NEW YORK FASHION WEEK SPRING 2010 

 

 

Platforms with a kick. Structural and rope embellished at Ports 1961.

 

 

 

At Charlotte Ronson’s show, casual and chic predominated. Comfy and  loose ensembles in beautiful blue hues.

 

 

 

Candy colored and organic shaped, Marina Nikolaeva Popska’s (from Academy of Art University in San Francisco) designs were the highlight of the evening.

 

 

 

Sportswear never looked so haute. At Alexander Wang’s, function and style mixed effortlessly.

 

 

 

For Derek Lam, feminine meant graphic and starry.

 

 

 

Herve Leger’s body-con dresses are revitalized with patterns and denim.

 

 

 

Woven evening wear at Carolina Herrera in a delicious palette of terracotas, deep purples and caramels.

 

 

 

 

 Ombré casts its shadow over Carlos Miele’s flowy sirens.

 

 

 

At Donna Karan, asymmetric pieces are juxtaposed against pebble-like necklaces. Muted colors with some brights appearing sporadically.

 

 

 

Geisha-esque meets cabaret girl and then goes grunge at Marc Jacobs. Think harlequin, Lolita, and fresh out-of-rehearsal ballerinas. A mix of it all to conceive a performance-infused collection… Genius.

 

 

 

Feral and deconstructed at Rodarte. Inspired by the endangered California Condor, a giant eagle with a nine feet wingspan.

 

 

 

Red carpet worthy, Marchesa’s collection contained a flower-heavy leitmotiv along with a classic color spectrum.

 

Images via: style.com 

 

 

 A stampede of mismatch heaven took place at the Marc Jacobs show held at the Lexington Avenue Armory, where the audience enjoyed an awe-inspiring, all Americana treat. Known for his dramatics, New York’s home-grown fashion genius described his collection as “familiar but fresh,” and he could not have said it better. The essence of the collection was an experimental voyage that embraced decades past. 

 

  

 

Skirts with cascading and dangling pleats, made of metallic Lurex fabric and brocade-like prints were remarkable, especially when composed in color pallets that didn’t make typical sense. Mary Poppins-like hats and multilayered looks were heavily accessorized to create an image of a woman that, strangely enough, looked incredibly stylish and put together. The waistcoats, back-drap skirts, menswear suits, gaucho pants, metallic tweed jackets, and chunky necklaces were part of the delicious mash-up, along with George Gershwin’s “Rhapsody in Blue” as background music.

 

 

 

Michael Fink, from Saks Fifth Avenue, said the collection was very timely. All fashion retailers know that customers are now more aware of their finances and will only spend their money on outstanding pieces. “There was nothing basic on that runway,â€� Mr. Fink said. “Nobody wants a basic from Saks.” 

 

 

 

 All the erratic prints,  the “hall of mirrors” as part of the runway, the espadrille-meets-stiletto hybrids, and the “cracked, fragmented and broke” coats, as Jacobs calls them, worked together to dazzle everyone. Marc Jacobs did it again—- and like a magician, the designer cast his spell all over New York Fashion Week. —Melissa Alvarado Sierra