Mercedes-Benz Fashion Week Spring 2008

(NEW YORK) ADAM LIPPES
The young designer with the brand-new moniker, Adam Lippes creates sporty and sophisticated separates that have gained him a following even though his collections tend to be on the safe, commercial side. The Spring 2008 collection was no different, introducing both mens and women's wear that was earthy and refined. A few dresses stood out and pushed the designer creatively, especially a long, strapless one at the beginning of the show and another short, loose-fitting yellow satin dress. But most pieces that made up the collection were casual classics. Off-white shorts or long, flared white pants, light sweaters, and cotton coats dominated the presentation. Nothing ground-breaking but very well-executed, wearable clothes that will probably please his fan base.

BCBG
A poetic mood in shades of white and grey emerged from the BCBG spring collection that seemed far too romantic for an urban dweller. The silhouette was repetitive and consisted mainly of knee-length belted dresses with a few shorter exceptions. Yet details like delicate, layered fabrics, bustiers, and ruffles distinguished each piece. Sometimes the layering looked natural, like on a bright green dress with a petrol green outer-layer that flows from the waist down. With other dresses, the layers became individual garments whose contrast gives these pieces a modern, slightly offbeat look. A black, see-through skirt wraps around a pink, sleeveless dress, while a satin bustier is matched with a ruffled skirt in shades of pink and grey. Other details were more flattering in the form of bows or strapless dresses worn over short-sleeved shirts. BCBG is also known for its accessories, and this collection did not disappoint. The platform pumps were an instant hit with editors. 

ELIE TAHARI
Elie Tahari's spring collection could easily be mistaken for designs one would typically find in resort, but given its sophisticated relaxed style and chic prowess, what does a season matter? "The collection was inspired by a trip Elie and I took to St. Bart's about a year and a half ago," said Rory Tahari. "I was dying to wear long." The resulting pieces were cotton and linen dresses in relaxed, wrinkled fabrics and eyelet. Ornate necklaces were paired with the offerings, which were offset by an assortment of on-target sandals and flats and a key framed bag in ostrich.

ERIN FETHERSTON
Erin Fetherston chose almost exclusively tones of white and grey for her demure dresses and separates this season. The designer continued to explore the space-age theme present in her previous collections, with a series of silver lurex and white plastic dresses, translucent white makeup and white coral and feather headpieces that inspire images of ethereal ice princesses or Greek goddesses. Either way, the feminine designer, who showed her third presentation on Wednesday, seems comfortable experimenting with themes and proportions, even if such forays sometimes result in pieces that lack cohesiveness and quality of execution. For example, a brown, short dress with an asymmetrical, ruffled bottom looked childish and potentially unflattering. But there were other pieces that showed a more polished side of the designer. Her casual grey skirts paired with breezy white tops, a belted jersey dress under a white coat, cotton shirtdresses, and the long, elegant grey dresses that closed the show all point in a more sophisticated direction. 

L.A.M.B.
The collection, from the clothes to the kohl-lined eyes, to the poufy or pixie-short hair, was inspired by the '60s. "Imagine Priscilla Presley after spending her first night with Elvis," explained Raoul Zevallos, the show's tailor, as he described the mood of the collection. Set against a psychedelic video playing in the background, the presentation showcased the designer's rock roots: leopard prints, chunky, studded black platform shoes and tartans, which looked feminine when incorporated with mini-skirts and delicate midriff coats adorned with dark tulle roses. The retro inspiration showed up in bold black and white geometric patterns matched with yellow and green platform shoes and white-rimmed sunglasses, baby-doll dresses in leopard print paired with black knee-high stockings, and super-short sleeveless dresses in metallic fabrics.

Big, bold accessories like white and leopard print bags, oversized brown travel bags, hippie-ish brown leather belts, and fingerless black leather gloves matched with white nails complemented the nostalgic outfits. It was Mamas and the Papas meets Joan Jett down to the smallest details.

The designer also showed several more formal dresses, the most wearable standout being a white belted dress with flattering grey and white pleats. But in the end, Gwen Stefani, was the biggest standout of all, incandescent with her hair pulled back into a huge blonde chignon, bright red lips, and dressed in a sleeveless black and white mod sequined dress. 

MARCHESA
Georgina Chapman and Keren Craig didn't disappoint their glamorous customer base and sent out a sophisticated and ornate spring collection of red-carpet-worthy dresses and cocktail pieces. The inspiration was Victorian England, evident in the floor-length column dresses and romantic lace details, and the British Raj. The Indian influences included gold beading, embroideries, and gilded peacock feathers which dramatically adorned a strapless black dress. The designers continued to use black and white silk tulle and chiffon layers, but the Indian influences provided a more ornate look. The standout was a floor-sweeping bright orange dress with cut-out back and gold embroidery. A black and white, off-the-shoulder column dress was a more ethereal red-carpet option, perhaps to be seen on the likes of Naomi Watts, who was in the show's audience. But the designers also showed a few pieces that, while still luxurious and feminine, provided a more casual alternative to their evening gowns, such as romantic tops over pleat-front pants, a black lace coat, and short embroidered dresses, including two exquisite cocktail dresses in green and pink, hand-encrusted with small mirrors.

NAUTICA
Nautica might have a new talent behind the brand, but the change in the company's image was subtle, with the Spring 2008 collection as refined as ever. Miriam Lamberth, the company's new creative director and a fashion veteran, has gracefully carried on Nautica's tradition of men's outerwear classics inspired by the water. Über-tanned models in terry robes and trunks, sailing shirts, and seersucker pants emphasized the company's signature laidback yet luxurious image. The designer dressed up the same privileged, if slightly louche, man in elegant wool suits, cotton dress shirts, and double-breasted blazers which strolled down the runway before a front-row filled with equally cool Nautica men-elegant top menswear editors.

NICOLE MILLER
For Spring 2008, Miller vowed to stick with clean, timeless silhouettes. But the designer's vision swayed from classic pieces to more bohemian patterns and bright pinks and greens. Wide-legged trousers matched with structured white tops and jackets, grey and cream office dresses and pencil skirts, and modern black dresses all reinforced the designer's classic sensibility. But the colorful side of Miller was evident in her use of prints and block colors in close-fitting or flowing dresses and bohemian tops. Yellow, red, and brown stained-glass patterns alternated with monochromatic, shocking green and blue dresses, and a bright pink top. A long, close-fitting, stunning blue dress incorporated Miller's free-spirited femininity as well as the structured shoulders and shoulder details shown on tops and coats elsewhere in the collection. At the end of the show the designer changed the tone once again, sending out long, empire-waist dresses with metallic details, showing the versatility of a seasoned designer who can dress her customer in discreet, elegant pieces but has the confidence and energy to add a little bit of whimsy to her outfits.

RACHEL ROY
Despite being a colorful, girly designer, Rachel Roy always manages to put together outfits that look grown-up and somewhat restrained. A knee-length coat and a dress with splashes of blue, red, and black, a dress, and skinny pants in metallic tones clearly evoked the art world, but other refined pieces seemed to reference Roy's own luxurious lifestyle-boatneck dresses in shades of green, a simple white sheath dress, wide-legged white trousers, and a grey wrap dress. Overall the collection solidified Roy's signature image of a woman who wants to explore her sophisticated femininity while striving to look appropriately chic and refined.

RAG & BONE 
The design duo David Neville and Marcus Wainwright delivered a cool, crisp collection that was part adventurous Bond Girl, part safari-loving Lauren Hutton. The designers quoted English tailoring, American workwear, and espionage-style as influences. "We were looking at late 1960's, early 1970's Sean Connery movies," Neville said. "An era so cool, it seems contemporary. Hopefully people got it without translation." Such references were apparent in the sporty, khaki pantsuits, black swimwear, and safari shorts and jackets. Other pieces seemed more urban and office-appropriate-grey and black pantsuits or a white skirt suit. Some of the dresses were so neutral that they strayed too far away from the brand's luxe yet hip image. When accessorized with safari hats, short vests and ties, the outfits had more flair. No wonder young, elegant and comfort-loving stars like Kate Bosworth and Amanda Peet are enthusiastic fans.