"Before Gucci's 90th anniversary show today, Frida Giannini cited a pair of influences: Anjelica Huston, as lensed by the photographer Bob Richardson, and Florence Welch of Florence and the Machine. That first reference point meant we were back in the 1970's again. Giannini's girls have traded in last season's harem pants, macramé moto jackets, and lean jumpsuits for culottes, pussy-bow blouses topped by snug sweater vests or velvet blazers, and shirtwaist dresses. Many of them wore fedoras with feathers in the brim, and some sported both a shoulder bag (an elongated version of the Jackie) and a mini top-handle frame bag. If that sounds like Giannini had pared down the glamour quotient, think again. There was fur and python and patent leather galore. The lattermost came in a sexy-as-all-get-out slim black pencil skirt worn with a silver fox chubby. What was most notable about the furs and pythons was their eye-opening colors, and the designer gave full rein to her penchant for mixing unexpected hues together in one outfit: Take the ocher coat with Mongolian lamb trim worn with a scarlet blouse and a bordeaux hat, or the amber python jacket with rust-colored fur collar that topped a lavender shirt and violet cardigan," - Nicole Phelps
"Today's show took place in a massive tent in the shadow of the Albert Memorial in Kensington Gardens, in the same week that Burberry made 13th place on Fast Company's list of the world's most innovative companies. To fuse past and future so seamlessly is a remarkable achievement. Almost as slick: the way Christopher Bailey glossed the behemoth that is Burberry with an act of humble heroine worship. There are those—Mick Jagger included—who considered her sister Chrissie the real siren, but for Bailey, it's always been Jean Shrimpton, and he named Burberry's Fall collection after the proto-supermodel. The look and sound of her golden era—the early sixties—shaped the show,"
"No argument, Alexander Wang is one of New York's fashion stars. His latest laurels: a GQ/CFDA menswear award, and the opening of his first flagship just days away...
Wang made a triumphant return to form that injected the sexy, tough, cool-girl attitude he's built his brand on with a heightened sense of luxury. The designer explained in a preview: "We're almost poking fun at decadence and luxury." Almost, and well, really just enough. All the lush, cocoon-y outerwear was clever, not clownish or immature in its hybridizations of bomber jacket-turned-poncho, boyfriend blazer-turned-fur coat, and a tuxedo jacket with puffer sleeves," Meenal Mistry
"Can it really be nearly ten years since Elie Saab caught the world's attention when he dressed Halle Berry for the Oscars? Of course, it was actually Halle who bagged the eyeball time, because Saab let her let it all hang out. My, how times have changed. Sure, there was plenty of décolleté, and sinuous limbs slipping out from skirts that were, at times, almost too split, but what today's show really evoked was the up-to-the-neck missy-ness of Norma Shearer, an Oscar winner from centuries ago. One long tulle and organza gown, piled with flowers at the shoulder and tied with grosgrain at the waist, would surely have driven La Shearer into a paroxysm of desire. Coupled with the exceptionally sweet hair and makeup, this peculiar sense of propriety took Saab's collection into territory that was new for him. It was certainly a world away from the sparks struck by his last Couture show. Just look at the bride—last time, she shimmered with hints of gold. Here, her gown drooped with organza flowers and tatters of mousseline, and her veil was almost shroudlike. "Miss Havisham," suggested one waggish onlooker. Now that's a role that could win a woman an Oscar." - Tim Blanks