2011 February 12
New York Fall 2011: Doo Ri, Rebecca Taylor, Tess Giberson, Perry Ellis
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Doo-Ri Chung expanded beyond her deft draping skills this season with structured, felted wool jackets, Spiderman-inspired dresses and sex-appeal. Inspired by the exaggerated proportions of artist Beverly Semmes, Chung channeled “Jane Birkin meets Patti Smith,” with angular and considered lines throughout. Webs of macramé and swoops of sheer paneling added an edge to the fluidity and simplicity of many dresses. Thigh-high lace-up boots in the same palette of smoky neutrals peeked out from the longs slits on many of her pieces, which didn’t challenge the moody, pared-down sophistication of Chung’s collection.
Rebecca Taylor turned out an assortment of harder-then-her-usual-fare frocks inspired by French jazz clubs in the 1970s. “The muse would probably be Jerry Hall,” said Rebecca Taylor. Shades of teal and magenta ruled the collection, which was grounded in grey and dusky peach. Wide cuff bracelets in emerald and bejeweled, chunky statement necklaces lent sparkle to Taylor’s toughened up fall looks. Hammered silks, a few sheer black pleated pieces and lurex-laced striped metallic knits further detailed the still-ladylike collection.
Spurred by a desire to deconstruct and tweak familiar silhouettes, Tess Giberson’s fit-for-an-ice-princess presentation was black, white and russet all over. Handkerchief hems, shoulder cutouts and slim belts softened long knits and profusions of Narnia-esque black fur. “Since the collection was all about the notion of collage, we focused on mixing craft with something very modern,” Giberson says. Simple hairstyles parted down the center and black leggings peeking out under many ensembles provided a clean backdrop for Giberson’s subtle melange of textures.
Knits, neutrals and slouchy pants sans back pockets were tucked into nubby socks and loosely tied hiking boots at Perry Ellis on Friday morning. Dressier fare included grey and brown windowpane suits, but the bulk of creative director John Crocco’s fall collection, inspired by architect Phillip Johnson’s Glass House, went a more casual route. Washed twill separates, cropped peacoats and quilted nylon and leather outerwear were shown to the high-pitched croons of remixed Neil Young track. Chunky collarless cardigans and flashes of Fair Isle knits lent a cozy touch to the modernism. But the grand finale was perhaps the most minimalist moment of all: the show’s models reappeared en masse in cream long underwear in lieu of pants.
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