Emerson College Fashion Society

by Rebecca Todaro

Elie Saab is keeping things classic and classy this autumn with a collection that was beautifully timeless. Everything was so elegant, it seemed to me like a reworking of what Grace Kelly would wear had she been a young actress today. Saab’s collection is hands down one of my favorites this season. Each piece was simply delicious. Well-tailored, and sharp lines contrasted with romantic and flowing skirts and capes which created beautiful movement on the runway. Cut-outs with lace and sheer details were also prominent. This added a sexiness to the looks while still maintaining a respectable modesty. The collection was dramatic but wearable. Classic a-line skirts, cinched waists, and fitted suits made for pieces that would be flattering on any woman. 

all images courtesy of vogue.co.uk

Saab, like so many other designers this season, plunged into the monochromatic trend, but added a little zest by injecting chartreuse, teal, and purple, proving that fall and winter don’t just have to be about black and navy.  With straight, slicked back hair and smoky eyes, the styling didn’t detract from the clothing, but really emphasized each beautiful piece.  The bottom line is that I would love to own everything put out by Elie Saab this season, if only to pretend that I’m a modern day Princess of Monaco. 

by Rebecca Todaro

The monochromatic bug strikes again with Stella McCartney’s fall/winter ready-to-wear collection which showed in Paris this Monday. With a palette of black, white, grey, and fuschia McCartney worked on bringing back the bulk of the ‘80s. Oversized dresses, loose-fitting coats with enormous lapels, and bulky shoulders dominated the show. I was a bit sad to see a lot of skirts and dresses cut just above the ankle, but that’s probably out of jealousy as a short person who can never pull that length off. McCartney also threw in some pinstripes and plaid which nicely broke up the overwhelmingly monochromatic collection. 

all images courtesy of vogue.co.uk

The looks ranged from suits and jackets, to shift dresses, to evening wear and could outfit  any woman for the entire season. The styling was simple and fresh, and some looks were topped off with grey and black baseball caps, which I grew to love. Platform shoes added to the looks which somehow managed to stay chic despite the fact that they were indeed clunky. Such is the power of Stella McCartney— a power granted only to the daughters of a Beatle. 

by Rebecca Todaro

Things took a turn for the strange on March 2, when Comme des Garcon’s line by Rei Kawakubo showed at Paris fashion week. Models paraded out looking like hobos who had gotten caught in the world’s largest paper shredder. Maybe I wasn’t appreciating the art involved in the collection, but for the first seven minutes or so I was utterly confused. Why the comically oversized and ill-fitting suits that were intentionally torn? Why the bulging, geometric flower details that looked like tumors? Why the white Keds that looked like they were stolen from Pam Beasley (or perhaps rooted out of her garbage)? Then I remembered— this is a Japanese designer, and when it comes to weirdness, we tend to cut the Japanese a lot of slack. 

all images courtesy of vogue.co.uk

So, slack was cut, and I tried to look at the collection through a different light. I liked the colors and patterns. Classic pinstripes and houndstooth gave way to burgundy and a zany harlequin pattern. I liked styling, except for the sneakers. The models all had  crazy plaited hair, sculpted around their faces which all bore a charcoal slash across the cheek. I also appreciate the architectural elements that went into crafting this collection. Like their hair, the whole thing is very sculptural and it is certainly interesting to see the incredible shapes Kawakubo was able to create with fabric. In the end, however, I still can’t get past the fact that I couldn’t find one piece that actually looked flattering on the model. The show was eerily romantic, but just left me feeling vaguely sad. 

by Daniella Cuencas

The main theme in the Miu Miu Fall 2013 ready to wear fashion show was pops of color. For the most part of the show the clothes were focused on outwear and using small pops of color like scarves, purses, or shoes as ways to brighten up the outfit. Interspersed throughout the show were some brightly colored, striped, or polka doted outerwear. Bold colors and patterns mixed together with the severe makeup and hair styling looked like something you would find in a cartoon. This idea made me take the looks that were coming down the runway a little less seriously than other shows. Instead of trying to find the versatility in the clothes, I looked for things that would just be fun to wear or interesting to try to pair with different patterns. 

images courtesy of Monica Feudi

Something I loved were the accessories that Miu Miu showed for the upcoming season. The purses ranged in size and pattern that could make great accessories for a bland outfit or add some color to the cold months of winter. Moreover the cute scarves were tied like something you would see a woman wear in the 1950’s. The scarves are a great idea for an accessory and definitely under-used. Overall, the Miu Miu show had some great coats. They featured fitted black peacoats and knee length cinched at the waist parkas. These clothes were not as spectacular or showy as other designers this season, namely Dolce and Gabbana, but this show is worth a look if only for the accessories. 

by Ash Ramani

The bibliothèque at Lycée Henri-IV, a prestigious Parisian high school was transformed into a runway, for the fall 2013 Hermès collection to debut.  In keeping with the venue, the collection had a collegiate vibe, with comfortable, yet structured fabrics, reminiscent of retro prep school uniforms. 

images courtesy of style.com

Highlights of the collection included a black pencil skirt paired with a crisp white shirt, and an olive cloak, with a statement collar. Another covetable piece was a brown coat, accented with strips of red and black fabrics, reminiscent of elbow patches, and a lining that looked wonderfully warm and cozy. While otherwise well styled, I could have done without the leather fanny pack sported by the model, and might have suggested a more classic satchel to complement the look instead. However, this was remedied by a structured grey dress, paired with yet another sharp white shirt, and a pair of black ankle boots. The deep V-neck of the dress was accented perfectly by the slit in the neck of the white shirt, while the black belt, and soft brown cloak accessorized the outfit fantastically. Overall, this collection was classic, and sophisticated, starting the fall off on a high note. 

by Jack Babnew

Yesterday at the Grand Palais, Karl Lagerfeld proved once and for all that it is Chanel’s world and we are all just living in it. Funny, I’ve said the same thing of Beyonce. The fall collection was showcased in the typical grandiose Chanel style, but this time, something other than the clothing took center stage - a giant globe, featuring tiny beams of light to highlight the locations of the 300 Chanel boutiques across the world. Although the show wasn’t about “fashion domination”, but about “fashion globalization”, one couldn’t help but notice that this was a move so grandiose, it only could have been pulled off by Chanel.

First things first - we need to talk about the meggings. Yes men, the skinny jean is not enough for the fashion set any longer. Naturally, Chanel had to show a leather version of the man-legging - more fashion forward. And, as we all know, once Chanel shows it, it’s fashion law. The little black dress? The knit jacket? The iconic CC logo? I’d start raiding your girlfriend’s drawers now guys - don’t get caught without your leggings on next winter.

all images courtesy of vogue.co.uk

Overall, I thought the show was excellent - although it did not have a specific motif or design point, like earlier Chanel collections, all of the pieces flowed well and will certainly sell. I loved the little leather knee-socks, something totally unheard of and totally chic. The strongest part of this show for me was the styling. Every look was spot-on; each piece had a moment, each moment had a piece.

by Molly Wheaton

If Wednesday Addams and Adele’s 2013 Grammy Dress had a love child, her wardrobe would be comprised entirely of Valentino’s AW13 collection. With most looks built upon the foundation of black mini dresses and adorned with lacy accents, Valentino’s latest collection is for the woman who wishes to stay a girl forever— albeit with shorter, fancier, jacquard-ier outfits. 

Some stunners included a black sequined gown and a long overcoat with scalloped edges— two pieces I’ll bet we’ll be seeing on the red carpet. I could easily envision up-and-comers like Elizabeth Olsen or Elle Fanning in any one of Valentino’s flower-embroidered dresses, and steel-blue numbers reminded me of Kirsten Dunst’s eclectic premiere style. 

As for the everyday girl? This collection might come off as a little too precious— or, at the same time, a little too dark. Although gorgeous and innovative, Valentino’s latest collection may be just a touch too gothic to capture the attention of a feminine and modern dresser.  

by Ash Ramani

The 1960s played a central role in the Paco Rabanne collection, as the show veered between classic menswear inspired pieces, to futuristic chainmail, most of which was surprisingly tastefully done. Thanks to new creative director, Lydia Maurer, the collection paid homage to the brand’s aesthetic, while updating it to something more sophisticated, and dare I say, wearable? 

images courtesy of style.com

The collection started strong, with a sharply tailored navy suit, reminiscent of classic aviation, showing just a hint of leather collar. The look was followed by a structured chainmail sheath dress, with a sharp collar, a look that nodded to the brand’s classic look, while not giving itself completely to it. Another standout was the black overcoat, with the studded collar, melding the old and the new, injecting some metallic glamour into the more subdued, structu

red piece. Despite a few misses, with the last three dresses that looked less ready-to-wear, and more nightwear, the collection included many covetable pieces, giving the brand a much needed update. 

by Jack Babnew

Oh Mr. Slimane…. Saint Laurent Paris’ controversial fall show began with the audience (sans critic Cathy Horyn) rapt, hoping that Hedi Slimane would dazzle them once again. Dazzle he did, although most of them left scratching their heads. The collection was not Yves Saint Laurent at all - and as the international fashion world watches, Slimane is still establishing just what Saint Laurent Paris means.

As individual pieces of clothing I loved this collection. I would want to be best friends with the girl who wears these clothes (and steal some of the pieces from her), but I don’t think that this girl is a YSL girl. This blatantly is not the house that Yves Saint Laurent, and Alber Elbaz, Tom Ford, and Stefano Pillatti after him, worked so hard to establish. The clothing is completely unlike anything being shown today, and completely on trend - the 90s are back, and this collection was shrewdly both street-style and youth influenced.

Having this strong of a creative vision (whether it’s one that I think is “good” or successful or whatever) is something admirable in and of itself. Hedi Slimane knows exactly what he wants to do as a designer, and he’s doing it. I just think he’d be better served doing it at his own label, where, in my opinion, he’d make a fortune without the outrage. 

by Daniella Cuencas

My favorite brand, Chloe, did not disappoint for the upcoming season. The classic and elegant collection had some great pieces including a cape, jumpers, and pencil skirts. One of my favorite pieces was a tweed type skirt with blue accents and a zipper up the side of it. The skirt struck me as something you could wear to an office that would be a little more on the trendy side of things. The shoes paired with this outfit make the skirt also stand out as something a bit more on the edgy side but still could be a classic staple of any woman’s wardrobe. Another of my favorite looks was this dainty white see through sleeve blouse paired with red pants and black boots. This pairing was both feminine and just plain pretty to look at. The mix of a bold burgundy with the clean and pure white of the top was a great combination and drew my eye immediately.

images courtesy of Style.com

My least favorite part of the show was seeing some of the awkward materials fabric cuts that were placed on the models. One of the outfits was of a model in something that looked like, well like this. There aren’t really words to describe how awkward this looks on the model. I still can’t tell if she is wearing a dress, skirt, or pants. While deciding what to wear it should at least be clear what the structure of the outfit is. Overall the show had a lot of dark blues with some white accents and a type of oxford heel. Chloe kept it simple this season, but that does not mean these clothes are not worth the look. As a matter of fact, the simplicity and obvious aim for elegance makes Chloe so unique.

by Daniella Cuencas

The Vivienne Westwood show was interesting to say the least. Punk is not something I look for often in clothes, but after watching her show, I found some appreciation for the style. Some of the things I enjoyed in this fall line were the coats. One coat in particular caught my eye because it was calf length and the color was a navy blue. When I saw it, it looked like something a trendy woman would wear on the streets of Paris. It made a statement but in that could either be subtle or obvious depending on the wearer. One of my favorite looks overall is this suit and jacket. This look has both the trendy aspect of the coat, but also has the classic suit and pop of color that is the blouse. Moreover the shoes on the model make this look more edgy, which is an interesting mix of a classic look, trend, and punk. This look really reminded me what Vivienne Westwood is all about. 

Other pieces like a suit made of what looks like a type of burlap made me cringe. A lot of the pieces in this collection were either a hit or miss in my opinion. The clothes either had more of a peasant medieval vibe, yet on the other hand some of them replicated the rich colors and patters of a coat of arms like this statement jacket and pants. The theme for Westwood’s show was medieval and that was apparent by some of the more statement pieces. Overall, the show may not have been cohesive, but it was totally Vivienne.

by Paige Solomon

Were Rick Owens’ models caught in a wind tunnel? Poofy hair swept over the model’s faces and baggy clothing did not make a good combination. In addition to the messiness of the collection, the color scheme was dull and the collection as a whole lacked life. Without any accessories, natural looking makeup, and the same pairs of boots throughout the entire collection, there are no words to describe this collection other than yawn.

images courtesy of the New York Times

Fashion is about art, creativity, a point of view, the element of surprise or the element of simplicity, but Owens’ collection was unimaginative and not memorable in the least. It’s hard to critique a collection that lacks so much. Without a favorite outfit or even an outfit with a glimpse of something special, I was only left with disappointment.  

by Ash Ramani

Ann Demeulemeester’s runway look was androgynous, with an emphasis on strong black and white looks. The contrast within the color palette made the collection look strong, yet the clean lines, and movement within the pieces retained some classic femininity. Accessorized with classic bowler hats, each adorned with a single feather, the collection was striking, with the looks complementing each other perfectly. Favorites from the collection included a structured black overcoat, paired with a pair of bright white pants, playing well with contrast, though enhanced by a wide black belt that stopped it from being wholly wearable. Another look to remember was a take on the classic suit, presenting structured black jacket paired with a flowing pair of black pants, contributing to the menswear inspired theme rather well. A long white gown also added some much needed simplicity to the collection, somehow managing to look both sophisticated, and casual. All in all, this was an interesting collection, bold and simple, and definitely striking.   

by Jack Babnew

Viktor and Rolf are known for… statement pieces. Complex, geometric, and covered in ruffles and bows are usually the trademark identifies for a Viktor & Rolf piece. This season, however, the duo took an artistic left turn and presented something completely wearable. 

images courtesy of vogue.co.uk

The looks, featuring shredded jeans, bow-laden rompers, and sheath dresses, were all completely wearable. There was an element of streetwear in the ease of the collection, as Viktor and Rolf seemed to realize that their design aesthetic could appeal to more than completely over the top looks. Some will say that they took the idea of “ready to wear” a step too far, but I think they hit the fashionable nail on the head. 

by Jack Babnew

Two days ago, Alexander Wang took his first precarious steps into Balenciaga history. These steps were not without much-deserved trepidation, considering that he was following behind fashion darling Nicholas Ghesquiere, who abruptly left the house after a much-respected fifteen year run as head designer. But now it was time for Alexander Wang, a thoroughly modern designer, to take on the audacious brand and make it his own. He accessed the history of the house for much of the collection - including luxurious fabrics, the sloping shoulder cut, and the shape.

all images courtesy of vogue.co.uk

The collection was certainly more Balencaiga than Wang, which is understandable, considering that such a young designer took such a huge leap. The collection lacked the usual Alexander Wang looseness and youth, preferring to focus on the richness of Balenciaga’s history. The best pieces, in my opinion, were matching looks that featured cracked leather tops (gimme), with simple black pants and matching heels. Overall, this was certainly a step in the right direction for Mr. Wang and Balenciaga- here’s to seeing a little more of him in the next colection.

by Rebecca Todaro

What’s black and blue, and blah all over? No, not a boring bruise. It’s actually Ferragamo’s Fall/Winter collection which just showed in Milan for Fashion Week. “Blah” might be a little bit harsh, but throughout the show, all I wanted to see was something with a little bit more spectacle! Perhaps it was because I had watched Moschino’s show right before, which was all about ornate details. I’m honestly surprised I didn’t get whiplash in the transition to Ferragamo’s much more understated collection. 

This autumn, Ferragamo is all about monochrome, coats, and turtlenecks. I have nothing against any of these things, but I felt as though there were times when I was seeing the same look paraded down the runway over and over again. How many variations of a black trench over skinny pants and a turtleneck could there possibly be? 

       That being said, the pieces were individually beautiful. Sleek lines and shimmering satins kept things structured and classy, and I will not deny that the overwhelming use of black pleased the New Yorker in me. I was also a fan of the styling. It was deliberate, but not distracting.The models all had short bangs and hair tucked behind their ears, which I thought was a nice touch. My favorite look was probably the navy and black color-block trench coat, and after watching the whole show a few more times, I can see that it’s starting to grow on me. Maybe a boring bruise isn’t so bad after all.

by Paige Solomon

Gwen Stefani? The Spice Girls? Kesha? No, it’s just Versace. I couldn’t help but picture these people in the outfits that went down Versace’s runway. Plaid and leather instantly reminded me of Gwen Stefani; animal prints and leather instantly reminded me of the Spice Girls; trashy, garbage bag-looking, shredded leather instantly reminded me of Kesha!

photos courtesy of the New York Times

Known for studs and leather, nothing about this show worked. Where was the sophistication? By the end of the show, I felt like there were dominatrixes walking the runway. I liked the ideas behind each outfit, but their executions were messy. I liked the direction the show could have gone with edgy, leather cutout dresses, but all the other aspects added to the show detracted from what Versace does best (leather and studs). To me, the majority of outfits just looked cheap.

by Daniella Cuencas

The Marni fashion show for Fall 2013 was a bit of a disappointment. The clothes were cut awkwardly and seemed un-wearable. Only a few of the pieces looked wearable or at all flattering on the female form. One outfit in particular was a kind of mohair suit and it drowned the model in fabric instead of fitting her correctly, it hung on her as if it were too large. Another piece in the Marni show was an unflattering thick leather dress that came to the model’s shins. The dress looks uncomfortable to wear because it is so thick. On one hand, the patterns Marni used were pretty and were definitely fall appropriate. One of them was a skirt with a stark picture of a wooded forest in the middle of winter. There were also many different uses of fur in this show including scarves, wraps, and accents to the clothing. The shoes were a let down in the show. This fall line included sandals that looked like Birkenstocks. There were four different types of shoes used in the show but only the regular knee high boot and classic black pump were the best. This show was great in certain aspects such as pattern, but disappointing overall in terms of style and fit.

by Ash Ramani

The fall 2013 Emporio Armani collection took us back in time to the 1920s, with menswear inspired pieces, like structured pantsuits, and tweed overcoats. Pastels dominated the color scheme, while outfits were accessorized with turbans and brooches. While this collection was definitely on trend, with its focus on the 1920s, it seemed to play it too safe. The demure pastels for the fall, simply was not exciting, while most of the looks seemed less inspired by the decade than heavily borrowed from it. While Emporio Armani put on a great show, it failed to inspire the urge to empty out wallets. 

by Jackie Tempera

I’m just so torn by the Dolce and Gabbana line. On the one hand, I love the risk. The baroque-style paintings on mini dresses, the crosses, and outrageous gold cross necklaces…there’s a statement being made here. But, on the other hand I have no idea what the statement was.  To me a fashion week show should show the viewers an exaggerated version of what people will be wearing in the upcoming season. Do I think people will be wearing Jesus’s face plastered across the chest and a gigantic gold crown upon their heads? No. So that’s where they lost me. The dresses are undeniably beautiful pieces of artwork. The beading and exaggerated designs are breathtaking. They are just not remotely wearable or translatable into the every day fashion scene. 

Also, the second half of the line didn’t flow with the first half at all. The religious and royal themes just dropped off half way through when the line took a turn for the professional and models came out in some tweed business suits and lace dresses. Where’d that come from? And the glittery short-short panties. WHAT. The only thing I could think of is that episode of Sex and the City where Carrie falls on her face in a pair of D&G glittery underpants. I wasn’t feeling it.  Overall, I appreciated the outrageous nature of the line and I thought it was crazy, fun and risky. But, I didn’t think the risk hit the mark and I didn’t understand the line.