Lady Edith, Lady Sybil and Lady Mary

Ralph Lauren, a designer who has perfected the art of classic lines in American sportswear took on the British period drama with a cult following, “Downton Abbey” for his F/W 2012 collection. Lauren certainly gave Downton Abbey’s costume designer, Susannah Buxton, otherwise known as the “sculptress-in-cloth”, a run for her schillings. The dynamic collection featured pieces for every fanciful occasion one might encounter as part of the early 1900′s aristocracy, be it hunting on the English countryside or a dazzling evening affair at the estate.

The collection boasted designs fit for every woman of Downton, taking into consideration the dissimilarities in style between between Lord Grantham’s three daughters. Take Lady Sybil for example, the young and most non-conformist of the daughters who is most intuitive to the changing times and more embracing of modern style. The androgynous, more robust looks would no doubt call out to her. For the most fashionable sister, whose look always exhibits classic refinement, the elegant silk gowns with ornate details would definitely strike Lady Mary’s fancy. And for Lady Edith, well, she’s always a mixed bag.

The show began with the Downton Abbey theme song, along with evocative vocals from British Singer Mary-Jess in “Did I Make the Most of Loving you?”. The following songs included a strings-only version of The Beatles’ ‘Elenore Rigby’ and selections from the W.E score by Polish composer Abel Korzeniowski which set a beautiful melancholic tone.

The first looks were amongst the hunting grounds with tweed suits featuring immaculately tailored narrowly-cut blazers and skinny trousers. Adding flair were wool fair isles intarsias, argyle socks and hats ranging from dainty cloches to boyish bowlers by milliner Patricia Underwood. The pieces boasted weighty fabrics and close attention to detail in embroidery. It was within these looks where the menswear motifs – particularly that of the characters: Lord Grantham and resident Downton heartthrob heir, Matthew Crawley, were most present.

Downton Abbey Hunting-Wear

Three-piece suits, checkered ties, silk pocket squares, walking canes (a droll in honor of Maggie Smith, no doubt,) and vests adorned with pocket chains juxtaposed old-fashioned style traits with the contemporary idea of mens-for-womens-wear. In time, the looks made their way into dandy territory with ornate smoking jackets and a burgandy velvet three-piece dress suit being the most exemplary.

In addition to the hats, toppings of the assemblages were structured handbags, varying in size from large leather satchels to exquisite clutches in ladylike shapes. Most of the bags emphasized refined simplicity, even those comprised of exotic crocodile skins. The exception naturally being the minaudieres, with the intricate detail and embellishment of which the Gilded era prided itself on. The jewelry erred on the side of extravagant, rather than the more demure pearl and delicate strand pieces we’re used to seeing on the drama. Chunky gold chain necklaces and chokers, as well as crystalized and feather brooches were bold decoration to the looks.

Lady Mary in the evening

The collection eventually made its way into evening wear, where ornate opulence characterized each look thanks to the sumptuous velvet, silk, lamé and beaded fabrics.  Glamorous amalgamations of black and gold were featured in looks such as the gold-embroidered cardigan paired with wide-leg trousers, silk paneled bias-cut dresses paired with luxurious fur stole, and long-sleeved velvet columnars with elaborate beaded neck detail all in the. A brisk pop of “Gentleman’s Prefer Blondes” pink gowns in streamlined silhouettes was a modernistic touch amongst the early 20th century ritz. The collection no doubt reached its apogée with the black silk gowns, one featuring ropes of crystallized beads pendent along the back, another coupled with an over sized ostrich feather cape.

While Lauren’s show was the ultimate homage to the drama that’s captured the hearts of the fashion crowd and beyond, elements of Downton Abbey’s period fashion will be sure to influence collections to come. I can say with great credence and delight that Downton Abbey and its sartorial influence are here to stay.

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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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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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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As the empress of bridal whose wedding gowns often overshadow her arty-intelectual ready-to-wear lines, Vera Wang reminded all that her whimsical designs go beyond the Kim Kardashian (who happened to be in attendance aside Beyonce) wedding, and err on the side of avant-garde. This season, Wang took us too the sphere of Alice and Wonderland where colors varied from monochrome brights to blacks and whites, modern silhouettes, and accents of transparency all juxtaposed for a “trippy” collection.

For anyone who has seen Alice in Wonderland, the resonant sound of ticking clocks which opened the show was certainly familiar. Eventually transitioning into a lull of sweet, but soft sounding music which echoed on the runway. The atmosphere was fit as the first look, a stark white super piqué sleeveless peplum coat and texturized silk slip, took to the runway. The following looks were equally unpigmented ethereal white until the psychedelic prints which would remain though-out the collection, came in different styles of chiffon. The color palate primarily consisted of yellow, mint, magenta, indigo, and even a smokey charcoal. Wang cited “18th century French wallpaper” as the musing behind the “distorted to abstract effect [...] and trippy counterpoint to the modernity of pure whites.” As for the designs shapes and intricate construction, Wang enlightened us of her “exploration of tailor and transparency- collages of texture and detail.”

Many of the silhouettes were characterized by different style of peplum trend, with eyelet corsets and drawstring belts adding a particular flounce each design. Different kinds of leggings, from gauzed material or simple stretch cotton, shorter hemlines, sculpted skirts, and hooded overlays, added to the contemporary aesthetic. Bringing the collection to an electrifying close were variations on the show-stopping high-low draped troupes and gowns, featuring trains of organza in what I will now refer to as the Alice in Wonderland-esque prints. Wang’s Spring vision is certainly characterized by the imagination and it will be interesting to see where her designs turn-up. However, I will venture to guess that former Secretary of State and front row attendee, Madeleine Albright, will not be donning any of the collection at The While House.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as a Contributing Editor to the MyFDBlog during fashion week

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Despite the absence of singer-turned-designer Gwen Stefani, who is currently in the studio recording the No Doubt’s new album,  the L.A.M.B Spring 2012 collection was still on lively display during New York Fashion Week. Opting for a presentation rather than her usual, larger than life and star-studded runway shows, the showcase was less exciting but allowed attendees a closer, more detailed look at the bold, colorful designs.

An interesting take on the typical presentation, models were proped up on elevated white platforms arranged in a circle, with violet neon lights streaming around the room. Stefani’s go-to guy on the one’s and two’s, DJ Jeremy Healy, curated the music for the presentation with a comprehensive mix of hip hop, reggae, and pop that was as vibrant as Stefani’s collection. A track that had the collection’s onlookers head bobbing was the heavy bass remix of  “Hold the Line” by Major Lazer, who happens to be the producer of No Doubt’s new LP.

This season, Stefani drew inspiration from three distinct themes, the “Rat Pack” group, Indian women of Maharaja, and the Mod vespa culture. Somehow, despite their typical clashing aesthetics, Stefani incorporated many details which kept the collection fluid, as she does for her own style of course. Many of the L.A.M.B signature styles were evident in the cargo-style jackets and pants, printed maxi-dresses, flared mini-skirts, and sexy jumpsuits. Similar to what we’ve seen in the past, bold patterns, candy-colored stripes, high-voltage hues, and black-and-white combinations dominated the color palate.

Completing the design’s ensembles were chunky platformed heels, tribal statement jewelry, and handbags which consisted of large travel totes and chic tiny clutches. Keeping in form, the beauty styles were as equally dynamic as the collection, with hair tied up in towering topknots and eyes shaded with jet black eyeliner.

While some might argue that her collections are predictable, or just an extension of her personal style, I would respectfully disagree and say that that’s what individuals look for in the L.A.M.B label. Despite musing from multi-cultural backgrounds for spring, Stefani’s designs complemented each other, made a statement, and remained utilitarian. In other words, it was a collection that was quintessentially Gwen.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as a Contributing Editor to the MyFDBlog during fashion week

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Taking a glitz and glamour approach, in true Kati Stern fashion, the Venexiana S/S 2012 was a parade of shimmering couture gowns set to the sounds of  anarchic punk and rock n’ roll. After former careers in music and architecture, Hungarian-born Stern launched Venexiana back in 2003, and since then has designed her breathtaking gowns which are inspired by music. Her show is always one of my favorites as the lethal combination of show-stopping evening-wear and vibrant runway tracks gets my sartorial blood flowing! This season, the  crowd rocked out during the finale walk to the Iggy Pop cover of the classic rock tune, “Louie, Louie”, made famous by The Kingsmen. Opening the show was half-a-minute’s worth of medievally royal music before a punk-rock song seized the airwaves and introduced the first look, a pink off the shoulder evening gown embellished with Swarovski crystals. The collection featured an astounding 71 looks which were predominantly glimmering-detail gowns and cocktail dresses.

While I could safely venture to say that just about every color of the rainbow made an appearance at one point or another in, it seems Stern was feeling bold hues such as blood red, burnt orange, bright fuschia, and most of all, scintillating golds! Details that were absolutely essential for her Spring designs were the Swarovski crystals, maticulous embroidery, sewn sequins, and flower detail. Stern’s architectural backround was evident in the structure of the gowns, which paraded down the runway, voluminously silhouetted. In addition to the designs, the 30′s and 40′s style beauty looks the models donned were absolutely stunning and complementary to Stern’s elegant designs. I was particularly fascinated with the retro-style up-dos which featured a sophisticated  cross between a braid and twisted bun.

Whether Venexiana unleashes your inner punk-rock cinderella, or might be too extravagant for your taste, it’s impossible not to fall in love with Stern’s rebellious spirit. While most designers opt for a quick wave and bow after their show’s finale, Stern took the full length of the runway by storm and made the show’s ending just as exciting as its commencement.

Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as a Contributing Editor to theMyFDBlog during fashion week

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Gone are the dark shadows from last season’s collection as Christian Siriano’s Spring collection is all about the radiance of the sky at sunset. With smoldering shades of chartreuse, coral, and citrus, designs dripping in chiffon, organza, and tulle glided down the runway.

This season, Siriano left his usual showcase location at Lincoln Center, electing the beautiful Eyebeam Atelier of Chelsea to house his Spring show. The front row featured an interesting slew of celebrities including Creative Director of Marie Claire Nina Garcia, the soulful singer Corinne Bailey Rae, and Siriano’s former counselor at Project Runway Heidi Klum. The runway’s facade featured an illuminated wall of shabby bricks which complemented the collection’s hues superbly.

Delicate ready-to-wear jersey blazers, crepe skirts, and croc blazer designs transitioned into the dramatic evening-wear for which Siriano is best known for. Floating down the runway, tulle and “barnacle” applique dresses and silk organza gowns wowed the crowd. In terms of inspiration, Siriano cited Katherine Hepburn which only held true in my eyes for the first half of the collection. For a second season, the collection was styled by Danielle Nachmani, who also happens to be the stylist for Mary-Kate and Ashley Olsen.

The show’s runway music, featuring the sounds of Juliana Hatfield, Tracy Bonham, and The Beautiful Bodies, was put together by Siriano’s beau, Brad Walsh. Although Siriano is known for his bubbly character, I though the pop-infused tracks weren’t a great complement to the elegant collection.

Notably featured in the show were Siriano’s footwear collection for Payless Gold. Some of my favorite styles which stomped the runway were the vampy lace-up bootie, salmon sculptural wedge boot, and of course the classic peep-toe pump. For his collection of his runway to reality designs, Siriano said ” For Spring 12′, my inspiration is exotic tropical underwater specimens found while traveling to Bali, Honduras, and Belize. I was inspired the underwater creatures- their origins and how they developed these textures and colors.” An inspiration which seemed to hold true for the garments as well, the footwear collection is sure to be a sensation for those looking for an affordable way to integrate Siriano’s Spring collection into their everyday wear!

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Lauren Valenti is founder of fashion and music website, TheVogueVibes.com , as well as a Contributing Editor to theMyFDBlog during fashion week

Having followed Prabal Gurung‘s career for a few years now, the designer continues to appeal to all types of women and his popularity is getting to be as big as Nicki Minaj’s hair – literally. The singer paraded into Gurung’s NYFW show today with paparazzi swarming around her. Trailing behind and making a much more delicate entrance was actress Amanda Seyfried, who was seated close to Minaj. It takes imagination and a unique comprehension of a woman’s body to appeal to both of these celebrities, which Gurung has, not to mention the designer has dressed everyone from Michelle Obama to Zoe Saldana.

Anna Wintour was vacant from this showing, yet the Vogue presence remained a powerhouse with Andre Leon Talley, Grace Coddington, and Hamish Bowles front row. Elle’s creative director Joe Zee sat with the mag’s editor-in-chief Robbie Myers, while we also spotted Brad Goreski, Bryan Boy, Steven Kolb, Derek Blasberg, Mickey Boardman, and Imran Amed in the audience.

Karlie Kloss

The designer’s pre-show tweets gave us a preview of the looks, so we knew to anticipate shades of violet. Of course in true Gurung fashion, always expect the unexpected as fierce sheer cutout pieces came down the catwalk. Metallics yelled at the audience and reflected the wearer’s dominance over the crowd. The designer’s collection transformed from flirty into a dagger of seductive reality before coming full circle with immaculately detailed tulle accented silk gowns. The garments encompassed the empowering effect of romance, whether that be with another person or your wardrobe.

On the runway coveted model Karlie Kloss wowed in a sheer cutout black gown which was sex and drama in clothing form. Kloss even gave a slight smirk down the runway before greeting photog flashes. Also walking for Gurung we spotted Lindsey Wixson, Arizona Muse, Liu Wen, Jourdan Dunn, Nimue Smit, and Sui He. Each model had noticeably slicked back locks and bold lipstick, while their face makeup remained natural with a light sheen thanks to makeup artist Charlotte Tilbury.

Showgoers knew they were witnessing something amazing. As you can tell by the finale music in the video above the occasion felt momentous; Boardman even tweeted that he cried. If there’s something we’ve learned from his shows throughout the years, it’s that Prabal Gurung is a designer who has a way of taking pieces women would normally fear and morph their fright into desire. As you can see by his mixed clientele, he’s good at having his way with the ladies and he can totally have his way with me any day.

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