2011 February 12
New York Fall 2011: Rag and Bone, Costello Tagliapetra, threeASFOUR, Sally LaPointe, Robert Geller
FirstView View Gallery
Rag and Bone
Seventies Inuit (with a little Scottish flare for good measure) was the name of the game at Rag and Bone where Erin Wasson, Alexa Chung, and Jessica Stam sat front row. Marcus Wainwright and David Neville drew on their inspiration with striped suiting, reworked varsity jackets, tartan kilts, thigh-high legwarmers, and plenty of Arctic-approved coats to go around. Most striking for fall was the Brit boys’ use of texture. Models marched to Radiohead’s Thom Yorke sporting shearling vests, leather trimmed shorts, tweed ponchos, nubby cropped knits, and cowhide and leather coats. And let’s not forget! You can’t have a 1970’s Inuit-goes-skiing-in-the-Scottish-highlands theme without a splash of color; rust, Klein blue, heather, and frosty whites ruled the catwalk. Not too shabby for a duo famous for denim.
Jeffrey Costello and Robert Tagliapetra had two things on their mind for fall: the time they met seventeen years ago and a 1970’s housewife. Not just any housewife. The cardigan-clad couple were channeling a suburban sexpot—you know, the woman all the other housewives gossip about. Think swishy knee-gracing silk dresses belted at the hip, retail ready cigarette pants paired with draped blouses, and a few body-hugging gowns for those just-in-case moments. Vermillion, copper, chalkboard green, and a touch of saffron were all the duo needed to send loyal clientele gushing backstage about the colors du jour. “You’ve really outdone yourselves” and “What a show” were heard behind the scenes. What’s next? “Sale!” smiled Costello.
Mathematics and the avant garde were the themes for the threeASFOUR show. The runway snaked around the room, as a caped violinist and bass guitarist let loose in the back. Much like the collection, the music was ambient and dark, crescendoing into a full blown orchestrated affair. Accessories stole the show, as models with wooden pieces around their midsections and violin shaped bags and backpacks moved down the runway. The projection on the wall, as well as many of the garments included a design of geometric strings crossing and forming spherical and three dimensional illusions. These strings were everywhere: connecting leather collars to dresses and holding quaterback-size shoulder pads in place. Despite its gloss of sophistication, the show felt deeply intimate. Everyone from Glenn O’Brien to Arden Wohl watched in admiration as the designers quickly popped out and received their roaring applause.
Up the enormous wooden freight elevator and deep into an icy concrete-floored Chelsea warehouse space, Sally LaPointe presented her second collection on Friday evening. The collection's color scheme moved from silver to red to blue to black and back to red for the final piece. The color selection reflected “The RGB (red-green-blue) found in photographic processing. I started with silver to create the palette,” explained LaPointe. Her collection was entirely based around this idea of photograph processing, an idea inspired by her favorite photographer, Lillian Bassman. “She literally took 40 years worth of film and negatives and put them in a bag and put it away only to be found 20 years later and redeveloped. That’s where the whole thing began,” LaPointe said with admiration. The pieces featured exaggerated shoulders and hips on monochromatic metallic floor length skirts and gowns. Sleeves and jackets were long and structured, leaving little skin revealed and much to the imagination. Was LaPointe anti-leg? “No,” she laughed, “I wanted them to look complete, head to toe. And you know, its fall.”
Nobody missed the neon pink bursts of color on the hair in the mostly subtle, wearable menswear collection. Gap-tooth wonder Taylor Fuchs opened the show in a slim cut gray double breasted blazer, ultra-suede pants with the perfect amount of slouch, and the most sumptuous leather flat boots. In fact, the leather pieces throughout the show, which included vests, washed blazers, and suede pants, looked supple and comfortable enough to lounge in. Adding to the casual vibe were marled gray knit sweatpants, sheer turtlenecks, and a washed out blue jean of the slimmest variety. Gellar used accessories brilliantly to finish off the looks. Silk sash cumberbunds disguised the waistline of jeans, gold studded gloves with paired with cardigans and trousers, and gold foil handkerchiefs gleamed from a few pockets. This continuing theme of Midas-touch detailing produced a sense of uniformity instead of gaudiness, artfully tying together the leather blazer and sweatpants. Though the waist-cinching belts may be too much for the men, this is a collection that some ladies might be stealing from their boyfriends.