Breaking NewsThe very latest from the Spring/Summer 2012 collections directly to your screen. What will be seen broadcast on the pages of this month’s “Vogue”, is an artistically ironic simulation of telesales programs, nowadays much in vogue in the United States. Where cult garments and must-have accessories, from purses to shoes, to the most sophisticated jewelry, are presented by It-girls and chic ladies. Warning! All prices, telephone numbers, deadlines, that is to say all the writings superimposed onto the images are invented and have no reference to reality. It is only a game.
(Vogue.it/Photos: Steven Meisel)This is one of the most chic, and creative of presentations! Each frame so masterfully displayed that it beckons the viewer to sample each enticing look! To top it off, the EVER CHIC, Michelle Violy Harper is featured.
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Emilio de la Morena does not do casual. The designer is a specialist in party frocks and dressed-up separates, polished and a little weird, and if memory serves, 2007 was the last time he showed pants. There's very little "street" in his look and a strong flavor of ladylikeness. What makes de la Morena compelling is that he applies himself to ensuring that dressed up, polished, and ladylike feel modern; he doesn't go in for a lot of froth.
This season, his clothes were almost entirely froth-free, in fact. There was essentially one silhouette—knee-length pencil dresses and skirts topped by tailored sheer blouses and fitted, squared-off jackets—and the collection's sense of strictness was underlined by de la Morena's emphasis on geometric embellishment. Several pieces came gridded in thin leather tubing bordered with beads; others featured layered panels of squared-off fabric, or color blocks of a high-radian sine curve print. De la Morena also executed the sine curve as tone-on-tone embroidery on organza. The few hints of softness were seen in nice if unspectacular pointelle knits and in the kick of ruffle sometimes appended to the back of a skirt, a detail that felt extraneous. De la Morena's organzas also came with bands and bibs of micro-ruffles, applied with severity; never has a ruffle looked less like frou. The collection as a whole had an astringent quality, amplified by a black-white-red palette that occasionally ebbed into blush, purple, and bright orange. There were lots of attractive pieces to be found here, but not a whole lot of fun.
(style.com)
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When he graduated from Central Saint Martins in 2009, the first celebrities that twigged to David Koma's architectural, futuristic designs were Beyoncé, Lady Gaga, and Rihanna. But today's more refined and precise collection was perhaps better suited to his two slightly less dramatic but still major front-row gets: Samantha Cameron and Daphne Guinness.
In an overlap with Marc Jacobs and Louise Gray earlier this week, Koma's starting point was the polka-dot obsession of the Japanese artist Yayoi Kusama. He then had to figure out how to channel it in a modern but feminine way, resulting in a strict and ladylike silhouette. Koma says he tries to challenge himself and experiment every season, and he did just that today. Among the various circular motifs, there were patent leather discs embroidered onto jersey, felt on top of napa leather, wool under laser-cut leather, and photo prints created in collaboration with the contemporary Russian photographer Oleg Dou.
There was a neat progression in the way Koma turned up the volume on his dotty look, starting subtly in Sam Cam-appropriate black and nude with black fox cuts and collars, and then twisting it and layering it with a surreal bit of Leigh Bowery-ness and sharp, controlled shots of Kusama color. Some found the bright fur pompoms a bit silly, but to Koma's credit, he used them quite minimally—and they did the work they were supposed to, making the less obvious color on a look pop. After Koma's morning show, Britain's First Lady also attended Christopher Kane and Erdem, as well as Burberry. This designer might just be ready to share that excellent company.
(style.com)
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