Jill Stuart
– Whereas last season Jill Stuart went to Studio 54 via a retro helping of minimalism, this time around she went full-on glam maximalist.While definitely a departure for a label with a more classically feminine reputation, the show hit all the trends squarely on the head.
Shiny and sparkly, velvet and fishnets, ruffles and rhinestones: this collection has everything a 24/7 party girl could need. The sheer variety of garments to choose from was the first sign Stuart was onto something new. Pants alone varied from fitted and timeless all the way to midnight blue velvet gauchos with hems that looked as wide as circle skirts.
The cocktailwear, a Stuart signature, had the same wide range, with highlights including a leather button-front pencil skirt paired with a puff sleeve blouse in inky taffeta.
The most interesting looks, however, were a set of long ruffled garments that looked like wild west Victoriana by way of the 1970s. This was Jill Stuart at her most fashion forward, hitting all the right notes.
Hanley
Endlessly traveling the world, Nicole Hanley’s latest collection was inspired by a recent trip behind the scenes at the Prado Museum in Madrid.
The presentation during New York Fashion Week featured the models posed on pedestals like priceless artwork behind giant gilded frames For the Hanley customer, a wardrobe that translates seamlessly from winter in New York to an outdoor restaurant on the Riviera is an absolute must, and that seasonless quality shaped Hanley’s offerings.
A lightweight dress hits just high enough above the knee to work for a caribbean vacation, but paired with tall boots as it was in Hanley’s presentation, seems just right for a night out come winter in some faraway European capital.
Hood By Air
While new ideas at fashion week are generally limited to new ways to cut a dress or wear a hairstyle, some designers go above and beyond with their concepts, skirting the line between art and apparel. Shayne Olivier at Hood By Air showed he is one of those designers as he presented a follow up to his men’s couture show in January.
Imbued with political subtexts, his clothes were aggressively androgynous and undoubtably avant garde. Styled with airport accoutrements like baggage tags, luggage straps, and a roll of bright red shrink-wrap, there was a definite undercurrent of movement, with critics drawing a comparison to the ongoing refugee crisis in Europe, where Oliver is finding more and more success.
Several looks were anchored with bulky Wellington boots, ready for all weather, and puffer jackets, while in another a model lifted a full-length puffer jacket over his head as if he an athlete hoisting his country’s flag after a winning goal.
