From Ruffles to Grommets, Fashion Shows are Studies in Contrasts

Rag & Boone
David Neville and Marcus Wainwright’s easy-to-wear yet strikingly stylish clothes have made the designers a go-to for hip girls-about-town, including famous fans like Jessica Stam and Gisele Bundchen (the former of whom strutted down the runway in an impossibly sleek and chic riding skirt with military-inspired gold detailing, and the latter of whom was sitting pretty front-row). Whether or not you’re excited about more military for fall, here it is again: navy jodphur leggings that look much more toned down and easy to pull off than last fall’s Balenciaga counterpart, a slim and belted navy jacket with brass buttons for plenty of shine. A double-breasted cardigan looked both reform school and riding class, while the skinny ties that finished off multiple button-downs spoke to menswear dressing in a younger, more playful tone. Luckily for the duo, Rag & Bone has managed to recycle old trends into fresh new ideas, and sometimes even to reinvent them for the better.
—Xiyin Tang

Sue Stemp
Sue Stemp loves a good party. After all, just look at the clothes: decadent cocktail dresses in rich swirls, florals, emerald, and satin, all finished off with flirty tilted berets or luxe ties of satin. A floor-sweeping black gown laced with white flowers was unequivocally elegant, while Erin Heatherton sported a black mini that bloomed in a frenzy of ruffles. All these thoughtful little details, combined with the general merrymaking that was hushed by the thick carpets and deep mahogany walls, ensured that Stemp’s own little soiree was every bit as decadent as her party-hopping habits.
—Xiyin Tang

Ruffian
Ruffian boys Brian Wolk and Claude Morais aptly titled their fall show “(re)form,” calling to mind prep school girls with a mean streak who can easily light a cigarette while wearing preppy blazers and skinny little ties. Perpetually chic rebel Agyness Deyn set the tone in an oversized plaid sweater-coat just begging to be worn in those blustery London winters. And when the girls want to let loose, they’ll don Ruffian’s sexy lace mini or a see-through black blouse, the lace placed conveniently at, well, you know where. But wait, what’s this I see? Denim finished off with glitter? Plaid paired with polka dots? A plaid blouse finished off with more plaid, in the form of skinny pants? Hmm. Well, it may not have been polished, hip (but then again, we all know Ruffian could care less for that), or even innovative, but it was cohesive, and damn good at getting to the final message—and for that, you’ve got to give them a little credit.
—Xiyin Tang

Threeasfour
If guests Anna Wintour, Sean Lennon, and Mark Hunter (aka the Cobrasnake) had a love child, it would be Threeasfour’s polished, elegant, yet still distinctly avant-garde fall collection. Downtown kids Gabi, Adi, and Ange live up to the Vogue hype (they were CFDA/Vogue Fashion Fund finalists) while staying true to their roots. A swirling silver dress recalls the ruffles-and-frills shows of seasons past, but other pieces from the collection—a floor-sweeping black-and-silver crepe wool dress, a silky silver mini with just the right amount of shine—add new sleekness and depth to their already ultra-tailored aesthetic. Supposedly inspired by the architecture of ancient Russia, the color palette came in hues that recalled the frozen wastelands of the Tundra: black, cobalt blue, sea green, white, and (what else?) silver. An icy cool finish.
­—Xiyin Tang

Jeremy Liang
Jeremy Laing was at his best in his fall collection, where his dresses looked literally like urban armor. Think slim, fitted, grey wool dresses set off with studs, rivets, and zippers and airy minis that fluttered like molten pieces of sheet metal in the air, finished with a slight smattering of silver gems. Metal became malleable, playful, and even colorful, showing up as red liquid lava on tops or cool eggplant on a slouchy dress with fluttery sleeves. The other themes were less successful: rhinestone, art-deco-inspired squares ruined an otherwise interesting black dress plated in red, while the bright blossoms tattooed onto dresses and tops were refreshing, if not a bit incohesive. But the stand-out of the collection was surprisingly a combination of both the metal-play and the’ squared-off ’60s vibe: a tiny boxy mini came layered in a ’60s square print that would have made Edie Sedgwick proud. The finishing touch was the back, which was studded in tough little rivets.
—Xiyin Tang

Tuleh
The fall 2008 Tuleh show revealed an innovative blend of color and shape, calling upon disparate decades for inspiration. Frilly ’50s era dresses and skirts were created in bright corals, providing a stark contrast to the other contemporary and monochromatic looks in the show. White cashmere sweaters and dresses boasted bold ruffles—a detail that was repeated in floor-length organza skirts and car coats. Seventies era pimps and secretaries seem to have provided inspiration for head designer Bryan Bradley. The decade was mirrored in purple velvet bottoms with moderated flare, paired with flowing silk kimonos and topped with matching fedoras. The trend continued in collars cinched with bows that finished off ladylike skirts and trenches. Glimmering reptile prints took various forms in oversized clutches, skinny belts, and coats. The neon fedoras seemed to be a bit tongue-in-cheek, as did unusual color combinations of magenta and peach and red and peach. Bradley’s surprising fall palette of warm, bright, and playful colors are refreshing among the traditional grey and black combinations of other designers.
—Meredith Wing