2009 February 18
(NEW YORK) Rodarte
The Mulleavy sisters are more often than not a highlight of the week. This season, they did not disappoint their loyal following of editors and front row celebs including Kirsten Dunst and Elijah Wood (both “friends”). The collection was focused on marbling, and backstage, large swaths of the raw marbled fabric hung near the runway's entrance. As usual, there were strong leather jackets and incredible knitwear--this season more maximal than the last. For footwear, their collaboration with Nicholas Kirkwood brought hip-high strappy boots complimented by a number of minidresses that were--dare we say--wearable.
Marc by Marc Jacobs
If Marc Jacobs’ signature collection paid an homage to golden age of 80’s subculture, Marc by Marc Jacobs felt like a confusing artifact found in a thrift store thirty years later. Sixty looks were on display, just like during the main show, but the clothes looked unfocused and less edgy. With the exception of satisfying women’s bags, wholesomely tailored men’s suits, and a few attractive party dresses, the effort was oversized and piled-on. At least there were few appealing separates and ski boots to keep young Marc faithfuls crawling back.
Philosophy di Alberta Ferretti
She may be showing her secondary line in New York, but Alberta Ferretti still has loyal Italians to keep her company. The designer chatted with Franca Sozzani of Italian Vogue before her presentation at Eyebeam. The show, which featured Ferretti’s signature feminine dresses, also had an edge to it. Chiffon tights tucked into silver wedge heels were an excellent addition to the flouncy shift dresses. The fur pieces were a particular highlight, including a fur skirt and a jacket with the back and sleeves in black fur.
For the spectators who stylist Philip Block called "elegant and polished--exactly the kind expected to show up", Behnaz Sarafpour's collection of easy separates and strong dresses was a chic dream come true. Eschewing over-the-top glamour for understated allure, Sarafpour charmed with pieces inspired by the sculptures of Alexander Carder. But while the shapes were futurstic, the accents felt comfortably homemade: shoes had spray-painted detailing, zippers extended above the tops of gowns, and one dress had colored ribbons coursing down the front, like the Amazon through South America. While the audience was smaller than before and the collection more pared down, the extra bit of consideration for a woman's sense of modesty and confidence in these doldrum times was much appreciated.
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