Autumn/Winter 2011: New York Fashion Week

Here's a recap on some of the best shows in The Big Apple...


The "New York Mods" collection opened with tough masculines- oversized black cape jackets in monochrome black/white, draped over the shoulders with a leather jacket peeping underneath. Masculine monochrome metamorphosed into easy breezy city shorts and reached full-blown 'Lady' with an LBD- complete with sweet Peter-Pan collar. Colour seeped through the mass of black- a flash of orange here and there from the occasional collar or sleeve, reaching a crescendo with bold coral trousers. Colour blocking ensued- black and red striped jumpers, padded magenta and coral jackets, a light pleated chiffon dress with panels of coral, camel and navy toned down the madness, as did a double-breasted camel trouser-suit- the trousers being wide-legged in true easy Street Style layered over a coral jumper. By look 23 the over sized androgyny was back, but this time the colour was a soft rust, cloaked over panels of pink, white and orange. Pattern-wise, stripes ruled- with variations of thick jail-bird stripes in monochrome and pink & orange, and sweeter, finer lines of orange on navy while old-man Tartan and check in colours of blues and browns were seen on single-breasted jackets.


A bouclé trimmed jacquard evening coat with Indian embellishment, fox-fur trimmed skirts and sequined column dresses oozed well travelled luxury at Oscar De La Renta. Model's heads were swathed, Babushka like in fur with 'Lady' gloves and pearls and a velvet jumpsuit, slashed to the naval and pinned with a bow brooch was accompanied with a billowing fur Sable; while fur-ball skirts were married with sweet tweed jackets. High shine dresses made from gold lamé and sequins provided the evening-wear, where one column dress appeared to be patterned with an antique Oriental floral. Full circle 50s dresses swung out over snow white knees creating a collection of such sheer opulence that we can only expect from Oscar.


Marc Jacob's diffusion line opened with a collarless burnt sunshine shirt teamed with a metallic cardigan and high waisted twill wide leg trousers. Trench coats were out in full force, both for men and women with the latter sporting full fur collars. Derelicte Cable jumpers in orange and forest green were thrown over Seventies midi graphic print dresses topped off with full Stephen Jones floppy hats and round sunglasses. Following on from Spring's animal trend, the animal was seen in many guises- shearling trimmed patent shoes, purple leopard print asymmetric dresses worn with brogues and ankle socks and stag and elephant silhouettes printed on suits and skirts. Much like DKNY, a more natural Colour-block ensued with toned down shades in stripes of forest green, camel and terracotta- single breasted coats for the women and jumpers for the men. The men were suited (but not booted- they wore hi-tops) in natural stone colours, wearing suits patterned in tartan with button down shirts, jumpers of terracotta and black ties. They held animal silhouette printed shoppers and leather bound satchels, some slung over their shoulders across their chest.


Typically at Jason Wu 'The Lady' reigned- little wonder why America's First Lady is a fan. An oversized masculine coat was thrown over the shoulders for the first look, but was feminised with a line of black lace (featured everywhere at Wu) down the sleeves. An easy-luxe waistcoat peeped underneath, casually unbuttoned to reveal a patterned blouse sweetly bowed at the neck. Streetwear took the form of cigarette pants, again with lace down the outside leg worn with thick monochrome striped jumper, the collar of another printed blouse visible. Lace detailing soon turned into a feature, with lace printed sheer blouses worn with high waisted trousers. Steadily baroque filtered through- a patterned sleeve here, a slight detail there- culminating in a pinstripe tuxedo dress with gold rococo motifs. Evening dresses were lampshade skirted with heavy organza or loosely whipped around the ankles, some split to the thigh. Wu reprised his signature feather dress in both black and nude- also creating a feather pouffe ball skirt, and hinted at another trend- Polka-dots with spotted sheer hosiery.


Inspired by the book 'Days of Heaven', the Mulleavy sisters, fresh from their Opening Ceremony collaboration sent the models down the runway in long billowing Little House on the Prairie coats and dresses. The farmland setting of the book was mimicked with the presence of wheat-fields printed on long silk dresses, and there was something quilt-like about the geometric aprons worn over the Amish sleeved gowns. Where dresses were knee length, long boots patterned with tribal silver details covered the legs. Collars were rigid, some appeared as if they were detached and worn around the neck like a necklace. The delicate watered-down colourway of lilacs and nudes was set ablaze with a pair of ruby red evening dresses, acting as the finale, which as Kate explained afterwards paid homage to another great American novel "We couldn't go to Nebraska and Kansas and not do a Wizard of Oz reference".


Named 'American Legends', bold Ace of Spades patterned cardigans,dresses and jumpsuits. A touch of True Grit was seen in the western brimmed hats, panelled cowboy shirts and fringed bags and boots, which much like Rodarte bold and clashing. Pencil skirts were belted with gold, the lamé then acting as the main panel in a colour blocked skirt and culminated in full on golden-girl with a gold lamé with plunging neckline. Floor-length pleated dresses shimmering with sequins provided the glitz while boiled wool overcoats served as outerwear.


For Marc Jacob's main collection, the loose, fluid feel of Spring/Summer has been replaced with a more structured silhouette. Polka-dot acts as the print- where it was seen glinting like large beads on organza suits, bold and brash on sheer black hosiery and shone vinyl like on wool pencil skirts. Duffle jackets and billowing velvet overcoats were teamed with latex skirts and trousers, while shirts ballooned out under pinafore like tight dresses, the sleeves resembling a transparent plastic.


The edgy street-cool vibe we come to expect from Alexander Wang was back with added luxury. Outerwear fleece like jackets in nudes and storm cloud grey blended into silk to form a dress. Fur collars (even mink lined sunglasses) were teamed with weatherproof like cagoules for outerwear, and silk cigarette pants for evening. Traditional masculine tailored coats were slashed of their sleeves with added neon pockets, or were oversized and cloaked over warm fleeces.


Calvin Klein Collection was minimalist with clean lines and a structured silhouette, the colour-way being creamy whites and browns, with the occasional gleam of metallic. Stiff leather skirts were married with cropped sleeve jackets, the omni shoulders creating a boxy cut while white dresses were slickly sleeveless, some with slight volume at the thigh, others with silver panels at the collar.


Proenza Schouler duo Jack McCullough and Lazarro Hernandez created their own geometric print and blew it up for this collection, creating an almost tribal pattern, colouring it with soft burnt jewel tones on top of black. Devoré velvet dresses served for evening wear, and created sheer diagonal panels for tops worn under smoking-jacket printed blazers- the latter of which was teamed with slouchy trousers patterned in geometric diamonds and tribal lines.