Showing posts with label Alexander Wang. Show all posts
Showing posts with label Alexander Wang. Show all posts
Alexander Wang Fall 2011 Show
Alexander Wang Fall 2011 Show
Time: February 12, 2011 at 5:00pm
Location: Pier 94 (West Side Highway at 55th Street)
Stylist: Karl Templer
Hair: Guido Palau
Makeup: Diane Kendal
Casting Director: Anita Bitton at The Establishment
Models: Caroline Trentini, Iselin Steiro, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, Kasia Struss, Alla Kostromichova, Eliza Cummings, Natasa Vojnovic, and Natasha Poly (closed)
Iselin Steiero
Alla Kostromichova
Jourdan Dunn
Kasia Struss
Britt Maren
Natasa Vojnovic
Mirte Maas
Eliza Cummings
Caroline Trentini
Fei Fei Sun
Natasha Poly
Time: February 12, 2011 at 5:00pm
Location: Pier 94 (West Side Highway at 55th Street)
Stylist: Karl Templer
Hair: Guido Palau
Makeup: Diane Kendal
Casting Director: Anita Bitton at The Establishment
Models: Caroline Trentini, Iselin Steiro, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, Kasia Struss, Alla Kostromichova, Eliza Cummings, Natasa Vojnovic, and Natasha Poly (closed)
Iselin Steiero
Alla Kostromichova
Jourdan Dunn
Kasia Struss
Britt Maren
Natasa Vojnovic
Mirte Maas
Eliza Cummings
Caroline Trentini
Fei Fei Sun
Natasha Poly
Confessional Series Partt II: Britt Maren behind the scenes at Alexander Wang
From vogue.com:
The countdown has officially begun. In the hours leading up to Alexander Wang’s highly anticipated spring 2011 offering, Britt Maren walks us through her final preparations, emotions, and expectations. The culmination: Maren leads the charge, opening the designer’s collection. Catch her transformation from small-town girl to most-sought-after model in part two of the Confessional series.
See the video at vogue.com
The countdown has officially begun. In the hours leading up to Alexander Wang’s highly anticipated spring 2011 offering, Britt Maren walks us through her final preparations, emotions, and expectations. The culmination: Maren leads the charge, opening the designer’s collection. Catch her transformation from small-town girl to most-sought-after model in part two of the Confessional series.
See the video at vogue.com
Confessional Series Partt I: Britt Maren behind the scenes at Alexander Wang
From Vogue.com
In the first part of Alexander Wang's Confessional series, catch fresh-faced Britt Maren’s fittings and run-throughs in the days leading up to her very first collections fashion show. Maren was plucked from relative obscurity in Houston, and her excitement and nervousness are practically palpable—especially in the moments before she undergoes a dramatic makeover at the hands of master colorist Guido Palau. Come to Vogue.com again tomorrow for more on Maren’s road to the spring 2011 runway.
Click here to see the video.
In the first part of Alexander Wang's Confessional series, catch fresh-faced Britt Maren’s fittings and run-throughs in the days leading up to her very first collections fashion show. Maren was plucked from relative obscurity in Houston, and her excitement and nervousness are practically palpable—especially in the moments before she undergoes a dramatic makeover at the hands of master colorist Guido Palau. Come to Vogue.com again tomorrow for more on Maren’s road to the spring 2011 runway.
Click here to see the video.
Q. and A. With Carine Roitfeld
By Eric Wilson for The New York Times:
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
Models.com Top 10 Newcomer: Britt Maren
As seen on models.com:
Britt Maren Photographed exclusively for models.com by Hugh Lippe
Well what a surprise! New York Fashion week actually emitted a clear, bonafide, distinct first season girl who now has every power editor, stylist and designer standing at attention. The girl in question? Women’s new face Britt who in the tradition forged by agency mate Mirte, proved that Girl 1 at Alexander Wang, especially when you are an unknown , can certainly trigger a lot of traction. That traction proved itself when Britt walked Marc Collection the following Monday and then Rodarte, Michael Kors and Donna Karan during the ensuing week. That triggered a massive wave wave of requests for the London, Milan and Paris shows. Rest assured that this girl is going to benefit from the kind of flawless management that put her on the map in the first place. It seems in the model-marketing sweepstakes, ” Made In New York” still carries major weight.
-Wayne Sterling
Britt Maren Photographed exclusively for models.com by Hugh Lippe
Well what a surprise! New York Fashion week actually emitted a clear, bonafide, distinct first season girl who now has every power editor, stylist and designer standing at attention. The girl in question? Women’s new face Britt who in the tradition forged by agency mate Mirte, proved that Girl 1 at Alexander Wang, especially when you are an unknown , can certainly trigger a lot of traction. That traction proved itself when Britt walked Marc Collection the following Monday and then Rodarte, Michael Kors and Donna Karan during the ensuing week. That triggered a massive wave wave of requests for the London, Milan and Paris shows. Rest assured that this girl is going to benefit from the kind of flawless management that put her on the map in the first place. It seems in the model-marketing sweepstakes, ” Made In New York” still carries major weight.
-Wayne Sterling
Alexander Wang Spring 2011 Show Video
Alexander Wang Spring 2011 Show
Time: September 11, 2010 at 5:00 pm
Location: Pier 94
Stylist: Karl Templer
Makeup: Diane Kendal
Hair: Guido Palau
Casting Director: Anita Bitton/The Establishment
Time: September 11, 2010 at 5:00 pm
Location: Pier 94
Stylist: Karl Templer
Makeup: Diane Kendal
Hair: Guido Palau
Casting Director: Anita Bitton/The Establishment
Alexander Wang Spring 2011 Show
Alexander Wang Spring 2011 Show
Time: September 11, 2010 at 5:00 pm
Location: Pier 94
Stylist: Karl Templer
Makeup: Diane Kendal
Hair: Guido Palau
Casting Director: Anita Bitton/The Establishment
Britt (opened)
Agyness Deyn
Fei Fei Sun
Aline Weber
Alla Kostromichova
Kasia Struss
Daria Strokous
Mirte Maas
Eliza Cummings
Iris Strubegger
Christina Kruse
Karen Elson
Time: September 11, 2010 at 5:00 pm
Location: Pier 94
Stylist: Karl Templer
Makeup: Diane Kendal
Hair: Guido Palau
Casting Director: Anita Bitton/The Establishment
Britt (opened)
Agyness Deyn
Fei Fei Sun
Aline Weber
Alla Kostromichova
Kasia Struss
Daria Strokous
Mirte Maas
Eliza Cummings
Iris Strubegger
Christina Kruse
Karen Elson
Cathy Horyn has something to say
Natasha Poly at Joseph Altuzarra fall 2010 show:
from today's New York Times:
February 14, 2010
Three Nominees for Who’s ‘Next’
By CATHY HORYN
Joseph Altuzarra is a Swarthmore-educated Paris-bred son of an American mother and a French father. Prabal Gurung grew up in Katmandu and trained at Bill Blass. At 25, Alexander Wang is the hitmaker of contemporary urban fashion, his $25-million business already surpassing that of many established designers.
If fashion didn’t routinely select a new group of designers to acclaim, it wouldn’t be fashion. There must always be someone waiting in the wings, the “next” one. These three designers now appear to be the leading candidates.
It is clear that Mr. Wang has managed to give his collections the properties of high fashion — top models; coveted accessories; a cool, insolent sensibility — while making affordable clothes that many women, not just skinny hipsters, can wear. His show again achieved the illusion of being something more than a contemporary-priced collection. With their matted hair and vacant gazes, the models, led by Natalia Vodianova, looked possessed by zombies, but you can bet that people will wonder when they can get their hands on the elephant-belled thigh-high tights that Mr. Wang showed with his miniskirts and platform boots. Like an old-fashioned merchant, Mr. Wang knows how to get value out of a single item.
The collection drew heavily on deconstructed tailoring: pinstripe blazers and vests lopped off at the midriff, blended with a furry layer or a broken lace top and a pair of boy trousers with part of the waistband snipped away. If it sounds a little tricky, with many extra parts, it was. Traditional garments of power and formality were the sources for swallowtail minidresses and camel wool clergy capes, and the general gloominess. Still, the collection was an ambitious step up for Mr. Wang, and despite the moving parts, it looked polished.
Mr. Gurung has a knack for the languid, jazzy tailoring of a Blass or a Saint Laurent, his spiritual mentors, and that feeling was captured in a fresh way in his first show last February. He also demonstrated in the next season that he could do chic dresses in double-silk satin with pleats and peplums.
So he didn’t need to repeat himself this time. While most of the day clothes were fairly solid — two-tone coats and suits in cashmere with curvilinear lines, boxy metallic tweed blazers — the ruffled evening looks didn’t seem new and indeed looked a bit tortured. A lanky jacket, shown with pants, that combined fox, mink and broadtail captured the lighter, offhand attitude that Mr. Gurung first conveyed, and to which he should return.
What gives Mr. Altuzarra an edge over virtually all the new young designers in New York is that he has a masterfully light hand with couture materials. His admiration for Tom Ford’s ability to give familiar shapes an extra kick of design and urgency was evident in this collection, his fourth. And the sexy fierceness of the mostly black clothes was incredibly appealing.
A number of designers this season are showing jackets that combine two or three different materials — fur and wool, say. In their straightforward collection, rich in texture, Alexa Adams and Flora Gill of the label Ohne Titel mixed suede with what appeared to be knitted fur, or black leather and a softer ribbed fabric.
But the motive in this collection and others seems to be to lend novelty to an otherwise basic garment. Nothing new or interesting is being proposed. And in some cases the contrasting textures come together in a lumpy way.
The difference with Mr. Altuzarra’s clothes — belted, close-to-the-body suits in black boiled wool with shoulders or fronts of glossy black goat hair — is that the choices feel more considered. He’s not just making a collage. Also, the workmanship on rather tough-looking materials, like leather and the glazed wool of a dress with laced vents, is consistently delicate.
Mr. Altuzarra used Frankenstein stitching on many of the pieces, in part to suggest the feeling of things coming apart, but the stitches are fine and random in length. As much as the big showy gestures, like the goat hair or the raised storm collars or the wool coats shaped by rows of buckled straps, the sutures play their part in an excellent collection.
The news at Preen, which is designed by Justin Thornton and Thea Bregazzi, was a bold, dark floral print used for blouses and dresses with articulated bra cups. There were a lot of familiar plays on transparency (dresses cut with random holes, sheer yokes). What looked fresh was a straight-line charcoal pantsuit over that blue-gray print.
Regina Feoktistova at Alexander Wang fall 2010 show:
from today's New York Times:
February 14, 2010
Three Nominees for Who’s ‘Next’
By CATHY HORYN
Joseph Altuzarra is a Swarthmore-educated Paris-bred son of an American mother and a French father. Prabal Gurung grew up in Katmandu and trained at Bill Blass. At 25, Alexander Wang is the hitmaker of contemporary urban fashion, his $25-million business already surpassing that of many established designers.
If fashion didn’t routinely select a new group of designers to acclaim, it wouldn’t be fashion. There must always be someone waiting in the wings, the “next” one. These three designers now appear to be the leading candidates.
It is clear that Mr. Wang has managed to give his collections the properties of high fashion — top models; coveted accessories; a cool, insolent sensibility — while making affordable clothes that many women, not just skinny hipsters, can wear. His show again achieved the illusion of being something more than a contemporary-priced collection. With their matted hair and vacant gazes, the models, led by Natalia Vodianova, looked possessed by zombies, but you can bet that people will wonder when they can get their hands on the elephant-belled thigh-high tights that Mr. Wang showed with his miniskirts and platform boots. Like an old-fashioned merchant, Mr. Wang knows how to get value out of a single item.
The collection drew heavily on deconstructed tailoring: pinstripe blazers and vests lopped off at the midriff, blended with a furry layer or a broken lace top and a pair of boy trousers with part of the waistband snipped away. If it sounds a little tricky, with many extra parts, it was. Traditional garments of power and formality were the sources for swallowtail minidresses and camel wool clergy capes, and the general gloominess. Still, the collection was an ambitious step up for Mr. Wang, and despite the moving parts, it looked polished.
Mr. Gurung has a knack for the languid, jazzy tailoring of a Blass or a Saint Laurent, his spiritual mentors, and that feeling was captured in a fresh way in his first show last February. He also demonstrated in the next season that he could do chic dresses in double-silk satin with pleats and peplums.
So he didn’t need to repeat himself this time. While most of the day clothes were fairly solid — two-tone coats and suits in cashmere with curvilinear lines, boxy metallic tweed blazers — the ruffled evening looks didn’t seem new and indeed looked a bit tortured. A lanky jacket, shown with pants, that combined fox, mink and broadtail captured the lighter, offhand attitude that Mr. Gurung first conveyed, and to which he should return.
What gives Mr. Altuzarra an edge over virtually all the new young designers in New York is that he has a masterfully light hand with couture materials. His admiration for Tom Ford’s ability to give familiar shapes an extra kick of design and urgency was evident in this collection, his fourth. And the sexy fierceness of the mostly black clothes was incredibly appealing.
A number of designers this season are showing jackets that combine two or three different materials — fur and wool, say. In their straightforward collection, rich in texture, Alexa Adams and Flora Gill of the label Ohne Titel mixed suede with what appeared to be knitted fur, or black leather and a softer ribbed fabric.
But the motive in this collection and others seems to be to lend novelty to an otherwise basic garment. Nothing new or interesting is being proposed. And in some cases the contrasting textures come together in a lumpy way.
The difference with Mr. Altuzarra’s clothes — belted, close-to-the-body suits in black boiled wool with shoulders or fronts of glossy black goat hair — is that the choices feel more considered. He’s not just making a collage. Also, the workmanship on rather tough-looking materials, like leather and the glazed wool of a dress with laced vents, is consistently delicate.
Mr. Altuzarra used Frankenstein stitching on many of the pieces, in part to suggest the feeling of things coming apart, but the stitches are fine and random in length. As much as the big showy gestures, like the goat hair or the raised storm collars or the wool coats shaped by rows of buckled straps, the sutures play their part in an excellent collection.
The news at Preen, which is designed by Justin Thornton and Thea Bregazzi, was a bold, dark floral print used for blouses and dresses with articulated bra cups. There were a lot of familiar plays on transparency (dresses cut with random holes, sheer yokes). What looked fresh was a straight-line charcoal pantsuit over that blue-gray print.
Regina Feoktistova at Alexander Wang fall 2010 show:
more Alexander Wang fall 2010 show
Alexander Wang Fall 2010 Show
Time: February 13, at 5:00pm
Location: Pier 94, NY, NY
Stylist: Karl Templer
Casting Director: Anita Bitton
Makeup: Diane Kendal
Hair: Guido Palau
Iselin Steiro
Natasha Poly
Natasha Poly
Aline Weber
Aline Weber
Agynesss Deyn
Agyness Deyn
Snejana Onopka
Snejana Onopka
Kasia Struss
Regina Feoktistova
Regina Feoktistova
Mirte Maas
Mirte Maas
Natasha Poly
Agyness Deyn
Aline Weber
Natasha Poly
Mirte Maas
Snejana Onopka
Kasia Struss
Regina Feoktistova
Natasha Poly
Time: February 13, at 5:00pm
Location: Pier 94, NY, NY
Stylist: Karl Templer
Casting Director: Anita Bitton
Makeup: Diane Kendal
Hair: Guido Palau
Iselin Steiro
Natasha Poly
Natasha Poly
Aline Weber
Aline Weber
Agynesss Deyn
Agyness Deyn
Snejana Onopka
Snejana Onopka
Kasia Struss
Regina Feoktistova
Regina Feoktistova
Mirte Maas
Mirte Maas
Natasha Poly
Agyness Deyn
Aline Weber
Natasha Poly
Mirte Maas
Snejana Onopka
Kasia Struss
Regina Feoktistova
Natasha Poly
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