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Marc Jacobs closes NY Fashion Week with dance hall
“It was stunning,” actress Mischa Barton told him after the show.
Colors were not confined to any particular scheme; there were bright oranges and yellows, reds and blues, roses and mauves, grays and burgundies, blacks and whites. (And, of course, gold and silver.)
It was an unusually feminine display for Costa.
Dresses had sheer trim on the bustline, or in some cases a sheer top. Hemlines were just a touch asymmetrical.
In a switch from other designer collections previewed over eight days, these were longer in the front and shorter in the back. Fluted and pleated skirts evoked a ‘40s feel, and some of the long silk and jacquard coats were worn like robes, adding to the lingerie look. Imagine the muse of a wartime spy, dashing out in the dark.
“It’s a very exciting season because, you know, I think what I wanted to convey with the collection it was really feminine clothes that was very relevant for today … no tricks just really quality in the making and interesting cuts,” said Costa backstage.
The collection also included wide-leg pants, worn with a shawl-collared vest, and culottes that showed off spiked stiletto heels.
Other interesting accents? A shirt tail hem on a black racerback tank, trailing gracefully behind the wearer, and a black organza top with an accordion pleat back. And while a red long-sleeved gown with an accordion pleat skirt seemed a little stodgy, the navy-and-white satin halter gown with a dot georgette skirt looked fresh and chic.
Nodding to the trend of big color, Monteiro included not only bright red _ a signature color of Blass, who left the company in 1999 and died in 2002 _ but also a bold yellow. A sequined gown of that color was a surprising, almost jarring burst of brightness.
In a backstage interview, Monteiro made it clear he was honoring the past. “We have the archive, and that’s always the inspiration,” he said. “Classic American sportswear. Sophisticated and easy.”
What do ancient Egypt and the hourglass silhouettes of the early 20th century have in common?
Nothing, except that they both inspired Tahari’s glammed-up version of his famous daytime wear that made use of longer lengths, lots of gold _ think Cleopatra _ and sexier accents like harem pants, transparent tops and feathered vests.
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