NICOLE MILLER- Fall 2013 Collection – New York Mercedes-Benz Fashion Week

KAUFMANFRANCO- Fall 2013 Collection – New York Mercedes-Benz Fashion Week

MARISSA WEBB- Fall 2013 Collection – New York Mercedes-Benz Fashion Week

JASON WU – Fall/Winter 2013-14 Collection – New York Mercedes-Benz Fashion Week

JEN KAO – Fall 2013 Collection – New York Mercedes-Benz Fashion Week

Identified for selling the season’s most coveted Christian Louboutin pumps, Valentino dresses and other luxury pieces, designer e-tailer Net-a-Porter has made the natural progression from fashion and accessories to selling beauty products.

Since its debut in ‘00, Net-a-Porter has gone from a small online retailer to an international beacon of decadent consumer goods. As of March 20, 2013 the site is complete with beauty products ranging from a $15 hairbrush cleaner to a $715 facial serum.

Combined with their menswear site, MRPORTER.com, and designer discount site, theOutnet.com, Net-a-Porter Group has the market cornered, offering everything fashion lovers want.

In an interview with Women’s Wear Daily, Managing Director of Net-A-Porter, Alison Loehnis explained why the company decided to pursue this endeavor.

“The proposition is really where the beauty-meets-fashion aspect and we see it as so symbiotic with the rest of our offerings. As we’ve developed our content, beauty is such a big part of fashion,” said Loehnis.

However, Net-a-Porter Group will not change its original business model toward the beauty industry. Loehnis told WWD the company would maintain a fashion-oriented focus. Simply, the site now provides shoppers the opportunity to purchase apparel, accessories and cosmetics to complete their “look” all at one location.

According to netaporter.com, the new section features a limited number of brands such as Natura Bliss serums, James Read self-tanner, Le Metier De Beaute lipstick and more. Specific product lines include skincare, hair care, bath and body, fragrance and cosmetics. Aside from their $715 serum, reasonably priced beauty products are also available with items such as $24 lipsticks and $33 eyeliner pencils.

Unfortunately, these products are not available for purchase in every country. In a March 20, 2013 online article update, Vogue Australia reported that the company is still working on making their new range of beauty products available to customers in Australia.

The company’s current limited merchandise listings and international restriction does not make this beauty newcomer an immediate risk for Sephora and other beauty-based retailers. However, Loehnis stated that a new release of available products might be in the works, “the index will always be kept tight and rolled out gradually.”

Sharp, swooping strokes of pink at Dior; tiny, bright green accents at Versace; crisp outlines of tangerine, lemon and chartreuse at Kenzo. No matter where you look, neon eyeliner is everywhere. The fearless trend began back in 2011 during Peter Som’s spring presentation, and now, as we examine Resort 2014, it fights on, revealing itself in the form of a brilliant, incandescent blue against charcoal lids at Chanel.

Not only has this bold look been turning heads on the runway, it is also popping up in editorials — most recently in the June issue of Vogue Netherlands. Against slicked-back hair, oversized futuristic hoop earrings and smoky eye shadow, model Karlie Kloss (shot by Hans Feurer) shows off amethyst eyeliner by YSL — drawn in short, thick lines from the corners of her eyes to the tips of her eyebrows.

For those celebrities who have been daring enough to try it, neon eyeliner has made its way off the runway. Solange Knowles, for example, donned what has become one of our favorite interpretations of the look. During a spunky performance in New York City, Knowles flaunted an electric blue version — a look nearly identical to those cool curves of cerulean seen at Michael Kors’ S/S 2013 presentation.  

Though we have seen plenty of variations over the past few seasons, the look still has a great deal of unexplored potential. Also “in vogue,” is the super-geometric eyeliner seen at Preen, Mary Katrantzou, Aquascutum and Erdem. Over the next few seasons, we expect to see a fusion of the two: neon eyeliner merged with increasingly inventive designs and shapes. Either way, we hope this eccentric look will stick around.

The Fashion Institute of Technology’s latest exhibit, “A Queer History of Fashion: From the Closet to the Catwalk” is set to open Sept. 13, featuring an in-depth look at the history of fashion and the impact the LGBTQ community has contributed to the field over the past 300 years.

The show, which will include 100 different creations from prominent designers, will take us back to the 18^th century and to our present time, with cross-dressing and butch-like styles, men’s leather ensembles and even same-sex wedding dresses, a symbol of triumph in the 21^st century marriage and equal rights movement in America.

The project, researched and created by FIT’s Senior Curator of Costume, Fred Dennis, and Director and Chief Curator Valerie Steele, has been under wraps and in the works for two years. Their priority with the exhibit is for visitors to grasp a good understanding of fashion’s history, “This is about honoring the gay and lesbian designers of the past and present…by acknowledging their contributions to fashion, we want to encourage people to embrace diversity” said Dennis.

Emphasized ensembles such as the “Le Smoking” tuxedo suit by Yves Saint Laurent, Christian Dior’s 1950 cocktail dress and 21^st century high fashion creations by the late Alexander McQueen will be on display.

“A Queer History of Fashion: From the Closet to the Catwalk” (free admission) will run until Jan. 4, 2014 with a book to follow its grand opening, featuring essays by important fashion and gay scholars such as Jonathan D. Katz, Shaun Cole and Elizabeth Wilson.

M.I.A.’s fourth album, Matangi, which the singer says sounds like Paul Simon on acid, was originally set to drop like a psychedelic hand grenade back in December 2012. However, the London born MC, best known for the hit single “Paper Planes,” which was featured in Danny Boyle’s Academy Award winning film Slumdog Millionaire, had a dispute with her record label, causing the LP’s release date to be moved to April. Executives at Interscope records thought Matangi was too positive, and according to The Guardian, M.I.A. was told to “darken the album up a bit.” For a singer known for her avant-garde musical style, one that often features controversial social and political lyrics over rapid fire machine gun beats, to be told to darken the album up a bit is a slap in the face. M.I.A. is the same provocateur that “flipped the birdie” (as 110 million people watched) during Madonna’s 2012 Super Bowl halftime show, so she’s no stranger to controversy; “too positive” is hardly a phrase most fans or music critics would use to describe her brand of agit-rap electronica.

What started out as a dispute with her record label, however, turned into a full-fledged social media war. Interscope, again, changed the release date from April to “sometime in the fall.” M.I.A., in turn, who is quoted in Rolling Stone as saying, “It’s not easy, it’s not easy. I keep finishing it and handing it in, finishing it and handing it in,” finally gave the finger to the label, ranting via Twitter and threatened to release the album ahead of schedule. Fearing the singer would make good on her warning, Interscope announced it would release Matangi November 5, waving the white flag rather than risk a loss of revenue.

According to a photo M.I.A. posted on Twitter, there are 10 tracks on Matangi. Other sources, however, put the number at 12 and include the song “Bad Girls,” which was first released in 2010 on the performer’s Vicki Leekx mix tape. Song titles on the new LP include “Only 1 U” and “Come Walk with Me.” French producers Surkin and Switch mix many of the tracks. “Bring the Noize,” the first single from the LP, is a nod to the landmark 1987 Public Enemy song, featuring lyrics like “truth is like a rotten tooth, you got to spit it out,” and “do ya like my perfume? Made it at home with gasoline and shrooms.” The track features the swagger one has come to expect from M.I.A. Does it sound too positive? No way. Is it positively angry? Absolutely. 

Sharp, swooping strokes of pink at Dior; tiny, bright green accents at Versace; crisp outlines of tangerine, lemon and chartreuse at Kenzo. No matter where you look, neon eyeliner is everywhere. The fearless trend began back in 2011 during Peter Som’s spring presentation, and now, as we examine Resort 2014, it fights on, revealing itself in the form of a brilliant, incandescent blue against charcoal lids at Chanel.

Not only has this bold look been turning heads on the runway, it is also popping up in editorials — most recently in the June issue of Vogue Netherlands. Against slicked-back hair, oversized futuristic hoop earrings and smoky eye shadow, model Karlie Kloss (shot by Hans Feurer) shows off amethyst eyeliner by YSL — drawn in short, thick lines from the corners of her eyes to the tips of her eyebrows.

For those celebrities who have been daring enough to try it, neon eyeliner has made its way off the runway. Solange Knowles, for example, donned what has become one of our favorite interpretations of the look. During a spunky performance in New York City, Knowles flaunted an electric blue version — a look nearly identical to those cool curves of cerulean seen at Michael Kors’ S/S 2013 presentation.  

Though we have seen plenty of variations over the past few seasons, the look still has a great deal of unexplored potential. Also “in vogue,” is the super-geometric eyeliner seen at Preen, Mary Katrantzou, Aquascutum and Erdem. Over the next few seasons, we expect to see a fusion of the two: neon eyeliner merged with increasingly inventive designs and shapes. Either way, we hope this eccentric look will stick around.

One of San Francisco’s most famed art museums, the San Francisco Museum of Modern Art (SFMOMA), recently began its plan to transform the current space it occupies in the SOMA district. Director Neal Benezra is the force behind the redesign, which will involve a 225,000 square foot addition to the existing space. The addition will house a new collection of more than 1,000 pieces of contemporary art, compliments of the Fisher family. The acquisition is predicted to bring SFMOMA up to par with the most prestigious art collections in the world.

The expansion does not come without drawbacks, however. Aside from the $610 million price tag the construction entails, it will take three years to complete the project, which means that San Francisco will be without its best modern art museum until 2016, a move that has some art enthusiasts scratching their heads. Why not house the art in a temporary space, as most other museums have done when making such transitions? Instead, Benezra has decided to split up the collection and share it with other Bay Area institutions. This plan will involve a lot of delicate handling to transport millions of dollars’ worth of floating art around the city in the backs of moving trucks and elevators at any given time over the next three years.

The finished project will feature a glass-walled gallery through which passersby’s on the street can view some of the museum’s artwork. The Fisher collection is one of the greatest private collections of modern art in the world, featuring pieces from Alexander Calder, Chuck Close, Roy Lichtenstein, Agnes Martin, Gerhard Richter, Richard Serra, Andy Warhol and countless others. The couple, Doris and Donald has collected art since the 1970s and are partnering with SFMOMA to make their collection viewable to the public.

Snøhetta, the design firm responsible for designing the addition, is based in Oslo and has previously designed the Norwegian National Opera and Ballet, the Lillehammer Art Museum in Norway and the National September 11^th Memorial Museum at the World Trade Center Site. The firm is known for their daring, innovative work, and the stark white addition to SFMOMA is sure to redefine the landscape of downtown San Francisco. 

The red carpet is lined with paparazzi, reporters and television correspondents as publicists usher some of the biggest names in the business — past droves of screaming fans and the flickering lights of over a dozen cameras  to their seats.

Millions tune in year after year, to the highly anticipated award ceremony, not only to see who will be capped best actor or actress, but to catch that awe-inspiring glimpse of them beforehand on the red carpet.

At this year’s Golden Globe Awards – which took place Jan. 13, in Los Angeles, siren-like loose ringlets, swept to one side, was seen on stars like Heidi Klum, Nicole Richie and Jennifer Lopez. Hairstylist Lorenzo Martin, who coifed Jennifer’s do’ was inspired by old Hollywood according to Instyle.com.

This style will surely appear again on many of today’s screen gems. I for one am hoping to see the presence of darkened roots. Ombre hair is at it’s peak right now, and one dimensional hair color — these days — is so “yesterday.”

Clean, bare faces ruled the runway last fall. I predict plenty of dewy faces, accentuated either by blinding baubles or punchy-colorful smiles. The dominant pout has not overstayed it’s welcome. So expect to see rouge lips and eye catching — less predictable — shades such as vermilion and fuchsia.

Fuller brows and lush lashes have also become a staple at these types of events as they add a youthful touch.

So much is taking place in the wold of manicures, but for this event, stars will stick to single-hue manicures. I wouldn’t be surprised if vibrant greens made it’s way onto the carpet as it is the Pantone color of 2013.

It was a damp evening at the Stella McCartney Resort 2014 presentation, perfectly situated at Jefferson Market Garden, the atmosphere was comprised of benches, wicker baskets (used as additional seating) and tartan covered wooden tables, topped off with chic picnic baskets. As the party began, attendees arrived wearing classic McCartney ensembles. Honey-filled bottles were handed out as parting favors to guests, as they sipped Veuve Clicquot underneath a lucite-like tent, where a vintage hot pink Morris Minor was parked.

The earth conscious designer was encircled by her closest friends and admirers; Cameron Diaz wore a white tailored dress, while singer Madonna and actresses Liv Tyler and Julianne Moore opted for darker ensembles. Also spotted at the event were Kate Bosworth, Naomi Watts and Jessica Stam. Vogue magazine Editor-in-Chief, Anna Wintour, giggled with McCartney as they socialized with the other guests.

The collection, which did not disappoint, was shown on models that mixed with the celebrity-studded crowd. They sported mixed prints, patterns of hearts, lips and matchsticks — some appearing as appliqué — florals, and faux python embossed print garments of a buff yellow shade. McCartney also displayed shoes and bags, including unusual pairs of red satin shoes which gave the illusion of having been used and stepped in.

Eveningwear was shown on models mounted on scaffolding above a “Stella” lit sign glowed in a beaming hot pink. The creations consisted of dark hued color-blocked dresses, garments in navy blue and hunter green, damask print hearts, and high-low ruffled dresses.

The designer wore an above-the-knee, soft pink metallic finished shift dress, insinuated by an embroidered red floral jacquard pattern and silver hued shoes, a very feminine and sweet uplift for the rainy day.

A statuesque blonde with an appetite for high-waisted Marc Jacobs shorts, Loewe blouses and anything Miu Miu, singer/songwriter Florrie Arnold is enlivening the music scene with her ’60s classiness and upbeat, pop-techno EPs.

Beginning her career as a session drummer in London, Arnold played hundreds of shows throughout the city, learning and creating a signature sound that she describes as “a big mixture: Kind of a sixties, organic feel merged with modern pop beats and electronics.”

As the in-house drummer for Xenomania (a successful British production team), she appeared on tracks for Girls Aloud’s “The Promise,” Alesha Dixon’s “The Boy Does Nothing” and numerous hits by the Pet Shop Boys — a formidable feat for the then 18-year-old Arnold. These days, Arnold writes and performs all of her own songs, an indisputable talent which destines for a lengthy solo career.

Prancing around the stage at the Berlin 2011 Music Festival in five-inch peep-toes and leather hot-shorts, Arnold does not just attract the audience’s attention she demands it. Grinning mischievously at her fellow band mates, Arnold prepares for the final (and eighth) track of the day “Call 911,” from her Experiments EP. Though she sang, drummed, and played guitar on the previous songs, her vibrant enthusiasm made it seem as though the show was just beginning.

Another popular song by Arnold is the quirky yet accessible “I Took a Little Something” from her Introduction EP. The music video — artfully shot by fashion director Justin Wu — follows Arnold through Paris as she wears a variety of Dolce & Gabbana ensembles.

A newcomer to fashion, Arnold once told Vogue.co.uk that fashion was still a “learning curve.” A crash course in the subject found Arnold as the face (and muse) of Nina Ricci’s L’Elixir (2010) and Fantasy (2012) fragrances.

With timeless looks, impeccable taste and model proportions, it is no surprise that Arnold has been photographed by the famed Terry Richardson for Harper’s Bazaar hobnobbing with Cara Delevingne and Stefano Dolce. A regular fixture at Miu Miu shows (sitting in the first row), Florrie possesses a pure sensibility that makes her look relatable, a trait designers and editors, no doubt, find inspiring.

Arnold released her third EP, Late in 2012. Later this year, the singer will be recording new music with a major record label — though she has yet to reveal which one — to release her first LP. We are eager to see if or how her musical style will change.

Though the path Arnold will take remains unclear, one thing is certain: in 2014, Florrie Arnold will be the musician to watch.

Giambattista Valli channeled “porcelain goddesses” for his fall 2013 couture collection and in doing so, divided his 39 looks into four segments representing renowned porcelain artisans from around the globe, including Capodimonte from Italy, Sèvres from France, Meissen from Germany, and Wedgwood from England, employing their idiosyncratic colors and enchanting patterns in his ultrafeminine looks. “Flowers and colors are what women want from me. That’s what I give them, but every time I get inspired by something different,” Valli said as he addressed the press before his show.

To pay homage to Capodimonte, Valli offered skater skirts decorated with three-dimensional lace and carnation appliqués on the hem or as a pleated tulle skirt trimmed with lace and extensive floral embroidery, tailored jackets made from a unique organza paper fabric, and short evening dresses. Representing Sèvres was an asymmetrical silk crepe gown with a red flower print. 

On behalf of Wedgwood was white ribbon embroidery of rococo strolls on a delicate and airy sky blue strapless dress, and a floral blue and white embroidered evening coat. For Meissen, solid floor-length dresses in light pink, red, yellow, and stark white were embellished with silk floral treatments.  

The color palette was divided into four main groups, beginning with a white, sky blue and sapphire arrangement, leading to the second group which offered rose petal designs. The penultimate was a floral group, and then a color-blocked set, consisting of lilac and chartreuse, black and white, and red, black, and pink combinations. Each was embellished with flowers aplenty. Valli collaborated with Roman jewelry designer Luigi Scialanga who provided jeweled headpieces in tarnished black and gold referencing an ancient Roman civilization, as well as gold-dipped gunmetal belts.

A tropical theme set the mood for the Spring 2014 Prada men’s ready-to-wear collection. Heavily print driven looks took to the runway, whether peeking out from underneath a jacket or shown as the main piece. Refined Hawaiian, rainforest foliage, flora and fauna, beach sunset, 1950s graphic, and 1940s pinup girl prints were seen in darker tones on long-sleeve, button-down tops, sweaters, and silky, slouch jackets, as well as on briefcases, suitcases, and weekender bags. They were paired with various trousers, both pinstriped and solid. Silky boxing shorts were shown in a bright turquoise and also in black.  Silhouettes were relaxed, pants were full, blousons were plump, short sleeves were layered over long sleeves, and double-breasted jackets were left unbuttoned. 

An unexpected feature of the show was the infusion of  twelve womenswear looks that mimicked the menswear prints shown mostly in dresses, some embellished with crystals, and available as part of the resort collection.

The set played just as important of a part of the collection itself and was artfully decorated with palm trees, a sunset, water, and helicopters, suggesting a tropical resort meets war zone feeling and was given the title, “Menacing Paradise” by creative head Miuccia Prada. The audience sat in a blue pit that imitated water, as models paraded around them.

The color palette featured neutral shades of grey, mahogany, burgundy, brown, and teal. Sneakers and loafers were worn with socks that slouched down toward the ankle, and were shown in solid or two-tones, both with and without laces. Sunglasses were straight out of the 1970s and were tinted in retro yellow and red shades. Belts were striped in various colorways and hung down loosely over the pants. For women, accessories included clutch and weekender bags in various prints and chunky jewelry.

Photos Credit: Stuart Weitzman/Mario Testin

Exuding simplicity at its finest, supermodel and fashion icon Kate Moss serves as the latest face for the Spring/Summer 2013 Stuart Weitzman campaign. With a colorless background, the undeniably, striking Moss flawlessly makes a bold statement in simple basics: collared shirt, white blazer and sleek body suit, casually styled to showcase a precise combination of femininity and masculinity. Photographed by world renowned photographer Mario Testino, the black and white ads feature knee high gladiator inspired sandals, mirrored pumps, a lady like t-strap stiletto and a chunkier flat rendition.

Haggit Kassif and Omer Poizner are the two designers behind the blossoming fashion label Roomeur. Hailing from Isreal, they have always set their sights on landing in the Big Apple to create their inspiring collections. Now based in New York, we give you Roomeur.

Inspiration can come from anywhere, but what generally influences your collections?

Our inspiration usually starts from a fantasy that we are creating in our minds when we try to capture an imaginary moment like a frame from a movie, or some surrealistic painting that tells some mysterious story. From there we start to understand what we want to research. We are attracted to strong contrast and creating a story around it like we did in our latest collection for fall. For our fall collection, we took our muse Frida Kahlo into a new futuristic space world. We combined her strong character, art, and the Mexican folklore culture that she represents, and put through a darker, minimalistic and clean perspective. We liked the tension between something very busy and over the top, and the clean shape.

What was your greatest challenge when first launching your collection?

The biggest challenge was to figure out exactly what we want to do and where to do it. We tried to figure out what will be the best place for us to be noticeable. It was very hard to take over and manage a workload of 10 people when we are only two. We did not realize that the creative part is easier than actually producing the collection. When you are a small and young fashion house there are not many doors that open for you, but we were very lucky because the few doors that did open for us were the right ones. 

What advice would you give an aspiring fashion designer trying to launch his or her own collection?

1. Believe in yourself.

2. Don’t be afraid.

3. Be patient!

What is your design philosophy?

Hagit: I am very detailed oriented and fascinated by creating unique embellishments, largely inspired by geometric figures and ethnic culture. I draw inspiration from 1920s to 1950s tailored garments that I find both sophisticated and ageless. By taking all of the above and giving it a “street” twist, I create my personal aesthetic.

Omer: I am always fascinated by juxtapositions of the traditional or classic with the edgy and unexpected, for example taking a stiff or rigid material and making it look soft, or using a soft fabric, normally used for draping, and making it seem constructed. While working, I always have in mind a very feminine silhouette, but combining elements from the more masculine world of tailoring.

How does the design process begin for you? Do you start with a theme, a silhouette, a color palette, a recently discovered can’t-live-without fabric, or something else?

We usually start with brainstorming ideas and in this stage, we like to use our imagination and combine different worlds that would not work together in real life. Then we continue with research — first separately, each one of us collects photos, materials, fabrics, silhouettes, etc. and than we mix it together and create something new that combines our collective research. We have a great creative dynamic working with each other since we have similar aesthetics, but we see things in different ways, and incorporate each other’s points of view when we design. We

bring both our worlds to the table and inspire each other. For example, one of us can start working on a sketch or an idea for embellishment, and then the other one will get inspired by that and give it a new twist, which is something that only someone who is different from you but understands you perfectly can do. Also working opposite someone gives you the opportunity to be in constant dialogue and get an outside perspective on what you do, which we believe leads to more creative results than working by yourself. 

Who has had a major influence on you as a fashion designer?

Hagit: Omer Poizner

Omer: Hagit Kassif

What role does social media play in the promotion of your brand and in staying close to your customer base?

We recently launched our Facebook page, which is a great way to receive feedback from our customers, as it helps us understand what they like and allows us to stay in contact directly with them. We find it very important and helpful since we are at the beginning of creating our fashion line. Our official website is also launching soon, and it is important for us to have a continuous online presence.

How did you meet?

We met while studying fashion design at Shenkar College of Engineering and Design in Israel. We were in the same class and initially we did not take to one another, but ended up as best friends and business partners. We shared a dream that we wanted to fulfill together: to move to New York and start our own label.

Do you have a current muse?

Frida Kahlo, but in her 2013 version.

What are your goals for your label?

We just started Roomeur, and like any young brand, we hope to grow and expand in order to reach our target audience. We are planning to stay true to our vision and not compromise our ideas and the places we come from, and hopefully it will resonate with other people. Ultimately, our goal is to express and develop our aesthetic vision in every way we will be able to, from producing a big fashion show that will put forward the Roomeur aesthetic, through collaborations with other areas of art designs, and of course through our collections. There is still much to do!

Do you develop all of your textiles in-house?

Yes, we develop all the prints and embroideries we use.

What was the response like for your pre-fall 2013 debut collection?

Pre-fall 2013 was the first time Roomeur was presented to the world, and the response was very positive! We were happy and excited to get so many supportive reviews and articles on style.com, in The New York Times, Elle, Marie Claire, L’Officiel and others.

What is the meaning behind the name of your label?

The story behind the name is a play on words. It is a combination of the word roommate, which symbolizes partnership and collaboration, and the word rumor, which symbolizes our dream of creating an amazing brand who’s existence will spread like a rumor — as word-of- mouth, and mysterious. It is also a word that rolls nicely on your tongue when you say it – Roomeur!

Name three things you cannot live without.

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