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He went for 1950s and `60s silhouettes, some of which had very small waists, while emphasizing hips and shoulders.

_ Parisian-turned-New Yorker Sophie Theallet spent four years working with Jean Paul Gaultier and 10 with Azzedine Alaia, but she feels settled into her own atelier, which she set up in 2007.

We continue to grow in a nice way, in a subtle way,” over the last year or two, she said backstage. “I’m good. I’m happy. More and more people know about me.”

She said her customers are “uptown clients, but it can be also the cool clients. It’s like the same kind of woman, uptown or downtown.”

Michelle Obama has on several occasions been spotted wearing Theallet.

For next season, Theallet bucked the Fashion Week trend and offered a wide range of color. A classic sleeveless cocktail dress in midnight blue was fitted through the waist but full at the bottom for a lively swing when walking.

She was inspired, she said, by an aristocrat “disowned” by her family. “She lives in the mansion, but she doesn’t have any money. She just has a pension from an old uncle and with that money she spends everything on fashion, and she drinks champagne in crystal glasses.”

Like her eccentric muse might have done, Theallet paired a knit turtleneck in burnt sienna under a vest of teal done in a large leaf motif with a shimmery skirt of the same pattern but in a deep purple, slit high on one thigh.

She sent out sheers in black and ice plum with dainty velvet dots. The party dress done that way in the plum tastefully draped for a deep V at the front and had the high thigh slit.

Her silhouettes were “kind of chic, strict and at the same time very free, that nonchalance, to present the education in fashion and the eccentricity,” Theallet said.

_ Carly Cushnie and Michelle Ochs have gained attention the past two years for their sexy, clingy dresses. Between the two women, they have an impressive list of designers they’ve learned from, interning at Proenza, Marc Jacobs, Ralph Rucci, Donna Karan, Oscar de la Renta and Issac Mizrahi.

They say their newest looks were inspired by Pedro Almodovar’s “The Skin I Live In,” in which Antonio Banderas plays a plastic surgeon who lost his wife in a fiery crash and is determined to create a stronger, synthetic skin.

Their runway stood out at Fashion Week because it went against the conventional wisdom that it would be a very covered up season.

They went wild with slits and cutouts: In the front, back, on the sides. At times, as in an emerald silk crepe “aperture” dress, the slit was right in the chest. In an azul blue number, also in crepe silk, the aperture _ like the opening of a camera lens _ cut right across the waist.

There were also striking “open-eyes” dresses, where eye-shaped slits appeared under the neckline.

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