenny Packham showed of their threads
Last year, Theory, a brand associated with contemporary work attire more than fashion forwardness, recruited wunderkind Parisian designer Olivier Theyskens to shake things up. His third collection consisted of several looks that were still office appropriate, even factoring in this highly exaggerated flared trouser.
This look is certainly slouchier, thanks to a low-slung pant and waist-skimming tee. But the jacket, piped in gold thread, adheres to the classic-with-twist Theory spirit. What you cannot see is how the platform boot’s precariously high heel is gold plated—no doubt a way to attract attention en route to the photocopier.
This is not the first time fur sleeves have appeared on the runway for fall (see also: Herve Leger). But what could easily end up resembling a yeti in a dress comes across as streamlined and luxe. And once again, the wine hue returns, shown here as a skinny jean.
Here’s the final look shown at Theyskens’ Theory; its distinctive, upwardly pointy neckline appeared on several other jackets and dresses this season. Even more noteworthy: the fabric appeared visibly creased—one would assume intentionally—as if a society girl hit one too many after-parties. That’s Theyskens’ touch.
British designer Jenny Packham is favored by Catherine Middleton and whether or not she now designs with the Duchess of Cambridge in mind, she maintains a streamlined elegance that is photo op friendly.
Before the main Donna Karan show, a dozen models emerged enrobed in plaid and layers of knitwear to show off the designer’s Casual Luxe capsule collection. It flirted with grunge—a fun idea from New York’s fashion establishment—but some looks were too weighed down by the layers.
Then came a gearshift to the main collection, which played with the conventions of a power suit. A cummerbund over a jacket? Sure, why not. The hats (while finely constructed by Stephen Jones) and deconstructed collars—used throughout the collection—seemed like they were overstating the obvious.
There was a lot of masculine-feminine contrast at work. And this double-breasted notched lapel jacket is Donna Karan at her tailored best. But with the knife-pleated skirt, collar and hat once again, I could hear Cabaret songs in my head.
Jersey dresses were another theme. You’d be splitting hairs to find fault with this one in scarlet, provided you are not fazed by the idea of a missing collar.
Here, the final look, a trompe l’oeil evening dress where the crisp shirt (smart tweaks to the collar and cuffs) is attached to satin skirt. Whitney Houston’s I’m Every Woman accompanied the final march. Fitting.
Donna Karan wasn’t the only designer attempting sartorial illusions on Monday. By framing knits and outerwear in white, Phillip Lim created a slimming effect. What woman would complain about that!
And then, staying true to her characteristic kookiness, Betsey Johnson featured a jeweled skeleton torso on the outside of a slinky dress.
Marc Jacobs enlisted artist Rachel Feinstein to create this theatrical stage set, a frozen fairytale village in a state of collapse.
The eccentricity was off the charts, in a certain decadent ragamuffin way. Fabrics were entirely sumptuous and sturdy: hologram tweeds, wool brocades, embroidered lamé, mutant paisleys and printed velvet – many combined in a single look. Prints Cropped pants and ankle socks paired with stacked pilgrim loafers were pure Jacobsian quirk.
The madcap floppy fur hats in cartoon hues evoked Dr. Seuss to some people and JK, the frontman of groove-dance group Jamiroquai, to others. My main concern is that the knockoffs will be dreadful.
Jacobs dares and dreams and then does what other designers wouldn’t dare dream to do.