THOMAS WYLDE FALL 2016
By. Allyson Longshore
I have long been a fan of Thomas Wylde. But the inspired jolt that creative director, Jene Park, contributes has seriously upped the ante in an already stellar fashion house. Thomas Wylde does cool like no one else. Looking to channel your inner rockstar goddess? Thomas Wylde has your back.
When Jene Park personally invited me to view the Fall 2016 collection in the NYC studio and then to attend the fashion show during NYFW, I, of course, jumped at the chance. Being allowed to view a collection before it is presented is a reserved honor. What a thrill, thank you Jene!
The Yeah, Yeah, Yeahs’, Heads Will Roll, blared through the speakers as I entered the already buzzing downtown studio. Models and clothing racks flew past me in a non-stop parade of frenzied yet glamorous final preparation. Amidst the bustle, my eye landed on a leather and silk moto jacket that is the stuff of my dreams. That moto and a sultry smokey eye? Oh yes, absolutely. There is a distinctly chic and edgy rock and roll vibe to the collection but it is balanced with a femininity and comfort that makes it wearable and so desirable. Butter-soft fitted leathers and flowing cape-like silks; intricate studding and strategic fur collars, cuffs, and sleeves; bomber jackets for evening; cashmere beanies; vintage oversize eyewear; a palette of monochromatic separates in black and white punched with a toxic red. The wow factor is huge.
It is clear that under the leadership of Jene Park, Thomas Wylde is a fashion force to be reckoned with. The Fall 2016 collection is a live wire that made me sit up and take notice. This collection is a STYLESTUDIOLIVE favorite, tops for any fashionista wishing to take her cool-girl game next level. But it’s also perfect for gals wanting to break the mold and get a little sassy.
Adding one of Thomas Wylde’s knockout moto jackets or a pair of leather pants to your wardrobe just might change your life. Don’t say I didn’t warn you…
THOMAS WYLDE FALL 2016
Kate and Laura Mulleavy adhered to the standard they’ve established for Rodarte in recent seasons for fall. The collection was predictably uneven, scattered with moments of genuine beauty and mishaps, too. This time the balance fell in favor of the good stuff.
The Mulleavys wanted to tell a San Francisco story. They attended the University of California, Berkeley, and recently revisited their old stomping grounds, including Caffe Trieste. “They have these pictures on the wall of Francis Ford Coppola. I think he worked a lot on ‘The Godfather’ there,” said Laura backstage. The Corleones celebrated a couple of weddings (and funerals), the brides covered in white lace, which the duo used amply in the collection. One white, knee-length lace dress with tiered, pouf sleeves and an asymmetrical tiered hem was worn with a veil. But the lineup wasn’t a Coppola tribute; it was an ode to Art Nouveau romance inspired by music posters and the genre’s crafty, gypsy-nymph decoration and witchy fantasy.
Slim, tea-length dresses sectioned into collagelike panels of hand-beaded and hand-painted guipure lace with floral and bird accents were dreamy examples of the designers’ imaginative eveningwear with a homespun touch. Perhaps taking a cue from Scott McKenzie, these San Francisco nouveau fairies were sure to wear flowers in their hair. Other pretty dresses featured a single sleeve with bodices and skirts traced in pink, black and burgundy or pink ruffles.
The daydream was interrupted, however, by clunky ruffled leather pieces (jackets, belts, gloves); garishly colored long-haired goat jackets, and weird boots that stretched up the calf in cutouts and brown ruffles. Many of the fabrics fell short of the quality needed to pull off the look. In the end, this San Francisco story was a tale of two cities.
By. Jessica Iredale via WWD
Highlights from the Vera Wang Fall/Winter 2016 collection.
Alexander Wang has learned a few things from his 3-year séjour in Paris, aside from the machinations of the modern-day luxury house. His starting point: tweedy, bouclé, luncheoning ladies fare, which he rescued from the usual done-to-death iterations and butchered and remade in the spirit of la fille Wang. She may deign to wear a suit, but only if the skirt is micro, the jacket sleeves have twin leather armbands, and she gets to wear a dog collar and studded creepers instead of the usual pearls and pumps. And then, the nods to les stripteaseuses—the outline of a pole dancer appeared on a fuzzy sweater, the word “girls” ran across a pair of tights, right in the place that is usually claimed by a garter belt, and evocative adjectives like “strict,” “tender,” and “violator” also made cameos on beanies, dresses, et al. lean and mean littledresses were gussied up with delicate lace insets shaped like marijuana leaves. But despite these mildly campy touches, Wang‘s richly layered collection left the impression of a designer who is not afraid to explore the big questions in his work—making him a more vital addiction to the New York scene than ever.
Public School’s Fall/Winter 2016 collection was an exercise in layering—something New Yorker’s should be taking notes on now that the weather is dropping to single digits. There were long zip-up jersey sportswear dresses, roomy ribbed pullovers on top of a dress worn over a jacket, sweatshirts over sweatshirts, and blanket capes. The urban mood is having a real moment. Some of the best pieces here were those that touched on Maxwell Osborne and Dao-Yi Chow’s menswear tailoring affinity, like a simple black blazer thrown over a white button-down shirt dress with a ribbed lamé dress and fringe pants. A zippered black nylon coat dress, with what looked like carabiners adorning each side, and a magenta wool overcoat should be editorial magnets. You’ll have to wait to get your hands on this extra-warm looking collection, but in the meantime, you might as well take some styling tips.