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“Masculine and feminine, hard and soft, textured and smooth,” he described in his notes at the show held at Milk Studios, New York Fashion Week’s main rival location to the Lincoln Center tents. Som said he “wanted to convey a sense of strength and beauty” inspired by Marlene Dietrich and Katharine Hepburn.

Luxury has become a signature of Som, but this season he did it more with soft leathers, cozy cashmere and silk instead of exotic furs and feathers. There were a few fox coats that were colored as if they were lipstick graffiti.

Otherwise, though, the palette was very uptown: winter white, camel, emerald green and plum.


Kate Spade New York offered a playful shoutout to Paris with styles in maraschino red, aqua and forest green, huge polka dots and graphic prints.

Creative director Deborah Lloyd matched the walls at the brand’s show in a black dress adorned with French script reading “Toutes les filles sont folles,” or “All the girls are crazy.” She perched her models on columns in a downtown space, inspired by gardens near the Palais-Royal in Paris and the columns in its famous courtyard. “The last time I was there, all these cute girls were being statues on columns,” she said.

She went oh so French with a cobalt blue button-up swing coat adorned with a large matching bow at the neck, and a column skirt with large dots in two shades of blue and a girlie bow at the waist.

Lloyd carried a dreamy, watercolor flower pattern from a full, pleated jumper into tops and cardigans. Her “joie de vivre” embracing Paris and the fashionable women who live there also showed up in a pattern adorned with colored drawings of the women themselves, including one holding a lit cigarette.

“There’s definitely a French, flirtatious feeling to this collection,” Lloyd said.


British-born Rag & Bone designers David Neville and Marcus Wainwright started with English mainstays, including tweeds, tails and jackets fit for military officers. But a recent trip to India also got them thinking about former British colonies and the traditional dress in those mostly Asian places, they explained backstage before the show.

On the runway there were folded skirts _ a particularly nice one done in walnut-colored leather _ that was paired with a polo-neck T-shirt and a high-neck, below-the-hip raj jacket, and draped, low-slung dhoti pants with a striped wool biker tailcoat.

The tapestry-style brocade outfits, jazzed up with flashes of silver and copper, were dressier than garments typical of Rag & Bone.


One of the dominant looks emerging this fashion week that Yigal Azrouel did well was the idea of a looser silhouette while still giving structure with tailoring. There was definitely nothing frilly or flouncy in his pieces, which were seasonal with what he called a bit of “cold minimalism.”

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