NOA-NOA French Style Arrivings for this Spring 010

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PARIS 68

PARIS 68

ROCK´N ROLL

THE COLLECTION

Marcella Lindeberg has moved 25 times in the past 13 years. If she's not a free spirit, I can't imagine who is. And freedom is what the name Paris 68 means to her. The radical spirit of all those French students and workers who manned the barricades in 1968 to express their disgust for the war in Vietnam has devolved into Lindeberg's collection of clothes for women who are, as she put it, "on the move all the time as mothers and wives." Women, she insisted, who were just like her, shopping for groceries and cooking for their families. That was a little hard to believe given that, at the time Lindeberg said this, she was wearing a sleeveless second-skin dress in black silk georgette, its hem a riot of vibrating tassels, its single concession to mumsiness an elasticized waist. But Lindeberg has always been a rock 'n' roll mom.

Yesterday she was creatively consulting on William Rast with her husband, Johan; today she was launching her own long-time-coming collection (Justin Timberlake and Jessica Biel turned up in a show of support). And tomorrow? Are Depeche Mode in town? She'll be there. Her clothes were a reflection of Gahan/Gore's very particular rock-tastic spirit—dark, gothic, strict, but Lurex-sparkly. If the huge shoulders were a little too Balmain-esque, the tensely tailored jackets with their flaring peplums were the kind of items that scream for a rock-chick strut. The adult-diaper construction that dictated the silhouette of the pants was unfortunate. That same rock chick would probably prefer the pelmet minis with matching tights, maybe even when paired with a swirling cape. Paging Batgirl! But even the most eccentric aspects of the collection could be justified by the fact that Marcella Lindeberg is the woman these clothes were designed for. And that is true fashion integrity.

By Tim Blanks for Vogue USA.

THE INSPIRATION

THE HEAVY ROCK

RALPH LAUREN

THE HORSEWOMAN

THE COLLECTION

Puffed shoulders made repeat appearances, here on a fitted charcoal herringbone jacket, there on a cotton flannel plaid blouse or jewel-tone velvet top; a black suede tunic with leg-of-mutton sleeves was sashed at the waist over flaring leggings. Mixing masculine and feminine with his usual deftness, Lauren slipped a chesterfield on top of a floor-grazing georgette dress, and cinched distressed leather belts around the washed Shetland wool jackets he paired with ruffled skirts.

There was a pinstripe interlude that looked tailor-made for his tony clientele, but not unlike his Spring collection, with its Great Depression-inspired beaten-up blue jeans, this one seemed pitched to a more downtown crowd. That was especially the case when it came to evening. A passementerie embroidered silk ottoman coat was plenty posh, ditto a black silk georgette and tulle beaded gown. His flower-print long dresses, however, were layered over lacy long-sleeve tees in a way we've seen young designers doing all week. If this felt like strange new territory for Lauren, there were moments—as with that silk georgette fils coupe gown—when it was fertile ground indeed.

By Nicole Phelps for Vogue USA.

INSPIRATION
AMAZONS OF THE XIX CENTURY

REEM ACRA

A LITTLE BIT OF "TOO MUCH"

THE COLLECTION

Fittingly, given this progressive approach, the clothes were mostly youthful and fashion-forward. Acra didn't hold back with her signature opulence and flair for all-out glamour, but the slouchy elastic-waist sequined frock, rainbow feather-and-bead vest, and wool jacquard coat with red shantung polka dots could work equally well for both a vibrant socialite and her teenage daughter. The designer veered into over-the-top territory at times—one look featured ombré shantung, tulle, gold sequins, ribbons, and an explosion of feather flowers at the shoulder—but for the most part the digital format appeared to bring new energy to the brand.

INSPIRATION

BARROQUE (XVI CENTURY)

Marchesa

Georgina Chapman

for

MARCHESA

The Spirit of Puccini

THE COLLECTION

There are always moments at this presentation that induce a sharp intake of breath. Today it was the appearance of a silver siren gown. The lace-patterned beading on the bodice turned into allover beading and looked like liquid metal. A Fall collection for any creator of eveningwear is inevitably higher-stakes than Spring, coinciding as it does with awards season—all those stars, or their stylists, looking to snag something directly from the runway. Does Chapman keep that in mind when designing? "Yes, yes," she said. "It would be silly not to." It would be sillier still if we don't see at least a couple of these pieces—perhaps a gorgeous paisley beaded fuchsia suede dress or a white feathered Empire gown—on a talented ingenue in the near future

THE INSPIRATION

MADAME BUTTERFLY

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ANNA SUI

CHINA CHARLESTON

THE COLLECTION

the mood of these clothes was vintage bordering on antique, the overall impression was curiously un-retro. That's because Sui, who once worked as Steven Meisel's stylist, knows how to weigh the whimsy: a flat boot, a big cable-knit cardie, or a fur bolero helped to make her most hippie-princess looks real-world-ready. And, because the backroom boys and girls don't always get their due, it's past time to credit Pat McGrath's makeup, Garren's hair, and Frederic Sanchez's music. At some point in the future, those elements will all be part of the most wonderful museum exhibition on New York's most underrated designer.

By Tim Blanks for VOGUE USA.

INSPIRATION

IMPERIAL CHINA

3.1 Phillip Lim

PHILLIP LIM
Return to Studio 54

THE COLLECTION

That new simplicity dovetailed with part of Lim's inspiration, which set itself during a moment in the seventies when disco dissolved into punk and Halston's influence could still be felt. But the best souvenir from this bit of sartorial time travel was the trousers. The murmur of approval began with a pair of black suede flares in the second look, and slowly grew with the many creased and high-waisted pants that followed. One caveat: Most were cut in a seemingly heavy silk, sometimes with an animal print, that was pleasing to behold but didn't have immediate real-world appeal. (Though we reserve judgment until we've tried them on. We did just call Lim a chic pragmatist.) The best ones came in a blush bouclé and were paired with a languid gold sequin blouse. With an evening option like this, his severely asymmetrical silk dresses—hacked off, according to Lim's backstory, by an erstwhile Studio 54 reveler—seemed like less fun.

INSPIRATION
Disco Punk and Halston Style over the Studio 54 (1970´s)

Vera Wang

VERA WANG

Black and White

The Collection

A pair of her easy paper-bag-waist tuxedo pants, worn with a draped one-shoulder top in white linen voile or an ivory silk faille tucked bustier, would make fabulous alternatives to the little black cocktail dress—though Wang showed quite a few of those, too. Among the best was a simple twisted and draped jersey frock that fell to just above the knee. Others, with their mosaics of metallic sequins and swags of black tulle (accessorized with piles of pearls), erred on the fussy side. "Less is more" is not a concept that feels entirely natural for Wang. Still, she nailed it with a scalloped black organza gown that looked practically weightless as it glided down the runway.

Inspiration
The Dandy in Black and White

Max Azria

Max Azria
Nothing is All

The Collection

The only thing wrong with Lubov and Max Azria doing luxe minimalism for their Max Azria show is that a reviewer must resist the urge to indulge in some sort of Max-goes-minimal wordplay. Must resist. Other than that, today's show was a beauty, which built on and really refined the clean direction the Azrias started heading in last Spring.

By Philip Kuhn for VOGUE USA

Inspiration
Minimalism

Derek Lam
Leather Flush

The Collection

Following Spring's ode to East Coast beach towns, Derek Lam's Fall collection was a celebration of the American West. "Hasn't everybody at one point or another had the fantasy of being a cowboy? A cowgirl?" he asked backstage. Well, as grounded in reality as his chic clothes looked today, even gals who never dreamed of life on the range will find plenty of stuff to like.

By Nichole Phelphs for Vogue USA

INSPIRATION
The West America