ABAÉTE
As soon as the familiar tunes of Columbia University’s own Vampire Weekend began at the opening of Abaéte’s fall 2008 runway show, it was destined to be a success. The models walked easily down the catwalk, which was a good fit for the collection’s breezy, youthful feel. Blouses with fluttery sleeves were paired with slim high-waisted trousers,
and fitted blazers were matched effortlessly with circle skirts in black and white contrasting stripes, pulled together with brown and black slim belts at the waist. Crepe party dresses in purples, grays, and whites were both one-shoulder and double-strapped, some even coupled with a knitted gray or black hood separate that made the look perfect for the difficult transition from spring to fall. Although the line didn’t offer anything particularly groundbreaking or original, it presented a great deal of classic looks that read as young, fresh, and completely accessible.
—Samantha Child

BCBG
BCBG’s fall 2008 collection was true Max Azria: pieces artfully draped on models who literally flowed with each platform-heeled strut. The runway gave way to ’40s style pieces with high necklines and belted waists, and conservative satin tops were paired with daring tweed bubble mini skirts that were as voluminous as they were short. Known for his attention to detail, Azria paid homage to his past collections with intricately pleated knits and a tweed mini-dress embellished with rosettes. More dramatic pieces featured floor-length skirts with bare backs and intricately pleated flutter sleeves draped over one arm. After a barrage of neutrals and earth tones, the audience welcomed the arrival of a golden satin drop-waisted dress towards the end of the show—but mouths dropped when one of Azria’s beauties fell a few steps short of backstage. So are Azria’s full bodied minis part of the blueprint for fall’s new silhouette? Only time, and the remaining shows of Fashion Week, will tell.
—Chamika Miles

THE HEART TRUTH
One of the most relaxed and fun shows of Fashion Week is undoubtedly The Heart Truth’s Red Dress Collection Show. This event was first organized in 2002 to raise awareness for heart disease, which is one of the most prevalent medical problems women face today. This year, after hearing some brief comments from First Lady Laura Bush—who acts as a spokeswoman for the project—the show was opened by Molly Sims, wearing a tight, sequined number by Daniel Swarovski. A chorus of fake paparazzi positioned at the beginning of the runway, along with a red carpet, completed the old-Hollywood glamour feeling that the show attempted to evoke. Celebrities, such as the eternally fit Lisa Rinna, stomped down the runway while shimmying to mixed tracks like “Unchain My Heart.” Maria Menounos wore a gorgeous floor-length Marchesa dress with a decadent crystal-detailed bodice. Sara Ramirez also strutted down the catwalk in Angel Sanchez, much to the audience’s delight. And then for the grand finale, Liza Minelli made an appearance. After walking up and back in Halston Original, Minelli grabbed a microphone and proceeded to belt out (with just a little screaming) Frank Sinatra’s “New York, New York.” It was so crazy and ridiculous that even the jaded fashion world couldn’t help but stand up and cheer.
—Carla Vass

VICTORYA HONG
Project Runway contestant Victorya Hong’s fall 2008 collection employed aspects of menswear with a clean feminine confidence. Vests and trousers were common on the runway, along with meticulously tailored sleeveless tux jackets and cumberbunds that looked anything but costume-like. A few double-breasted dresses and a double-breasted cape managed the best take on the borrowed menswear bits, while pleated skirts, delicate charmeuse dress shirts, and a cuffed short over tights kept things girly, even hinting at an ’80s style. This throwback returned toward the end of the show, when Hong’s somber and serious palette of blacks, grays, and bones gave way to bursts of neon yellow. Hong’s dresses continued a growing trend of asymmetrical, single shoulder-strap pieces, a theme seen in a number of blouses as well. Overall Hong’s line was well executed and expertly crafted, though somehow anticlimactic. Piece after piece offered the same beautiful fits and careful layers, but the show didn’t seem to deliver its promised momentum. Although over-hyped and over-crowded, Hong’s show still managed to be impressive, albeit safe, and the lack of Project Runway hoopla kept the tone serious and professional.
—James DeWille

KATI STERN
Kati Stern’s fall/winter 2008 line for Venexiana kicked off with flashing blue strobes that had the audience cheering and clapping. Stern started the runway show with a number of excellent outerwear pieces that included an unabashed, and deliciously confident, use of fur. A caramel mink coat looked luscious and creamy, while coats and capes with silver fox details like muffs and matching hats kept things decidedly Russian. Swarovski details and buttons, as well as snakeskin belts, continued with the theme of excess and wealth. Stern’s other pieces were less exhilarating, keeping things delicately feminine and precious as light satin and chiffon dresses floated down the runway with lady-like roses of fabric attached. Perfect folds and careful drapes created a fancy, vintage tone that ended up looking effete in floral patterns and slight colors like moss, Bordeaux, spruce, and ivory. Things picked up towards the end with several gold- and raspberry-colored gowns, complete with dyed silver fox finishers closing the show. While the furry and fun bookends were great, Stern’s marathon show was certainly trying at 60-plus looks, becoming somewhat numbing during the long and delicate middle stretch.
—James DeWille

BAND OF OUTSIDERS
An almost-fairy-tale forest set the scene of LA-based label Band of Outsiders’ first New York presentation. Colors were pulled from the same woodland environment with olives, camels, and navies in heavy twills and soft cashmere. For women there were brushed cotton checked shirt-dresses, cashmere finger-less gloves, and wide-legged pants. Following the theme of his previous collections, however, Scott Sternberg added masculine accents to the traditional preppy staples. There was a loose-fitting, wool double-breasted coat and a twill grosgrain lapel tuxedo jacket, waistcoat, and trouser with a cropped poplin tuxedo shirt. Raccoon fur accented women’s wool coats, while both men and women wore woodsy trapper hats. For men, Sternberg designed shirt-jackets and sweater-vests done in rugged tartan and checked fabrics, paired with twill cargo pants and heavy wool coats accented with leather buttons. Of course, the presentation’s preppy-chic feel would not have been complete without penny loafers and two-tone boat shoes.
—Daniel Edley

SAN FRANCISCO'S ACADEMY OF ART UNIVERSITY
leven recent graduates of San Francisco’s Academy of Art University presented their work to a packed Bryant Park tent on Saturday morning. Young Jun Ryu and Ivanka Georgiev turned out two menswear lines that the program euphemistically described as “pushing creativity to its limits.” In reality these looked like the mediocre remnants of their thesis projects. When I asked a stylist sitting next to me what she thought of their pieces, she responded in a word—“awful”—and I agreed. Spray-painted cartoons on white t-shirts layered with vests and knitted neon hats with crocheted “feathers” were disappointing counterpoints to the other talented presenting designers. The architecturally inspired works of Sherise Eways and Jee Hyoung Jang, for instance, were a nod to the bold, structured looks of Derek Lam’s fall 2007 show. Deep charcoals and black accents were a common palette among the womenswear designers—boasting particularly striking shrugs and cardigans with inventive braided trim, the knits of Juhee Chung’s looks were perhaps the highlight of the entire show.
—Meredith Wing

ARAKS & MARA HOFFMAN
The successive shows of Araks & Mara Hoffman certainly saved the best for last. The former was characterized by sheer organza dresses, men’s-inspired blazers, knee-socks and loafers. All contributed to an aesthetic that could generally be described as “Amish Luxury”—although admirers of minimalism and/or early ’90s Helmut Lang may beg to differ. In contrast, the Mara Hoffman show was a girly and colorful display of SoHo chic sweaters, silk mini-dresses (or long shirts, if you want to split hairs), paired with printed tights. To a soundtrack of gun-blasts, rap, and Blondie-like screaming, the models strutted down the runway in looks that seemed to reference desert snipers—leather holsters, head wraps, and prints evocative of military belts and chains lent the show a distinct feel. Mirrored aviators worn by several models added to this overall theme. Among the highlights were a jewel-green charmeuse “flight suit” and a “desert chiffon daishiki.” In general, the collection was well-received and awarded with a thundering round of applause upon its completion.
—Meredith Wing