“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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The romanticized garden party is all the rage thanks to The Great Gatsby fever and its fashion was evident throughout Stella McCartney’s Resort 2013 Collection, as well as its posh presentation.

Taking place at the 19th century Marble Cemetery nestled in the Lower East Side, the site was transformed from drab burial ground to one fit for a decadent garden affair. On hand was New Orleans eight-member ensemble, the Soul Rebel Brass Band, which serenaded partygoers with equal parts jazz and soul. Naturally, it wouldn’t be a McCartney event without a throng of stars, which included the fashionably adept set: Anne Hathaway (sporting her Les Misérables bob), Solange Knowles, and Greta Gerwig, as well as those with more of a penchant for comedy, such as Jim Carrey and Amy Poehler. The eclectic crowd was invited to practice croquet, sip fresh-squeezed lemonade, and nosh on black bean burgers from the strictly-vegetarian barbeque, as part of a carnival-like fair. Models donning the pastel collection topped their looks off with star-shaped glasses as they paraded around the party.

In terms of shape, the collection seemed an homage to the ‘20s, the first era in fashion history where there wasn’t an emphasis on restricting shapewear, but rather loose and even slightly androgynous silhouettes. Instead of the cinched, corseted waist, the silhouettes tended to be drop-waist and geometrically straightforward. Oversized blazers draped over the shoulders, crisp-collared blouses, pleated skirts, fringed picnic dresses, as well as Spring-appropriate plaid & houndstooth suits, would surely have received a seal of approval from F. Scott and Zelda.

A nod to the ‘70s was also present in the form of bell bottomed trousers, sleek jumpsuits, and swing tops with a similar ‘20s roar. Standout looks included an ocelot shift coat, ethereal white sheer lace blouse and pants ensemble, and a crisp tie-neck white button-up beneath a floral patterned blazer, paired with white flaired trousers, with a side stripe – a tasteful take on this season’s dressed-up sweatpants trend. Despite referencing decades past in design, McCartney’s collection not only remained modern, but wearable for everyday women.

Designer Stella McCartney and Anne Hathaway

A model challenges the pińata

Solange Knowles

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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Upon entering the The Museum at the Fashion Institute of Technology, the city’s sole exhibition gallery dedicated to the art of fashion, you will find towering walls befitted with some of the most remarkable creations derived from American Designers over the past half-century. The display is all part of ‘Impact: Fifty Years of the CFDA, which celebrates the Council of Fashion Designer of America, the leading fashion trade organization in the United States. The exhibition features 100 garments and accessories and each living designer highlighted has selected an ensemble of their own creation that represents his/her impact on the fashion world. Whatever catches your eye first be it Diane Von Furstenberg’s leopard wrap dress circa 1974 or Thom Browne’s pheasant feather suit from his Mens F/W 2008/2009 collection, it is apparent that you are in the presence of milestone pieces of American fashion.

“American designers have always had impact on how people dress.” said Diane Von Furstenberg, CFDA president. “In honor of that creativity and in celebration of the CFDA’s 50th Anniversary, we are proud to present , in partnership with The Museum at FIT, an exhibit that represents the tremendous work of our members for the last five decades. ‘Impact’ was the one word that came to mind immediately-it is so strong and defining of our individual and collective influence that we knew right away that our exhibit would be called Impact: 50 Years of the CFDA.”

Organized thematically, the broad spectrum of work is certainly the exhibits best feature. From casual wear to extravagant couture, the collection of pieces is exemplary of the evolution of American style through the latter half of the 20th century. There’s a genre of wear for everyone from the the cutting edge ensembles from modern designers such as Marc Jacobs and Rick Owens to the resplendent gowns of Oscar de la Renta and Caroline Herrera.

Among the additional designers included in the exhibition are Donna Karen, Ralph Lauren, Calvin Klein, Tom Ford, Michael Kors, Marc Jacobs, Oscar de la Renta, Halston, Norman Norell, Geoffrey Beene, Bill Blass, Bob Mackie, Rodarte, Proenza Schouler, Marchesa and more!

An ode to the most illustrious efforts of CFDA members, the exhibition is absolutely a must-see. Alas, if you aren’t able to visit the museum to view Impact: 50 Years of the CFDA in person, there’s a book which has been released of the same title which is a companion to the exhibition, complete with photographs of all the garments & accessories. In addition to the photographic magnificence, there is are insightful and reflective essays authored by CFDA designers as well as fashion taste makers such as Anna Wintour and Andre Leon Talley.

Having the privilege to attend the preview of the exhibition not only meant being in the presence of some of the most iconic pieces of American design, but also rubbing shoulders with the designers themselves. I truly believe only the CFDA could bring all these fashion legends together in one room.

The exhibition is on view at The Museum of FIT from February 10 – April 17, 2012 and the book is available online here.

Disclosure: Compensation was provided by LEXUS via Glam Media. The opinions expressed herein are those of the author and are not indicative of the opinions or positions of LEXUS.

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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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Each season, Billy Reid serves up a collection best served with a splash of bourbon, and while this stayed true for F/W 2012, the Billy Reid label took on a new identity – one that emulated European sophistication. Leaving his safe Southern homeland for the city of the lights, the collection was inspired by a recent jaunt through two iconic cities. “I spent some great time in Paris and London this past year and I’ve thoroughly enjoyed mixing that vibe into the collection.” said Reid.

Best known for his menswear, Reid had a chance to show off his immaculate tailoring with peak lapel jackets, shearling lined dress coats, three-piece suits and shawl-collar tuxedos which emanated an effortless debonair style. Fox fur, wools, cashmere and other sumptuous fabrics breathed a new air of luxury into Reid’s overall aesthetic. However, Reid’s signatures were not absent by any means, with pieces that featured familiar calvalry detail, distressed suede and perfectly-weathered leather. It was obvious that the hand-crafted sportswear had the best-dressed-men-of-fashion-week sitting front, even those slugging back their complementary long-necked beers,  wide-eyed and lovestruck as they pictured themselves leaving their Alabama terrain to stroll the seine of the north of France.

Reid’s womenswear told a similar story, one which Reid gave the simple synopsis, “Charleston girl, moves to downtown New York – then to Paris, (where she) falls in love.” Reid’s woman is head-over-heels but keeps her cool in menswear-inspired designs, with many of the assemblages topped of with chic wide-brim hats from master milliner Albert Swanepoel. Flannel belted blazers, cashmere trousers, mohair sweaters and evening cardigans were among the most wearable separates. Those who enjoy a fur flair would be taken with the sharp outwear accented with heavenly mink and fox. Reid’s venture into womenswear also included accessories such as the oversized alligator and mustang hobo, leather envelope clutch and southerly oxford heels.

Accompanying us on the journey through Reid’s new visions was sound stylist Laurent Vacher, whose music was the perfect balance between Reid’s laid back temperament and being runway appropriate. After an excerpt from Aretha Franklin’s “I Say A Little Prayer for You” sounded as an ironic introduction, Joe Henry Blood’s folky Southern vocals resonated through the room in his song, “Stars”. Complementary to the opening tracks were “Widow Wimberly” by Tony Joe White and “I’ve Got This Friend” by Barton Hollow from similar-in-style singer/songwriters. Closing the show was musician of the decade Jack White whose brand new track, “Love Interruption” exhibited beautifully sung angst, ending the show ever-so-coolly.

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Harper’s Bazaar—the oldest fashion magazine in the U.S.—has undergone its first major design renovation in a decade, prompted by a 12% decrease in ad sales last year. The new design debuts in the March 2012 issue, which boasts a subscribers’ cover that masks Gwyneth Paltrow’s biggest moneymaker: her face.

On the cover, Paltrow stands statuesque in a revealing floor-length dress by new designer Anthony Vaccarello with her face veiled by long blonde waves.  “It’s a very daring thing to do, where you don’t immediately see her face,” Glenda Bailey, editor-in-chief of Harper’s Bazaar, told WWD.

However, the newsstand version will be more familiar to readers with Paltrow pictured head-on, smiling, and surrounded by teaser headlines. The two-different-cover approach was the brainchild of Bailey herself, and one of the many major changes that comes along with the redesign, which was first announced in November.

The new Harper’s Bazaar will be a significantly lengthier and less-cluttered magazine. The redesign issues will be thicker by one inch, boast higher-quality paper, new typography, and a sleeker look thanks to tighter editing and utilizing white space.

One of Harper’s Bazaar’s most popular online features, the “Best Dressed List” curated by Editor-at-Large Derek Blasberg, whose wit and impeccable taste make for an entertaining and eclectic list, will be a monthly column. Beauty-lovers have a lot to look forward to as the beauty section has been increased from four pages to 10 going forward. For globe-trotters, or at least those who hope to be, Bailey has introduced a monthly travel section entitled, “The Escape.” Lastly, there is a promise for more reporting on the latest in art, film and books. One of the most refreshing overall changes will be less of an emphasis on celebrity and popcorn stories.

When the March 2012 issue hits newsstands February 14th, it certainly promises to be celebration-worthy with contributions from the biggest names of A-list fashion set. Longtime contributor, and arguably one of the most in-demand photographers of our time, Terry Richardson shot the Paltrow cover and accompanying spread. The remaining features were shot by Karl Lagerfeld, Dan Jackson, Karim Sadhli, and artist Liu Bolin who literally painted his designer subjects, which included Alber Elbaz and Angela Missioni. Feature stories include a piece on the daughter-in-law of Bernie Madoff, Stephanie Mack, and a look at the controversial lifestyle of French journalist and love interest of Daphne Guiness, Bernard-Henri L�vy.

Beyond the redesign of the print magazine, Bazaar plans to rejuvenate the publication’s digital presence with a larger focus on online coverage and social media. “We’ve started to redesign online and we will see that continue,” explains Bailey to WWD. Towards the latter end of this year, Bazaar will launch an e-commerce which will literally sell the products they feature.

The unveiling of the March 2012 is shaping up to be a monumental move for Bazaar’s and it’s exciting to see the world’s oldest and most esteemed fashion publication employ a more modern design and embrace the latest technologies.

Disclosure: Compensation was provided by LEXUS via Glam Media.�The opinions expressed herein are those of the author and are not indicative of the opinions or positions of LEXUS.

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Tiffany & Co, a jewelry brand which has become synonymous with romance wrapped in a Tiffany blue box, has launched a new ‘What Makes Love True’ campaign. For true love captured in pictures, the famous jewelry brand enlisted the two of the most famous street style photographers, who also happen to be head-over-heels in love with each other, The Satorialist‘s Scott Schuman and Garance Doré. One of fashion’s favorite couples, the two constantly profess their love and adoration for one another and never miss the opportunity to collaborate.

For the campaign, the two photographers curated a collection of pictures that capture couples in moments of affection and embrace, as well as relationship anecdotes in the form of post-it notes addressed to lovers, couple’s shoes situated next to each other, and even their very own monogrammed mugs side-by-side. The photographs were then filtered through the exceedingly popular iPhone app, Instagram.

“I love this project Scott and I did for Tiffany. Mostly because I love working with Scott, but also because it’s just so romantic: the idea was to photograph couples during moments that evoked the love of Tiffany.” gushed Doré on her blog.

“It was fun thinking about the small, tender gestures that a couple offers to each other– which are really the fuel that keeps a relationship special.” explained Schuman on The Sartorialist. “ I love that Garance makes my oatmeal for me in the morning while I run out to get our coffee.  They’re both just simple small acts but they make life happy.”

In true fashion of both photographers, the two don’t exactly opt for the average mere mortals of the world for these images, but rather those with exceptional genetic codes. For example one photograph by Schuman shows stunning actress Piper Perabo, pictured with her equally handsome (and well dressed) boyfriend. The caption sweetly reads, “What I love most about you is your ability to make me laugh.”

However, beginning January 23rd, Tiffany is inviting anyone to upload their personal photographs of love using a special filter app, which will be available on iTunes, and to tweet said photographs with the hashtag #truelovepictures. The campaign’s clever juncture coincides with the weeks leading up to the most lovey-dovey of all holidays, Valentine’s Day.

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

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At last, stylist Brad Goreski has made his return to reality television with “It’s a Brad, Brad World.” Premiering last night on Bravo, we are welcomed along the ride for Brad’s journey into becoming a successful solo stylist and fashion editor, as well as get a peak into his personal life.

The premiere begins at Brad’s house with his boyfriend of 10 years, television writer and producer, Gary Janetti, who according to Brad has the most twisted sense of humor of anyone he knows. The two live in the Hollywood Hills with their two dogs, Jasper and Penelope. “For many years I was a sitcom wife,” Brad explains about his life with Janetti. He says that it’s like “the woman who’s gone back to work, and the husband’s a little bit, like, excited for her but also at the same time thinking like, whoa whoa whoa whoa whoa.”

Brad’s manager informs him that he’s in the running to style legendary actress, Diane Lane. He is currently running his freelance stylist business using his garage as a studio space, which he considers to be totally “low-budge” but necessary at this point in his career. He gets a call form the editorial director of Paper Magazine, Mickey Boardman, who discusses having Brad style an editorial according to his own in style, in other word, “models dressed as Brad’s.”

When it comes time for the editorial shoot, Brad is over the moon with excitement but insistent on keeping his professionalism in check with a proper stylist’s assistant. In terms of styling, all of the looks were signature Brad, with his shawl-collar tuxedo jackets, bow-ties, pastel hues and perhaps, his most well-known staple, thick black-rimmed glasses. However, the look that stole the show was unquestionably the wild Givenchy leopard suit which Brad donned himself. Brad also playfully put on display his ability to pull off different, facial expressions for the camera. My personal favorites were over the shoulder, kitty cat, and just plain gorgeous.

At one point, the moment which many views were undoubtedly waiting for, Brad addresses his inimical split, with former boss and celebrity stylist Rachel Zoe.  “We don’t speak to each other,” he said. “I would love to be able to speak with her. I have not seen the baby because I have not been invited.” Brad also admits that he knew it was going to be hard to break out on his own, but he didn’t think it would be this hard. The reality of being on his own and frustrations of the inconsistency in freelance work, seem to be Brad’s hardest obstacles at this point in his career. His feelings worsen when he gets the unfortunate news that the Diane Lane job has fallen through and she has went with another stylist.

However, just when Brad is starting to feel hopeless, he gets a call from his manager that he will be styling R&B artist, Keri Hilson, for the Metropolitan Costume Institute Gala, aka the Oscars of fashion, or in Brad’s words, “the motherf*cking Met Balllllllllllll!” When it comes time for the fitting, Brad and Hilson get along swimmingly and are insta-friends. Brad finds himself in familiar territory tailoring, “way up inside her tulle.” A place he later explains to Gary, he has been many times before. Brad and Hilson eventually settle on the Brad’s first choice of a gown, an Atelier Versace F/W 10 silver knit gown with eyelet details on the bodice, and naturally a full tulle skirt. Overall, styling Hilson was a breakthrough in Brad’s flourishing career.

The episode concludes on the night of the Hot in Hollywood 2011 Party where Brad was chosen by Us Weekly as an honoree. To dress the part, Brad chooses a sequined  Dolce and Gabbana blazer with equally embellished shoes. Gary on the other hand, opts for a less flashy look. According to Brad, he is “the JLo version of Gary.” At the party, while Brad takes to the red carpet, Gary opts to be out of the spotlight, where he  often chooses to be.

After the party, Brad reflects on building the foundation for what will be the rest of his career. While Brad will be the first to tell you his personal celebrity is in fact the best advertisement for his styling career, he knows it’s not enough. After all, Brad says himself, “Looking cute does not pay the bills.”

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