November 21, 2007 Issue
Welcome to New York Look. In one sense, this is a fashion magazine. In another, it’s a chronicle of an event—or rather, a sequence of events—known as the collections, a biannual happening fascinating enough to merit obsessive coverage of its own.
It's like box scores, except it's fashion, broken down to the minute.
The Proenza Schouler boys reconstruct the birth of their spring collection, from a book found in L.A. to a Japanese kimono, by way of Karen Blixen.
That’s how Pat McGrath sums up her spring makeup.
When it comes to their twice-yearly trips to New York, Milan, and Paris, editors are herd animals—eating, drinking, and gathering at the same spots time and time again. Here, the well-worn paths.
It’s inconsistent as a show destination, but five labels are putting the city back on fashion-pilgrimage itineraries.
After the show day ended, the parties began. Here, a fraction of the New York activity.
It’s as if we went to sleep in New York and woke up in Tahiti. Floral prints showed up on almost every runway: big and splashy or demure and pastel.
Gowns are lighter than air, made from tissue-thin silk (or even, at Lanvin, high-tech polyester) in eye-popping tropical paradise colors.
The erogenous zone moved south as dozens of designers embraced very short shorts, for evening or day.
Designers such as Narciso Rodriguez and Donatella Versace used vibrant, tart colors to put the little black dress into temporary retirement.
Art Nouveau motifs at Prada. Rothko hues at Marni. Pollock-y splashes at Dolce & Gabbana. For spring, designers borrowed from modern art for inspiration.
Some of the ideas at the spring men’s collections, like leggings, were pure entertainment. Others, like light-colored suits, were real-life wearable.
The shapes were simple, the surface treatments profound. The Mulleavy sisters used cascading beads, frayed silk, and fragile pink poppies.
Shine this season is meant to gleam, not blind. Olivier Theyskens at Nina Ricci put a hippie spin on luster with satin trousers and a printed T.
There were the megatrends —and then there were the micros. Some were indicators of a soon-to-be-shifting silhouette. Others meant a look has staying power.
Magnum photographer Paolo Pellegrin captures the beauty, chaos, and drama of the runways.
Forty years in the fashion business is reason to celebrate. After taking a bow at the end of his spring show, Ralph Lauren invited everyone to an alfresco dinner. In Central Park.
The rise, fall, expansion, and contraction of the skirt, from prehistory to the present.
His shows are always late, hot, crowded, uncomfortable—but he’s always forgiven. Until this year, when some in the fashion industry finally turned on Marc Jacobs, and he turned back on them.
Accessories provided art and commerce, sometimes at the same time, like whimsical hats; wide, bold belts; the tiniest clutches; and the biggest necklaces.
Straps, wraps, boots, elaborately constructed pants—dressing didn’t stop at the knee.
Plus four other new models who stirred up the runways this season.
We thought we knew Roberto Cavalli animal prints, plunging necklines, thigh-high slits, showgirl glam. We were wrong.
Designers including Michael Kors and Calvin Klein gave clueless guys a break this season by endorsing head-to-toe monochrome.
At the Paris spring shows, sometimes the sets were as breathtaking as the clothes.
Alber Elbaz hit every mark with his spring Lanvin collection.
The world’s greatest tennis player. The world’s most famous fashion editor. That’s quite a couple.
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