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The inspiration for the collection was the 1987 movie “White Mischief” starring Greta Scacchi, about a 1940s-era affluent woman visiting Kenya and finding romance and adventure. But there were more than a few nods to the ‘70s.

They delivered with a pool-print chiffon top and a long, white georgette skirt dotted with white petals, a strapless sand-and-ivory organza gown with more petals and silver beads arranged like fans, and a romantic rose-and-silver gown that looked like a satin slip and a penoir on top.


The city-loving night owl that has long defined the Halston customer probably doesn’t get out into the garden much, so designer Marios Schwab gave her a few reminders of what it might be like out there: light, pretty, soft.

“I started looking into florals and wild orchids and that was the start of the inspiration,” he said in an interview before Monday night’s New York Fashion Week presentation at a Chelsea gallery.

But this was no garden party, either. Halston is built on easy, sexy chic of the ‘70s kind, and Schwab embraces that while adding his own touches of modernity.

A black jersey dress, for example, had a gold snakelike halter top, and a two-tone, one-shoulder gown had a burnout effect in the beading. All it took from a white, high-neck georgette dress to become a sexy number were split sleeves and a gold waistband, and an ivory-pink jersey dress was gathered at the bottom, as if the model had just tacked up a longer gown because she no longer wanted to be bothered by the fuss.


In the 24/7 cycle that so many women live, they dress up, they dress down; they like color, they want neutrals. Designer Rachel Roy aimed to address all those needs with her spring collection.

For a cool daytime look, a model wore a midnight-blue bustier over a floral button-down shirt _ with an embellished collar for extra oomph _ and linen cropped trousers. It sounds like a high-fashion look, but it would likely work for many shapes and lifestyles.

The same could be said for the azure-colored jacket worn with a maroon polo and aqua tie-bottom cargo pant.

She was particularly drawn to a neutral sandy shade that she dubbed “Band-Aid.” It was her way of getting around the potentially thorny issue of calling a color “nude,” which really only addresses one skin tone.

“I’m always considerate of skin tones, and I always make sure something looks good against a variety of skin tones,” she said. The idea behind the little plastic bandage is that it disappears onto the skin while still making an improvement, she explained.

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