Feeling urban and sporty, he lifted taxicab yellow and caution orange from the New York streets and juxtaposed them with plenty of the city girl"s go-to black. Many of the tailored pieces seemed built for speed with rounded shoulders and aerodynamic double-face construction; black patent trim and taped seams evoked the world of car racing or maybe scuba. Goggles added to that feeling. Mixing his metaphors, Kors also threw in all sorts of camouflage for the girls and the boys, most luxuriously in multicolor mink. That"ll get you noticed on the sidewalk. Still, he was most convincing when he played it low-key. Plenty of urban warriors at the show would kill for his charcoal gray wool melton overcoat and the pantsuit shown underneath it. A plonge leather cropped jacket and zipped-slit pencil skirt would really take girls places. Same goes for the designer"s clingy ribbed knits. Kors" big idea for after dark, a fitted minidress with a peplum overskirt that extended all the way to the floor in back, is a look that"s been gaining traction since the Dior Couture show last July. They weren"t bad in those primary colors. But why not one or two of his signature, sleek stretch jersey tank dresses? With his sporty theme, those would"ve been a no-brainer.Read more from: https://www.kalakendra.org/upcoming-events/
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He was reacting, he said, to the twin nightmares of business-formal overdressing and casual Fridays. He combined both into what he called "Big Sur meets Big City." Baja sweaters and beanies abounded. There were suit fabrics and tailored jackets, but softened into something more like pajamas than power suits. A representative look paired crinkled flannel track pants with a longer, three-button jacket, untucked shirt, mohair pullover, and sandals. "It"s the crushing of Wall Street," Kors said gleefully. That"s an odd way for a man behind the most blockbuster fashion IPO in memory to repay Wall Street, but his bankers may be the only people able to afford ten-ply cashmere long johns. If the collection doesn"t portend the demise of the suit, it does suggest Kors has shrugged off some of the self-consciousness of his last collection for a glamorous ease that seems closer to his heart. Piece after piece was desirable, even when faintly ridiculous: cashmere sweats, suede joggers. "I have a feeling someone in Dubai will actually work out in these," Kors said. Workout-ready or no, one major retailer exiting the presentation confirmed that luxury loungewear is a salable and growing category.Read more from: https://www.kalakendra.org/upcoming-events/
Kors isn"t the first designer to explain that Resort, given the amount of time the clothes stay on the selling floors, has to be many things to many people. In the mix was everything from cutout maillots—"The weirder the better," he said of his bathing suits" success at retail—to "front row in February" coats. Pulling it all together were the leopard and giraffe prints, and the simple color palette—just white, black, suntan, pool blue, and geranium pink. "You can"t have a Slim Aarons picture without geraniums," Kors joked. You also can"t have an Aarons shot without a caftan. Kors did his for after-dark in ocelot-print-embroidered nude tulle with wispy sleeves long enough to graze the patio.Read more from: https://www.kalakendra.org/upcoming-events/
Giving the collection its own arena seems to have allowed Kors to ratchet up the fashion quotient. All-American sportswear might still be his bread and butter, but styled separately, the Spring line took on a more forward-looking elegance and seemed closer in line with the designer collections shown in Europe. Kors spoke of the idea of convergence and things blending: upscaling the casual, downscaling the luxe. That meant, in practice, that all of his suiting fabrics came pre-wrinkled, like pajamas, while sportier pieces, such as a white anorak, appeared in glove leather. To arrive at a look, he mashed up three of the collection"s guiding spirits: Cary Grant, David Bowie, and Ryan Gosling—epitomes (to varying degrees) of masculine elegance. The spirit of the first two was most apparent. There was a vintage forties feel to the new silhouettes, which emphasized higher-waisted, pleated trousers with fuller legs. Never one to waste a soapbox, Kors used his mini presentations to inveigh against menswear"s present sins, as he sees them. "This is my anti-Bieber moment," he said, gesturing at a chino that sat at the natural waist. "It"s one thing low-rise, another thing bare-assed. We"re teaching men they have a waist." Likewise, his seventies-inflected double-breasted blazer with its giant lapels: "A DB for an entire generation of men who have never worn one." That might highlight the odd position Kors finds himself in: poised between the American shopper and the high-fashion consumer. One might be in need of instruction, the other has presumably been wearing double-breasteds for some time. If showing in tandem with the European shows plays up the precariousness of that balance, it nevertheless gave Kors more opportunity than usual to show off his goods. The best of them were the most Kors-ian: a chunky knit of his own favorite kind, now in summer-friendly silk/linen; a forties-style bomber kept slim by an elastic waist at the back; and a series of glazed linen cargo pants that effectively gave a military staple a bit of finesse.Read more from: https://www.kalakendra.org/upcoming-events/
In some ways, Fall looked like an evolution of his Spring show. Easy printed dresses cinched with a leather belt, simple cotton shirts tucked into unpretentious A-line skirts, a chunky cardigan over a little slip of a dress—they all had encore performances here. That"s no criticism; too much of a good thing is wonderful. But Kors has been around long enough to know that he can"t repeat himself and get away with it. And so he mixed in a little Big Sur with the Big City. If Meryl Streep circa the late seventies was last season"s muse, here it looked like he could"ve been channeling Stevie Nicks. Sleeves were billowier, the fil coupe fabrics were more shimmery, and the furs had just a touch more shag. And there were miles and miles of suede fringe, which he used quite convincingly for daytime. A skirt draped from chocolate brown fringe looked fantastic with an ombré Aran pullover, and the fawn-colored version he paired with a hand-knit sweater and wool melton men"s coat was a contender for the look of the show. Following on from his men"s presentation last month, which was long on ten-ply beanies and long johns, Kors tossed in some deluxe cashmere sweats. That"s the billionaire talking. We"re sold. Read more from: https://www.kalakendra.org/upcoming-events/
Indeed, enameled chain-link shoulder bags and squared-off crocodile doctor bags embellished with tiny buckled luggage straps often seemed to take precedence over the clothes. Maybe, though, that was the point. Michael Kors, the previous designer at the house, brought a degree of sporty internationalism to the label. But Celine was once a bastion of bourgeois fashion refusal, and finding a credible way to go forward presents a dilemma. Menichetti is not the dramatic type to reshape a house in his own image. So he compromised by sending out a polite take on stripped-down conservative dressing: suits and coats with dyed-fox collars, gored A-line skirts, flared jersey dresses, and little embellished knits. Staying with the safe and predictable, he elongated many of the same shapes for evening. This sort of luxe simplicity is difficult to carry off convincingly. For one thing, it requires perfect pitch in color, which Menichetti"s jarring contrasts of orange, purple, teal, fuchsia, and black failed to achieve.Read more:https://www.kalakendra.org/upcoming-events/
To be fair, her new collection compared favorably to a spring line that suffered from too loud colors, a numbing repetitiveness, and an over-reliance on styling tricks. (Although this show had the latter, too, in the form of wooden bangles stacked seven to a wrist.) One positive development here was the way the herringbone suits with portrait collars and cropped pants riffed on the current menswear trend. Her trenches could stand up to those of her competitors, too. And the show"s wide crocodile belts will make a sexy contribution to that crowded category. More frequently, though, Omazic went astray. In a season when fur is key, there were but two minks on her runway, and—curiously for a fall show—she sent out a seemingly endless parade of breezy chiffon, most of it in that fast-becoming-overexposed color combo, nude and black, or not much better, turquoise. And where were the bags? An oversize duffel does not an accessories business make. Her audience will take a lot of convincing, but let"s hope the third time"s the charm for this newcomer.Read more: https://www.kalakendra.org/upcoming-events/
Vollbracht closed the show with a very pretty bridal gown, an old-fashioned gesture that referenced a once-common tradition. Perhaps he should revive another, and show in a gilt-chaired salon setting instead of the circus atmosphere of the tents. It might do service to the clothes, better showing the fabrics and the craftsmanship that go into making, say, the hand-woven Lesage-beaded ivory gown Inguna Butane wore. Sometimes such things get lost in the fast-paced atmosphere of Bryant Park.Read more: https://www.kalakendra.org/upcoming-events/ Daniel Goodman Business Insider?Video?is hiring an associate?producer?who can help us make beautiful videos. We"re looking for someone who can do it all – shoot beautiful video, write copy, scour the internet for viral content and, especially, edit sleek video packages. The associate producer will work closely with the fast expanding?video?team to produce stories with a wide, general audience reach on subjects ranging from tech to strategy and brands.?The right candidate must be able to:
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