It is an occasion for riotous celebration! The long adored house of Dolce and Gabbana has successfully created a top-secret couture collection! Debuted in an exclusive and clandestine show in Sicily, the show was only a part of a weekend-long event to celebrate the line. The collection has been a project that has been in production for the past six months, but a dream that has been in the making for years.

With 27 years of experience in the business, Stefano Gabbana and Domenico Dolce, know exactly how to play the game of the fashion industry. Inviting the crème de la crème to take part in this incredible couture centered weekend secured patrons from an already admiring following. Only three publications- The Daily Telegraph, Le Figaro, and Corriere della Sera as well as the editors of Vogue were allowed to cover the show and events under the strictest of standards. Gabbana explained that all the secrecy was “not because of us, but the customers. They really do not want to see their dresses in a magazine.”

Dolce and Gabbana seem to have made the event truly into an affair to remember, hosting evenings of fine dinners and dancing in the throughout the several days leading up to the show. Before the presentation of the 73 couture looks, Stefano Gabbana declared: “When we started out 27 years ago, our dream was to become a maison like Chanel, old Chanel. And now, maybe, this dream is coming true.”

By: Sarah Humphries

Photo credit: Telegraph

1. The Row

4. Cusnie et Ochs

5. Oscar de la Renta

6. T by Alexander Wang

7. Chris Benz

 8. Bibhu Mohapatra

9. Marchesa

10. Michael Kors

By: Sarah Humphries

His most recent Resort 2013 collection is highlighted by glossy leather, and slick alligator, amalgamated with lusciously thick matte fabrics. Muted tones prevail and the cool essence of this collection seems to make other, more frilly collections seem slightly ridiculous. Naturally for the designer, the importance was one innovative construction. The result was the creation a finished look of intrigue as well as refinement. Leather bodices, a motif of the collection work for resort because they often hit to reveal some skin and add a chic exposure to several looks. Of course there includes the innovation of clothing architecture that the company is known for. Truly architecture is the perfect word for the work as the pieces of each garment fit together in a faultlessly architected manner. Although thoughtfully crafted, the beauty shines in the minimalism and simplicity that the clothing exudes. In this Resort collection specifically, there is much attention to the back of many garments such as tops, pants, and dresses. The fabric pieces in the rear of garments often crosses over each other, hangs creatively, or reveals a peak of skin with a cutout.

The beauty of an Alexander Wang ensemble is that very piece of the look is essential in creating a unique silhouette as well as a captivating fashion concept. Beyond question, the glistening heeled boots are important to the overall aesthetic of each look as they ground the looks of monochrome white. The reflective footwear also brings another element of polished texture into the looks.

Although the clothes make a bold statement already, there is definitely something to be celebrated in the inspired presentation of the resort collection. Using levels to create height differences, and dynamic poses of the models- often leaning or stressing the ingenious cut of a garment, this resort photo set is quite different than others previously. Contrasting light in a muted space makes for the supreme environment for this sublime collection.

By: Sarah Humphries

“Give me time,” declared Alexander McQueen, “and I’ll give you a revolution.” Sarah Burton, who continues to carry the name of McQueen’s label certainly has a penchant for honoring this legacy, with collections which could have easily been at the hands of the late designer. For Resort 2013, Burton, among a sundry of influences, was inspired by another figure who sought to revolutionize, David Bowie.

For Burton, the costumery of The Glam Rock era was perfect for accentuating limbs. Burton may have invaded space in the style of Bowie – but this space was slightly more refined. Androgynous, with an emphasis on flair, the flamboyant designs of the 70′s decade were glittering and angular. This, of course, also being a nod to the Art Deco era, one half a century earlier, but equally embellished.

In terms of silhouette, the collection was first and foremost about the body, “To be sleeker, more sexy,” explained Burton. “We had been doing a lot of peplums, but we took them away to make the torso fitted and wanted to visually elongate the legs as much as possible.” In addition to alluding to McQueen’s original flair for menswear, Burton emphasized angels, with neat geometry, in form of razor-sharp pant-suits, tailcoats, bell-bottomed trousers, and most importantly shoulders tipped to perfection. Thick cinched waist belts were fluid throughout the collection, giving the illusion of an even higher waist than one might think possible. The designs featured decadent gilded prints, heavy beadwork, drapery crepes, metallic patchwork embroidery, and prints ranging from abstract dragonfly to golden giraffes.

Rounding out the collection, Deco-inspired evening wear exuded the feminitely less present in the collection’s initial commencement. The gowns were trim and streamlined – with an emphasis on the nape. Shimmering gold contrasted with stark black pallates created decadent texture, fit for the most refined 20′s affair or even a glam rock ball. A singular burst of orange in form of a strapless floor-length seemed to call-out to Bowie’s blazing orange mullet circa.

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Chanel has dedicated a fashion show featuring the house’s most recent Spring haute couture collection to victims of the Great East Japan Earthquake. The collection originally shown in Paris was as streamlined as its surroundings would suggest. The event took place in Tokyo’s Shinjuku ward in the Shunjuku Gyoen National Garden; the show being held in a specially constructed space built to imitate the interior of a futuristic luxury airliner. Like the Paris extravaganza, the garments shone. Lagerfeld takes as innovative an approach to garment construction as he does for his approach to promoting awareness for the cause. Boasting over one hundred fifty shades of blue, the collection was full of classic Chanel items, dresses and jackets in thick structural fabrics with a motif of a stand-up boat collar pervaded. A drop waist was the dominating silhouette which offered a sophisticated, yet youthful and feminine attitude to the collection. The silhouette makes a long and lean line for the body, creating elegant, flattering proportion.

 Before the collection moves into the lavish and elaborate evening gowns, which dominate the last half of the collection, it seems surprisingly wearable for haute couture, featuring coats, jackets, and dresses that any girl would kill to wear to lunch with her friends. Lagerfeld stated that innovative fabrics were used for the traditional-meets-ultramodern looking garments stating, “A lot of it isn’t even fabric. It’s embroidery.” That concept can be seen quite clearly in some of the later pieces which focus heavily on fabric manipulations such as embellishment and embroidery. There is a reason Chanel is so famed for it’s eveningwear, and one only must look at these gowns to understand why. There is still delightful hints of eccentricity in special aspects of the silhouettes such as structural sleeves or intriguing pocket placement. Tim Blanks of Style.com declared that if the fabric wasn’t full of embroidery, “it was cellophane. Or something else unlikely. And yet, there was a classic elegance about the result.”

There is also an elegance about the attitude to use beautiful fashion for a cause as important as this. We applaud Lagerfeld and Chanel for showing that the brand is very much about graceful clothes, but also emphasizes a graceful, giving attitude. This runway extravaganza for the victims of Japan is an excellent example of using fashion for a cause.

By: Sarah Humphries

While a Calvin Klein show is always subject to hype, this season show was particularly abuzz due to pre-show rumors of an Occupy Wall Street bust. However, the rally ended up being an actual bust, with only a few protestors setting up camp outside the event. Most of the media attention was directed to the front row, thanks to the arrival of Emma Stone and Rooney Mara.

The Calvin Klein fall collection called out to The Girl With the Dragon Tattoo‘s Lisbeth Salandar. During a preview of the collection with Vogue, Costa revealed that a recent trip to the Los Angeles Museum of Contemporary Art was very influential to this season’s mood. This was due to the exhibition, “Under the Big Black Sun: California Art 1974-1981,” which features works associated with the West Coast art and Los Angeles punk scenes. The inspiration from these movements was juxtaposed with imagery of Postmodern architecture—an idea that translated well into the world of Calvin.

While the black, gray, and salmon hues were vital to the collection’s aesthetic, the statement lied in Costa’s structured-yet-generously-cut silhouettes. An oxymoron it may seem, but emphasis was put on the hour glass form by cinching the waist (in some cases, with futuristic metal-band belts) and leaving room for the hips to breath. The architectural garments were comprised of classic materials infused with modern technique. “Innovative fabrics – like technical tweed, bonded basket weave crepe and painted wool mohair – enhance the collection’s contemporary, urban aesthetic,” explained Costa in his show notes. The collection was primarily comprised of dresses but also featured tailored cropped trousers and peplum jackets. The slick hair and bare makeup softened the razor-sharp ensembles.

While there didn’t seem to be any Oscar-ready dresses in the mix, talk of Mara wearing Calvin Klein on her big day has still become widespread. If Mara does indeed wear one of Costa’s designs, we predict it will be a gown version of the sheer, cut-out panel dresses, which practically screamed out to her from the runway.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com, as well as an editor for MyFDB.

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In a perfect world, our country would be outfitted in Michael Kors F/W 2012 embodying the classic Americana which once reflected, a polished and elegant American style, wearing red, white, blue and stripes proud. Embodying Old Hollywood grandeur while staying true to functional American sportswear, Kors’ collection is evidence enough as to why his stock continues to rise on Wall Street and in the hearts of Americans, alike.

“I thought about the ’30s and those glamorous Hollywood couples – the Clark Gables and Carole Lombards,” explained Kors backstage. This was evident in crisp-tailored suits fit for a sophisticated Southern gentleman such as Gable and the opulent gowns which could have easily costumed Lombard in one of her silver screen flicks. A more modern frame of reference was the coffee table book ‘American Beauty’ by Vogue alumna Claiborne Swanson Frank which features 100 portraits of exemplary stylish American Women.

Both the menswear and womenswear collections exhibited a rugged elegance from the mix of cozy textures to delicate fabrics, layer upon layer. The collection began with lodge-perfect plaid pieces such as the fringe blanket coats, tweed pullovers and crombie coats. Subtly the collection transitioned into more refined looks with cashmere pullovers and adornments of chantilly lace and chiffon. The statements for men were made in outerwear be it the moleskin anoraks, mongolian goats or the mohair herringtonbone travel suits. The blanket shawls, skirts and ponchos sealed the outdoor look for the ladies. Not to mention the luxurious fur hats and clutches, leather gloves, chunky may jane heels and heavy leather doctor bags which served as the perfect trimmings to the ensembles.

Should a day at the lodge be capped off with a black tie affair, Kors introduced a series of gowns which had front row stationed Jessica Alba and her stylist Brad Goreski engaging in Oscar gown whisper exchanges. Gold, silver, deep red and crimson sequined bias-cut gowns were reminiscent of the golden age of Hollywood. While the evening wear on its own might seem a contradiction to the collection’s rustic commencement, Kors made it work. After all, the last look down the runway was quintessential Kors with a black crystal beaded stretch jersey turtle neck gown.

Given Kors’ reign as an American design royal and upcoming release of The Great Gatsby film at this end of this year, I have a sneaking suspicion that ’30s glamour, both in casual daywear and glittering eveningwear, will continue to make strides in influence on American fashion and beyond.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as an Editor of the My Fashion Database Blog.

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Billows of smoke appropriately served as the backdrop to a sultry, dark yet romantic collection inspired by the femme fatales of 40′s film noir for Jenny Packham F/W 2012. The British designer had a very specific woman in mind of whom the collection represented. Her persona was summed up in the words of Don McPherson’s 1986 book Leading Ladies. “She was almost always bewitchingly glamorous, slow to befriend and swift to betray, a haunting and often malevolently dangerous vision which could lure a man to his doom, or bring him to despair.” Haunting and malevolently dangerous she may be, you can’t help but fall victim to her black magic.

Some might be surprised by Packham’s venture into darkness, given the ethereal, princess-like gowns worn by the Duchess of Cambridge, Kate Middleton, which have truly put Packham on the map. However, those more familiar with Packhams dynamic list of cliental will realize there’s mass appeal in all of her designs, and her aesthetic calls out to women from dark minimalist Angelina Jolie to sexy burlesque siren Dita Von Teese, who sat front row at the show. Von Teese sported a look which emphasized her role as Packham’s obvious modern-day muse in a black Jenny Packham Fall 2012 cocktail dress, paired with cat-eye shades and a red rouge.

Reviving the ’40s meant wide shoulders, cinched waists, plunging necklines and silhouettes characterized by the power of sleek. These noir style traits were displayed in form of fitted knee length cocktail dresses, halter neck jumpsuits and a variety of floor length gowns. The luxurious fabrics were predominantly silk crepe, beaded tulle, satin chiffon and soft satin, embellished seamlessly with crystal, sequins and silver studs. The mood was emphasized in the color palate which featured contrasty deep red, pale oat and naturally stark black. However, towards the latter end of the collection Packham brightened the horizons with pale pinks and baby blues. Adding to the vamp of the collection were the gorgeous retro chignon and merlot lip beauty looks that secured the old Hollywood look consummately.

While the collection settled in the past, the runway music was a juxtaposition between then and now. DJ Rene Goulet’s opening number featured Ol’ Blue Eye’s daughter Nancy Sinatra’s hit “Bang, Bang” as a dubstep remix which served as a perfect companion track to designs dripping in nostalgia. Even Von Teese commented on the dubstep tracks tweeting “Film noir glamour plus a dubstep soundtrack. Nice.” Goulet’s following song choices strayed away from dubstep and featured modern artists such as Anna Calvi, Mr. Little Jeans, and all-girl band Woo Woos whose electronic track “Fizzy Lettuce” was a friendly reminder that we were not actually in the midst of a ’40s cinema piece.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as a Contributing Editor to the My Fashion Database Blog.

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Who says people in fashion don’t eat? Because we do…sometimes. Well, instead of eating food, Karl Lagerfeld opted to hold a fashion show among an elegant dinner setting for the debut of Chanel’s Pre-Fall 2012 collection. The garments encompassed the fine craftsmanship we love about Chanel coupled with the creativity we love about Lagerfeld. For the season’s looks Lagerfeld drew inspiration from India. Many of the models donned traditional style Indian head pieces, which were blinged out to the max- the collection is named, Métiers d’Art.

Style.com dubbed it, “all the Raj” and went on to report, “The theme “Paris-Bombay” was a reminder that Europe’s fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively expensive to make them at home. Lagerfeld’s fiendish plan was to flip the equation, so that everything that looked intricately Indian was actually made by Chanel’s ateliers in Paris.” But what’s even more interesting is that Lagerfeld has actually never visited India. ”It’s much more inspiring not to go to places than to go,” he told Style.com. Uhmm…really? Because, we’d like to physically visit a destination to be inspired by it more.

Anyways, on to the show! The collection was obviously a hit with the jeweled accents along with the use of silks and tweed. On the catwalk Lagerfeld walked out alongside mature modeling maven Stella Tennant (above). Mother daughter duo Yasmin Le Bon (42) and Amber Le Bon (22) both walked in the show for a unique bonding experience. Front row, Bollywood starlet Freida Pinto showed her support. A-list models Kasia Struss, Arizona Muse, Crystal Renn, Anja Rubik, and even muse Baptiste Giabiconi got in the fun with a turban on the elegant catwalk.

(via Style, Telegraph, Wireimage)

Los Angeles-based designer Louis Verdad has experienced some major ups and downs with his eponymous line. However, the newest collection to come from this creative mind literally wow’d us, and the rest of the audience. The designer opted for the casual setting of a West Hollywood art gallery to debut his spring/summer 2012 collection. He had quite the stylish turnout, because in all honesty it’s a smart a idea to host a fashion event well after the madness of fashion month has passed. Full of springtime hues, jeweled details, and colorblocked to perfection, his line boasted everything from red carpet gowns to everyday ready-to-wear.

In the past his pieces were slipped on by major celebrities including Madonna, Cate Blanchett, and Christina Aguilera and now Verdad is reviving his brand with help from his Latin roots to appeal to the luxury market. You don’t have to be A-list to wear his dresses either, as his garments are frequently spotted in department stores and high end boutiques across the country. Verdad says it best himself, “Fashion is emotional… it creates a cultural statement of status and taste, where style plays the leading role…”

Well… more than a few pieces from his show were leading role ready! A few of the standout looks included a gold leafed skirt, colorblocked brights, and a stunning gown with a pleated colorful surprise under a sheer floral print. Sorry fall knits, spring needs to come soon so we can add these looks to our closets.

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