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Fashion. Beauty. Business.16 FEBRUARY 2016

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High–Brow GlitzJust because a lady’s refined doesn’t mean she can’t sparkle.

In the collection she presented on Monday, Carolina Herrera showed the way: an exquisitely embroidered striped shirtdress that’s bold and beautiful.

For more on the collections, see pages 7 to 15.

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● The designer will introduce her first collection in June, according to sources.

BY MILES SOCHA WITH CONTRIBUTIONS FROM SAMANTHA CONTI

Soon Sir Paul McCartney will be able to wear the clothes of his favorite designer: his daughter.

Stella McCartney — who once honed her skills working for Edward Sexton, her father’s Savile Row tailor — is to extend her brand into men’s wear, WWD has learned.

It is understood the London-based designer is readying her first collection for the spring 2017 season.

Given her global recognition, and a vibrant market for men’s wear, the cat-egory could represent a rich expansion vein for McCartney, whose last big cate-gory launch was a children’s wear label in 2010, which followed a test drive of two collections with Gap Kids.

Her fortes — slouchy tailoring, comfort-able knits and effortless separates — could translate easily into men’s wear, which has become increasingly casual.

Contacted by WWD, a spokesman for the designer had no comment.

McCartney has focused on the women’s universe since she launched her fashion house in 2001 as a joint venture with

Kering, then PPR. Her collections include ready-to-wear, accessories, lingerie, eye-wear, fragrance and kids’ wear.

It is understood the men’s wear volley is one of several major initiatives McCart-ney has in the pipeline this year.

Women’s wear brands that have ramped up men’s wear in recent years include Marni, Balmain and Carven.

A lifelong vegetarian, McCartney does not use any leather or fur in her designs, which could be challenging at a time

when shearling coats and leather jackets are extremely popular among men.

By contrast, her brand’s devotion to sustainability — a passion she shares with Kering chairman and chief executive offi-cer François-Henri Pinault — could be a strong and unique selling point to a male audience.

McCartney stages her women’s wear shows in Paris and could opt for the French capital for her men’s debut, given the strength of its fashion week, anchored by such brands as Louis Vuitton, Dior Homme, Saint Laurent, Paul Smith, Valen-tino, Raf Simons and Dries Van Noten.

Business seems to be humming at the company, which posted double-digit increases in U.K. profits and sales for the 2014 fiscal year, the most recent available. Companies House, the official register of U.K. businesses, shows that sales were up 11.2 percent to 31.6 million pounds, or $49.9 million. The results only give a partial picture of the company, encom-passing only to the U.K. business and worldwide licensing revenue.

McCartney, who does a range of athlet-icwear for Adidas, is to be in the spotlight at the Rio Olympics this summer, having signed up again as creative director for the Team GB official kit by the German brand, which British athletes will wear during the Games. She designed the Brit-ish team’s clothing for the London 2012 Olympics, with replicas that were touted by Adidas as the most successful Olympic range ever.

Last year McCartney marked the 10th anniversary of the Adidas by Stella McCa-rtney line, which she marked by intro-ducing Adidas StellaSport, an ath-leisure range aimed at a younger audience and meant to be worn to the gym and on the streets.

FASHION

McCartney Plots Men’s Wear Move

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New York Fashion Week Fall 2016 Street Style● WWD went off the runways and onto the streets and sidewalks for the best looks from New York Fashion Week.

● Barneys’ Homecoming

● Tommy Hilfiger RTW Fall 2016

● J. Crew RTW Fall 2016

● Victoria Beckham RTW Fall 2016

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● He will show his new collection, RR331, in a presentation at the Mercantile Annex Tuesday evening.

BY KRISTI GARCED

On Tuesday, Ralph Rucci will launch his new collection, RR331, in a 7 p.m. presentation at the Mercantile Annex on 517 West 37th Street, a location chosen for its convenience. “At 8 o’clock is my dear friend Narciso [Rodriguez]’s show, and everyone can literally walk across the street,” he explained.

Discussing his New York Fashion Week comeback, Rucci exuded a mix of calm reflection and palpable excitement. It’s been a tumultuous few years for the designer, known for his scrupulous, high-minded craftsmanship. In November 2014, he left the fashion house bearing his name, which he founded in 1994 and which had its fair share of financial strug-gles through the years.

Rucci expressed a desire to move for-ward with a new sense of clarity.

“I’ve spent the past year thinking, How have I evolved after 34 years in this fashion industry? What have I done, from being the only American to show couture in Paris….to creating luxury ready-to-wear [here in New York]? I’ve thought about what I’m best at and what I don’t know

how to do well. It’s as if I’m starting again as I started in 1980,” he said, citing a “multiplicity of emotions.”

Rucci’s new made-to-order collection will be composed of 17 looks — shown in all-black silhouettes, or “templates,” which his clients can customize in other colors — as well as seven sable fur coats made with the same Pologeorgis furrier he has worked with for 20 years. The furs will be offered unlined; Rucci painted on the inside of each sable pelt with black ink.

Though in the past the designer has done up to 60 looks in a single collection, he aimed to create a streamlined ward-robe with RR331, hence the presentation’s tight edit. “I wanted each piece to be perfect for what it means in that area; whether it’s a raincoat, a tunic, a great looking dress or a terrific mohair jump-suit,” he said. “Evening wear [includes] some very exciting pieces; one look is screened with the neck and face of a Pina Bausch dancer, another with the torques of a Richard Serra sculpture.”

The debut also marks a flurry of collab-orations, such as stretch suede and satin shoes designed with Jean-Michel Cazabat and sculptural visors by the milliner Philip Treacy. As for the label’s RR331 moniker, “331” signifies the number of rituals in the elaborate Japanese tea cere-mony known as “chado” — the brand was formerly known as Chado Ralph Rucci, of course — and is meant to symbolize Rucci’s exacting, procedural approach to

clothing design. He tapped digital artist Pascal Dangin to conceive the label’s branding.

Surrounding the presentation will be a 70-foot-long piece of artwork made from 10 of Rucci’s individual panel paintings, meant to illustrate the collection’s devel-opmental process. “The paintings, the fur, the clothes; it’s all unified. The way I approach fashion is where I am at this moment. It’s provocative and timeless,” he said, expressing an immediate distaste for the word “timeless.”

Price points will be comparable to those of high-end American luxury designers, though he shied away from specifics. He characterized his new busi-ness model as one part luxury ready-to-wear, two parts made-to-order. “The rest comes after that — my furniture, paint-ings, furs and accessories,” he added. “Might I get into less expensive stuff even-tually? Who knows. I’m not going to catch myself with giving predictions.”

Rucci chalked up his evolution to a “complete, spiritual devotion” to his craft. “Thirty-four years ago, I thought, Where will I be? What will I do? I had all these ambitions. Now, almost 35 years later, I’m running around through the streets of the Garment [District] and I am myself again. I am enjoying the process of picking up a zipper,” he said. “If this work brings you one thing, it’s the recognition of humil-ity….That’s how we proceed further [in this business]. If that doesn’t stay in your head, you’ve lost all.”

FASHION

Ralph Rucci Discusses NYFW Comeback With RR331 Line

Stella McCartney

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● Attendees at the preview for “Manus x Machina” at The Metropolitan Museum of Art caught a run-through of Andrew Bolton’s plans for the May exhibition.

BY ROSEMARY FEITELBERG

Smartphone-wielding attendees at Monday morning’s preview mirrored the upcoming theme of the Metropoli-tan Museum of Art’s Costume Institute’s spring exhibition — “Manus x Machina: Fashion in an Age of Technology.”

After telling guests how the Apple-friendly tunes that welcomed them Monday morning — Brian Eno’s “Music for Airports,” a mix of analogue and elec-tronic sound — would be piped through the galleries when the show bows, Andrew Bolton, the Costume Institute’s curator in charge, detailed how the exhibition’s title was inspired by Fritz Lang’s 1927 sci-fi drama “Metropolis” and not Alex Garland’s 2015 “Ex Machina” as some had asked. The iconic older film begins and ends with the epigram, “The mediator between the head and the hand must be the heart,” Bolton explained.

“And given the dystopian vision technol-ogy presented in the movie, the epigram could quite easily have been the media-tor between the hand and the machine must be the heart. In fact, the entire plot of ‘Metropolis’ unfolds as a dialectical treatise of man versus machine. And this oppositional relationship has played out

in fashion since the birth of the couture in the mid-19th century…” he said. “And it’s worth pointing out the advent of haute couture coincided with the advent of the sewing machine. And one can’t help but wonder if the haute couture emerged as a response to fears surrounding the demo-cratic possibilities of the sewing machine.”

The exhibition will be housed in two spaces in the museum — the Anna Wintour Costume Center and the Robert Lehman Wing. The former will represent the ateliers, tailoring and dressmaking and the latter will reflect the various métiers of haute couture — such as lacework, leather work, embroidery and feather work. Both spaces will unfold as a series of case stud-ies in which examples of haute couture and ready-to-wear will be examined vis a vis one another.

Gesturing towards a pairing on display, Bolton said the Raf Simons’ designed 2015 Dior haute couture ensemble was hand-pleated using a pleating mold, a technique that was invented in the 1760s. The 1994 Issey Miyake “Flying Saucer” dress next to it was “a revolutionary departure from traditional pleating because the pleats were applied after the fabric was cut and sewn, so that you construct a garment that is two to three times its intended size and place the garment in the press between two sheets of paper.”

Shohei Shigematsu, director of OMA New York, is leading the exhibition design with the Met, in the lead-up to its May 5 opening, according to the museum’s director Thomas Campbell. He also singled out Jony Ive, chief designer for Apple, the exhibition’s sponsor, as well as Condé Nast

for its additional support and Wintour.An Iris van Herpen dress with hand-

stitched strips of laser-cut silicon feath-ers, white cotton twill and hand-applied silicone-coated gull skulls with synthetic pearls and glass eyes was displayed with an Yves Saint Laurent evening dress with hand-glued bird-of-paradise feathers from the designer’s fall 1969 collection. Bolton made the point that van Herpen is known to collaborate with artists, architects, scientists, engineers and computer designers, which she sees as 21st century versions of more traditional collaborations between couturiers and artisans. To that end, also on view was her 3-D printed spring 2010 ensemble in white polyamide with machine-sewn white goat leather and handout acrylic fringe. Done in conjunc-tion with the architect Daniel Widrig, that creation features a bodice with nearly 10 lines within one millimeter — which Bolton compared to almost the details of a fingerprint.

Monday morning’s first glimpse featured the show’s inspiration — an elaborate Karl

Lagerfeld-designed wedding ensemble for the fall 2014 Chanel couture collection — a superior example of the handmade and machine made in one ensemble. The design of the train was hand-finished and then computer — manipulated to give the appearance of a pixilated baroque pattern — initially painted by hand, then transfer printed by machine with rhinestones and then embroidered by hand with pearls and gemstones. In total, the train required 450 hours of work, said Bolton, adding that Lagerfeld described the scuba knit dress as haute couture without the cou-ture because it was molded and entirely machine sewn.

“What all of these examples reveal is that the hand and the machine work in tandem in the creation of fashion for haute couture or ready-to-wear. By attempting to unravel as well as to reconcile the opposi-tional relationship between the hand and the machine, the exhibition intends to advance a new paradigm for fashion which is more germane to our age of technol-ogy,” Bolton said.

FASHION

Met’s Costume Institute Previews ‘Manus × Machina’

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● All markets and all channels contributed to the growth of the Italian accessories firm.

BY LUISA ZARGANI

Furla continued to buck the trend in 2015.

Despite a challenging market for acces-sories, the Italian firm closed the year with a 30 percent rise in revenues. In the 12 months ended Dec. 31, Furla reported sales of 339 million euros, or $376.3 million, compared with 262 million euros, or $ 348.4 million, in 2014. At constant exchange rates, sales climbed 25 percent.

Chief executive officer Eraldo Poletto told WWD that the growth was fueled by “an excellent growth across all areas and all channels,” but highlighted an increase of 23 percent in like-for-like sales. “In a difficult context, this is the mother of all numbers,” said Poletto, noting that Furla is reaping the rewards of the work done in the past five years. Revenues have grown 126 percent since 2010. Earnings figures are to be approved by the company’s board and were not available at press time.

The executive touted Furla’s “unique

premium luxury positioning of Made in Italy products,” in the face of a middle class that is growing in Asia. “We borrow from luxury what is good about luxury, the customer experience, the quality, packag-ing, [customer relations management],” he said.

While all geographic markets grew, Poletto said, “We look at the customer more than the market, to the Asians that travel to Indonesia, Malaysia, Thailand, Japan and Europe. The scenario

changes constantly.”In 2015, the Asia-Pacific region posted

a 53 percent jump in sales, accounting for 19 percent of the total. Furla doubled its business in China last year, said Poletto, where sales were up double-digit. In Hong Kong and Macau, revenues showed a high single-digit growth.

Revenues in the U.S. rose 30 percent, representing 9 percent of sales. Furla is expanding in the region. Poletto high-lighted the opening of a flagship last year in New York’s Fifth Avenue and the appointment of Scott M. Link as chief exec-utive officer of Americas.

Italy was up 21 percent, accounting for 20 percent of the total. Poletto noted an increased energy in Milan, following the international show Expo last year. “An optimistic mind-set helps to win. The market is so dynamic now that it’s key to be ready to be receptive without changing one’s strategy,” he observed.

Business in the Europe, Middle East and Africa region, excluding Italy, gained 28 percent, representing 29 percent of the total. Sales in Japan increased 24 percent, accounting for 23 percent of the total.

Last year, Furla continued to expand its retail network globally with the opening

of 62 stores, bringing its monobrand bou-tiques to a total of 415.

In 2015, Furla opened flagships in Rome; New York, on Fifth Avenue; Madrid; St. Petersburg; Shanghai ,and Hong Kong. Poletto highlighted the position of the Rome unit in a historic 19th century palazzo overlooking the Spanish Steps. The store, covering 3,240 square feet over two floors, has two windows on the street and seven windows on the first level with a view of the iconic monument.

In 2016, the company will open units in Moscow; London; Paris; Melbourne, Australia; Saigon, Vietnam; and Macau, as well as the first corner in Europe dedicated to the men’s collection at the Galeries Lafayette, in Paris.

Travel retail sales advanced 36 percent in 2015 throughout 48 countries where air-port doors increased to 195 compared with 174 in 2014. This channel has tripled its sales since 2010. As of Feb. 5, the company counted 235 doors.

Furla’s performance last year was also boosted by the brand’s new categories — a men’s line, women’s footwear and the eyewear license with De Rigo. Furla has also signed licensing agreements with Ratti and Morellato for textile accessories and watches, respectively.

The Bologna-based firm produced two million pieces last year.

Once again, Poletto said that no steps have been taken to enter the stock market.

BUSINESS

Furla Revenues Climb 30% in 2015

A bag from Furla pre-fall.

Looks on display at the “Manus × Machina” exhibit at

The Costume Institute.

16 FEBRUARY 2016 7

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Carolina HerreraThink of fashion’s rebel yell and chances are you’re not thinking Carolina Herrera. But if you consider a rebel someone who stands firm against the status quo no matter how solitary her position, Herrera is James Dean. Especially during Collections season.

As others have migrated downtown, Herrera took up residence at The Frick. In the face of widespread youth obsession, Herrera keeps her core customer front and center. Most importantly, during a time when New York Fashion Week feels like one big, sweaty marketing bacchanal, Herrera chooses serenity over frenzy. In her fall collection, serenity played like a dream.

Herrera followed last season’s treatise on pink with a collection that lacked an obvious singular focus. “I don’t work from one of those [retro] inspirations,” she said during a preview. “I believe in the future of fashion. I’m not talking about the past.”

Her future is a lovely one, in which the embrace of elegance resonates around the clock and across generations, via a range of offerings and subtle juxtaposition. The lineup featured tradition and tech (she loves both classic men’s wear and high-tech, surf-foam fabric), fluidity and structure, simplicity and embellishment. Despite her claims of no themes, several constants ran throughout, unifying the lineup. One such motif: depth of field. After happening upon a raised jasmine embroidery during her fabric research, Herrera got interested in 3-D iterations. She used the small floral embroidery and also enlarged the concept on a pale-pink techno mini shift with three cutout flowers down the front and, larger still, on a boxy tunic with a single giant bloom emerging from a background of sheared mink.

And she was all about movement, cutting dresses and skirts with volume, from the glen-plaid day dress that opened the show to several gowns discreet in their glamour. With their billowing lines, these beauties would waft gracefully across the stage of the Dolby Theatre come Oscar night. — Bridget Foley

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Diane von FurstenbergThe clothes looked charming, some in a real-girl way, some in a hyper-styled, cos-tumey way, most in a waft-of-Seventies way. But they were completely beside the point.

In the interest of making a print deadline, WWD went to Diane von Furstenberg’s 5 p.m. presentation at 3:30 p.m., with the expectation of a brief interview with the lady herself (it happened as scheduled) and to watch the models dressed and in rehearsal. The rehearsal never happened. What ensued instead played almost like farce, might have been amusing at a more leisurely moment, and in the end, crystal-lized that which many of us in fashion have long known, and some of us have resisted: The fight is over, and spectacle slayed fashion. This was not the season’s first spectacle nor will it likely be the last. But it’s one thing for Kanye West and Rihanna to allow production thrills to trump the clothes. Von Furstenberg is the president of the CFDA. (The “F” stands for Fashion; the “D,” Designers.)

Von Furstenberg may not have opened her doors to a consumer audience, but this presentation had nothing to do with showing the industry her latest wares. This was about the photo op, pure and simple, the TV coverage, the videos, the Snapchats and, especially, the Instagram moment, and looking cool to the demographic of young women who wear DVF. “The whole point of Paolo [Riva, chief executive officer of Diane von Furstenberg Studio LLC] coming [here] is to put the woman at the center of everything we do,” von Furstenberg said

from her interview perch on the grand ivory staircase that centers her Meatpacking District headquarters. She looked all thor-oughbred leggy, with her cardigan sliding off of one shoulder, ever the vamp. “For me as a designer, it seems very appropriate. I’m kind of the friend in the woman’s closet.”

And mother confessor/conspirator emerita to this generation of top models. “We have all the big girls — Gigi [Hadid], Kendall [ Jenner], Lily [Aldridge], Karlie [Kloss]. First, because they are gorgeous; and second, because I’ve become like their mother, their grandmother. They love me and I know everybody’s secrets. I love them and relate to those girls.”

The models would eventually take their places in the Stefan Beckman-designed sets, arranged, according to von Furstenberg, around five ideas: movement (the girls would come in and out of doors, and interact along the way); fencing (DVF nailed it when she noted that one “might not get” the vague references); and two workspaces, one a traditional office, and the other, more creative (another over-the-head mini theme). The fifth concept resonated ever so clearly: The top girls all glammed up in evening gowns in a second-floor party setting, intentionally or otherwise mimicking a real VIP-only area, removed from the feisty working-girl types below.

There’s much to be said for non-runway presentations, especially for a brand such as von Furstenberg, the allure of which has always been about that critical intersection of personality and piece goods. The current

runway trope of model-as-blank-slate, devoid of any sense of self beyond what the clothes and beauty look telegraph, hinders expression of the essential connection to DVF as aspirational icon.

Here, however, the ruse wasn’t terribly well-played. An hour before, 30 minutes before, and even as 5 p.m. approached, no one seemed in charge. It felt as if 1,000 people meandered around with their backstage-clearance lariats in view — house people, Bureau Betak people, HL Group people, hair and makeup people. The only people you didn’t see much were models settling into their spots, though

some walked in and out of the look book shoot. As they finally moved

into their vignettes, one felt the want of that lost rehearsal. All the interaction and moving about called for some stage direction, and a few moments of calm, if not static, viewing.

Beyond the most basic obser-vations — that the girls looked

great in and seemed to enjoy wear-ing evergreen wrap dresses, snappy

sportswear layers and body-con evening wear (that mis en scene starring golden girl and DVF bestie Karlie in a golden dress) — it was hard to focus on the clothes, even before the crowd flooded through. One well-known journalist, now wielding a microphone, glanced at me in passing and said, “good luck writing about this.”

Good luck indeed. This is the moment we’re in. These mega-events don’t target an industry audience even if, as in this case, industry types still dominate in the flesh. The flood of Instagram posts the event gen-erated proved it a monster success, playing

out exactly as desired. Sobering though it may be, at what point do we examine the question, what are we doing here? Many fashion professionals, though certainly not all, were lured to the industry by the pull of pure fashion. Yes, most get wrapped up in the broader resonance all up and down the high-low cultural food chain. And a fashion spectacle — who doesn’t love one once in a while?

But some of us love fashion first and foremost, and the pure fashion process, the realization of a creative germ into a well-designed, beautifully executed piece of clothing, and numerous such items into a collection that might say something about the culture at a given moment, about aspiration, about a designer’s psychological and emotional makeup. (Sounds quaint, no?) That’s what drew me there. I’m neither a straight man nor an adolescent girl. So the thrill of watching models in evening gowns fake-primp and pretend to party on what should be a long-weekend Sunday but comes instead in the middle of one of the most hectic weeks of the work year — not so much. Particularly when the designer all but admitted that her focus was more on the event than the clothes themselves. “We really went by deliveries [for the vignettes],” von Furstenberg said. “Yes, I have clothes for all of these scenes. And when the stylist is finished, it’s all done her way.”

Once the throngs arrived, the expected frenzy swarmed around the partying model posse. One television reporter threw herself between the scene and her camera, glow-ing. “Can you imagine more fun at fashion week!?” she exclaimed into her mic to her viewing public. — Bridget Foley

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Tommy Hilfiger Tommy Hilfiger hit the deck — hard — transforming the Park Avenue Armory into the T.H. Atlantic, a mas-sive, global-bound marketing vessel, leaving no nautical motif out to sea in his fall collection.

Set up like a giant, early 20th-cen-tury passenger liner under a starry night sky with VIPs seated on the poop deck, the show was a Tommy Hilfiger theme park. Last week he dis-closed his plan to get aboard the consum-er-facing format for spring 2017, but hasn’t he already? The clothes ranked as third mate, behind photo ops and production razzle-dazzle.

The cutesy takes on admiral jackets, stripes, sailor pants and tops and Thir-ties-era printed silk dresses with Peter Pan and sailor collars were executed with a high level of polish — they looked expen-sive, and will not sell for cheap — yet the impression was too kitsch to navigate beyond the runway. Amusing though it was, the ride on the T.H. left some search-ing for their sea legs. — Jessica Iredale

3.1 Phillip LimTo follow Phillip Lim on social media is to know that he is a devout practitioner of mindfulness. #bepresent and #romancing-reality are his go-to hashtags. With that knowledge, his fall motto of “life as your stage” felt within his realm if it did little to illuminate the collection.

Lim set the stage with a thunderous light and sound installation, dramatizing a ward-robe that seemed to be for creative, profes-sional women who don’t want to look basic. Lim did a lot with the premise of practical sportswear, elevating simple pieces, such a neat A-line minis, shifts and boyish trousers with zingy retro plaids — micro and macro — in sour shades of green, rust and brown. The beginning of the show had a neo-rock-abilly attitude cross-pollinated with the unusual sporty Zen of quilted nylon puffers with kimono trims and flat, hardy sandals.

It was a thoughtful collection, full of left-of-center ideas that worked more often than not. Some of the best looks fused utility and romance, such as a series of Army green items, including cargo pants with patch-work-velvet panels and an oversize parka with a fur hood, slashed elbows and orange embroidery. Lim also joined in the season’s velvet renaissance, with a burnt- orange velvet suit, a fitted navy moto jacket with leather sleeves and very cool velvet booties, some of which had a contrasting silver toe. — J.I.

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Tommy Hilfiger

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Prabal Gurung Prabal Gurung’s fall show notes promised a “softening of silhouettes and an ease in shape with oversize coats and effortless knits,” and he wasted no time delivering on it. The first two looks were a snow white duffle coat with a generous white fox-fur collar over a swishy lace godet skirt, and an elongated white hand-knit sweater with crafty pew-ter stitch work over a similar base. Fairy tales were in the air, on Valentine’s Day, no less.

Gurung used Henri Rousseau’s “Woman Walking In an Exotic Forest” and Lord Byron’s “She Walks in Beauty” as reference points, possibly working off their titles alone. The collection’s pretty romance could be taken at face value, too — the narrative was a bit textbook. Gurung dressed his heroines in chaste silhouettes, such as knee-length dresses with long sleeves and high necks, then sliced them up the thigh or around the shoulders to show their modern, undone sexy side. Many of the slits and slashes were trimmed in covered buttons, another flirtation with old-school modesty. It worked well on the dresses, but not so much on the legs of tailored trousers.

During her walk in the exotic forest, Gurung’s woman must have spotted a deer. How else to explain the range of fawn-printed looks, including a calfskin and long-haired shearling vest and a leather wrap skirt? The show closed idealistically with a white gown with cutout shoulders and an embroidered chiffon train worthy of a winter bride. Pre-sumably, she lived happily ever after. — Jessica Iredale

Opening Ceremony Humberto Leon and Carol Lim looked to the future with a groovy, Space Age-y collection for Opening Ceremony. But not before making all the cool kids wait over an hour for their 8 p.m. show to start — an annoyance not even free peanuts and Tiger beer could allay. Their runway at Pier 90 featured an installation of gigan-tic space mobiles, some suspended in midair, all serving to set the tone for their galactic-themed lineup, heavy on metallic textures, graphics and hypnotic prints.

The lineup juxtaposed utilitarian work-wear staples such as black Army parkas and shearling peacoats with tons of sparkle and glitz, as in hot pink, croc-stamped velvet jackets and silver lamé pants that moved like liquid. A few sweaters and T-shirts featured illustrations from the archives of Syd Mead — the visual artist behind images of science-fiction films such as “Blade Runner” and “Star Trek: The Motion Picture” — whom Leon and Lim teamed up with for the season. The brand’s boyish straight-legged jeans — launched for pre-fall with a flattering dip waistband — are sure to be a hit, updated for fall in new washes with chrome hard-ware on the back pockets. Ditto for the effortlessly sexy mesh bodysuits and off-the-shoulder knits. — Kristi Garced

The Row Reticent design duo Ashley Olsen and Mary-Kate Olsen prefer to let their collec-tions for The Row speak for themselves. But unfussy tailored jackets and serene sportswear in a neutral palette can only say so much: Quiet, consistent, under-stated luxury. Great. End of story?

Fall silhouettes were long and loose yet lean, with two looks that bordered on statements: A lovely lavender astrakhan coat and a long coat in rich cognac leather, that was plain yet generous in propor-tion with oversize lapels, wide sleeves, a nipped waist and full skirt.

The environment in which the collec-tion was presented was more telling than the clothes about the Olsens’ seasonal mood. Their West Village showroom was redecorated to the gold standard of earthy, mid-century modern taste from a Wyeth catalogue. The vignettes of sofas, leather lounge chairs, marble-topped tables set with gold bowls, small succulents and new handbags — such as the simple rectan-gular Medicine bags in sheared beaver and lavender alligator — was so comfort-ably elegant it almost upstaged the clothes. — J.I.

Prabal Gurung

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Jeremy Scott“Cowboys and Poodles”…and outer space. And Pop Art. And cartoons. And etc. The latest campy collection from the imaginative mind of Jeremy Scott featured a mishmash of influences — most of them retro — all of them working together in an assortment of candy colors. “I was inspired by cowgirls and poodles all gussied up for a night out,” he said, “poodles” referring to Fifties girls in circle skirts.

Scott’s lineup didn’t feature those classic poodle skirts, but his guitar, musical note and telephone motifs nodded to the era’s girlish style. His sexy, all-star runway cast included Karlie Kloss, who opened and closed the show while touching her hips to demonstrate exactly how sequins changed shape on a silver and pink minidress. Elsewhere, the lineup’s Western shirts and cowhide-printed denim — styled with rhinestone-buckled belts — leaned honky-tonk. The collection featured graphics galore: from the Nineties cartoon Ren & Stimpy to Pop Art that riffed on the work of Roy Lichtenstein. It was kitsch overload, but somehow it all worked.

A few body-con Lurex knit looks were studded with giant circular beads reminis-cent of Christmas ornaments. “But how would she sit down in that?!” mused one editor in the front row. It didn’t matter much; Scott’s cowgirls seemed like the sort who’d rather be up on their feet square dancing, anyway. Most of them wore high-heeled plastic cowboy boots, a collabora-tion with Melissa. Yee-haw? — Kristi Garced Jonathan Simkhai For fall, Jonathan Simkhai explored new ways to fuse power and strength with romance — a fitting theme for his Valen-tine’s Day show. Informed by the work of Spanish neo-futuristic artist and architect Santiago Calatrava, Simkhai’s form-fitting silhouettes, which ranged from peplum and bell-sleeve tops to flouncy trumpet gowns, were all cut for a sculpted feel.

Silk fringe added a feminine flair to the collection’s monochromatic looks, which were also accented with fox fur for a touch of glamour. The intricate, embroi-dered patterns on his signature lace dresses riffed on Calatrava’s bridge design and sculpture work, characterized by the sus-pension of geometric forms with tensions and cables. — K.G.

Rosetta GettyRosetta Getty’s fall collection was an ode to the late Belgian artist Chantal Aker-man, whose experimental films explored feminist ideologies. Particularly, Getty referenced Akerman’s “Les Rendez-vous d’Anna,” her autumnal palette drawn from the colors seen in the wardrobe of the film’s lead, Anna, played by Aurore Clément.

Getty’s brand of relaxed luxury was especially rich in texture this season. Many styles riffed on men’s wear, from camel plaid wool suiting to a burgundy metal-lic jacquard smoking jacket crafted from patchwork men’s ties — a seriously chic statement on loungewear. Other daywear looks included a smart turtleneck shrug in colorful hand-crocheted baby alpaca paired with cropped cotton velvet trousers. For evening, there were fluid gowns in iridescent Lurex or structured separates in glittering bouclé. A pair of pleated black vel-vet gowns with open backs felt effortlessly sensual. — K.G.

Jeremy Scott

Jonathan Simkhai

CollectionsFall

2016

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Rosie Assoulin

Rosie AssoulinLive piano music and melting multicolor candles created a cozy ambience for the presentation of Rosie Assoulin’s fall collec-tion, which was quintessentially sophisti-cated. While there was not a specific inspi-ration behind the lineup — as the designer frankly admitted — the result could not have looked more cohesive. Everything from the daywear options, including an overall skirt in a micro-checkered pattern paired with a crisp white shirt, to the grand evening looks, reflected Assoulin’s very specific, recognizable aesthetic.

Luxurious Italian fabrics were her start-ing point. Assoulin used a textured gauze for an asymmetric ruffled skirt paired with a halter-neck top with a delicate pleat at the shoulder, and fluid silk jacquard for a pajamalike suit trimmed with eco-fur for an upscale lounge effect. A patent leather-like look was created with coated Neoprene cut into a trench worn over an allover mosaic sequin top and pleated pants in a men’s wear-inspired fabric.

The designer also introduced adjustable features on certain looks, offering women the chance to customize their outfits — by modifying the size of the sensual cutouts on a long-sleeve column dress, for example. She also seamlessly worked a bit of glamour and bling into the collection as lucky charm-like Swarovski micro details embroidered on a fluid dress topped by a faux-shearling coat, as well as on a shirt layered under a clean-lined overall. — Alessandra Turra

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Brooks Brothers If the cool, young downtown crowd that packed the studio where Zac Posen showed his fall collection for Brooks Brothers is any indication of his potential clientele, the designer should be thrilled. “I want to bring in new customers and keep those we already have,” he said.

This season, that seems totally doable. For one thing, Posen gave the brand eveningwear for the first time in its history. His take on the tuxedo, with cropped pants and a crisp short jacket; an ankle-grazing gray cashmere cardigan over a matching T-shirt dress; and a long, cowl-necked velvet sheath all hit just the right pitch for Posen’s evening overture.

For his Posen-informed classics, he showed great camel cashmere pieces, such as a loose, short-sleeved top and lean calf-length skirt, and gently tailored coats. “I wanted to move slightly away from the body; cut easier shapes,” said Posen, whose latest suit look paired full, cropped pants and a softly tailored jacket.

Posen clearly respects Brooks Brothers’ men’s wear core while giving its women’s offering his own brand of chic. — B.Q.

Lela Rose Lela Rose knows how to infuse her lady-like signature looks with lots of charm and verve. She did it for fall with her indigo shirtwaist and peplum dresses as well as a button-front version in a black-and-ox-blood vine jacquard. Her devil-may-care streak was also evident in the way she played with color and texture combos — as in a pink, sheared mohair coat over a flared indigo speckled wool dress or pantsuit.

Rose showed some sharp sportswear, too, notably a moss wool turtleneck with a metallic, quill embroidered pencil skirt and a fawn cable pullover and brushed wool pants. And she saved her lightest touch for the collection’s gowns, giving them a younger-than-usual appeal. No easy task. Two of the best: the flowing, black-and-white optic organza ankle-grazer, and the navy-and-ice-blue embroi-dered silk gown with a shaped waist. — B.Q. Ji OhA wall of decayed doors served as the backdrop at Ji Oh’s fall presentation, the raw set providing ample contrast with her optimistic lineup. “I was thinking about how people have ups and downs, how city girls have to stay strong no matter how they feel or what’s happening around them,” she said. Perhaps the yellow stripes on her navy wool oversize tops and the yellow fur pockets on her shirts were sym-bolic: light amid darkness.

But the true bright spots in her lineup were the long, asymmetric ribbed knits worn ultracasually with extra-long sleeves, as well as a cardigan-robe hybrid pinned with a cool safety pink hardware detail. Oh likes her textures, so this season she employed faux furs in unexpected ways, such as a detail on a cool off-the-shoulder top and as a tunic-tank over a shirt. Another highlight: a great baggy shearling jacket and a bright yellow mohair belted coat — which hopefully also comes in a dark color for when we’re feeling blue. — Mayte Allende

Ji Oh

Brooks Brothers

Lela Rose

Yeohlee

YeohleeFor fall, Yeohlee Teng brought back two important things for her Yeohlee label: a strong showing of coats, which had often been her signature, and a collection of 14 disparate pieces that still felt like a collection.

Teng is a designer who continues to sur-prise with her seemingly endless new ways of cutting and detailing her clothes. This season that included a taupe wool and angora coat with navy inset side panels that moved seamlessly into large front squares, shown over a crisp white shirt and black-and-gray sarong. Teng also showed her coats over cropped pants or cleverly constructed dresses.

Yet it was the sarong that she played with quite effectively, turning it upside down for a subtle bubble effect or cutting it as a swingy, black-and-gray wool dress with a tie near the hem. Her lineup also included terrific coats with curved backs that move into capelike sleeves and a rakish tuxedo with a cropped front and long tail, worn over flannel tuxedo pants. This small collection beautifully telegraphed Teng’s multifaceted big ideas. — Bobbi Queen

CollectionsFall

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Sally LaPointe Forget a theme — fall at Sally LaPointe was all about attitude. Evoking a fearless, nonconformist spirit, the designer took cues from American photographer Sally Mann, who’s been known to defend her work from critics. That sense of self-assurance translated well into LaPointe’s strong, seductive lineup. “We’re hitting our stride,” she said. “Knowing what our signatures are as a young designer label — and elaborat-ing on that — feels really good.”

As for those signatures, LaPointe knows what her girl wants: creamy, lux-urious knits; decadent outerwear and an edgy, unexpected take on eveningwear. This season, she delivered all of it with a hint of dark glamour, underscored by the show’s moody soundtrack, cour-tesy of Nick Cave and the Bad Seeds. The sophisticated lineup showcased a melange of rich textures — and tons of fur — with some looks featuring a luxu-rious mix, as in a cognac leather and fox fur jacket with matching suede para-chute pants. Other standouts included metallic patterned jacquard suiting and a skirt covered in sequins and ostrich feathers. — Kristi Garced

Edun Danielle Sherman was inspired by Sharon Beals’ pictures of the nests wild birds build using leaves, twigs, bottle caps and buttons — the idea of sourcing a variety of materials — to create her fall collection for Edun. She opened her show with two asymmetric slip-dresses crafted from a patchwork of fabrics, and sewed vintage buttons on a checkered jacket with a shawl neck, its waist cinched with a chain belt to create an hourglass silhouette. Multicolor buttons were also printed on a range of pieces, from a feminine silk slipdress to a sporty puffer worn with matching pants.

Sherman’s a-little-bit-of-this, a-little-bit-of-that approach was also evident in her silhouettes — which ranged from a chic retro ribbed sweater worn with a velour high-waisted midi skirt to an urban cool corduroy zippered jacket paired with wide-legged cuffed pants. These didn’t blend seamlessly, leaving the collection looking a bit non-cohesive. However, a fringed slipdress and a coat, both crafted from South African mohair tweed, had a charming artisanal appeal, and the last group of dresses and suits in devoré velvet with an alphabet pattern created by artist Wosene Worke Kosrof looked impeccably elegant. — Alessandra Turra

J. Crew The mood was happy at J. Crew as Somsack Sikhounmuong, who was named women’s designer in mid-2015, turned out a colorful, feminine col-lection for fall. “I was inspired by pretty and what does pretty mean — pink, ruffles and silk scarves,” said the designer.

And there was pink aplenty — from outerwear to knits to skirts. The lineup was full of prints and patterns inspired by Italian interiors, most notably a tile-print pantsuit. But this is J. Crew, after all. To offset all the sweetness there were nods to maritime and men’s wear mixed in as well: a shrunken maritime coat atop a striped top and scarf-print flounce skirt, a trench paired with a delicate embroidered skirt, and a tailored blazer worn with a floral- and bird-print pajama ensemble.

In the men’s collection, staying close to familiar territory paid off. “We’re taking our traditional styles and updat-ing them with new proportions and textures,” said designer Frank Muytjens. This theory worked well in a rich alpaca sweater over double-pleated tweed pants and a patchwork silk neck scarf. Other successful plays on texture included an oversize deconstructed herringbone top coat worn with rolled-up brown corduroy baggy pants for a vintage feel. The use of pajama references and a few athletic touches only helped reinforce the idea that the J. Crew man has only leisure activ-ities on his mind — but who can blame him? — Antonia Sardone and Alex Badia

J. Crew

Edun

J. Crew

Sally LaPointe

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Kaelen Kaelen Haworth has plenty of reasons to celebrate: The young designer is just about ready to give birth and she pre-sented a charming fall 2016 Kaelen collec-tion. The concept originated with a wool crepe floral print — Haworth wanted to take the romance of the pattern and reinterpret it in a new way, she said.  “It’s romantic, sporty and punk, with graphic elements that tie it all together,” she noted.

Somehow the mash-up worked in a cool yet feminine way — florals are not too precious on a wool crepe slipdress worn over check wide-leg pants. Out-erwear was strong, with bold statement coats that ranged from an oversize plaid-check trench to a floral double-breasted blazer. Other key looks included a striped shirtdress with bell sleeves and a pleated lamé floral midi gown. — Antonia Sardone

Christian Siriano Rather paradoxically, Christian Siria-no’s fall collection reflected a stronger, more confident hand and a lighter, easier touch. He was taken with Sheila Hicks’ “The Art of the Yarn” exhibit and, in that spirit, showed lots of cable-knit dresses as well as an amusing collection of cable-knit-printed ball skirts, tiered dresses and turtlenecks — most in gray or yellow.Siriano was at his best with his simplest, unfettered fare: a pale gray cashmere belted wrap coat with wide trousers; a charming gray crochet-lace mini dress; and an unadorned red chiffon gown. So it was curious to see so many oversize flounces, tiers and winged sleeves — not to mention the tuxedo jacket with a long back tail and just one sleeve. Why? — Bobbi Queen

Scotch & Soda For its debut at New York Fashion Week, Scotch & Soda hosted a presentation featuring astronomic maps projected on the ceiling, movie shorts, and live musical performances. Creative director Marlou van Engelen infused the women’s and men’s collections with a youthful mood that reflected free-spirited references, from folk to bohemian.

The eclectic women’s lineup included cozy blanketlike coats and ponchos worked in vivid tones, striped sweaters, and hippie-ish embroidered tops and vests. Flowers blossomed on relaxed suits, as well as on maxi dresses with soft bows at the neck and on a pair of glamor-ous allover sequin wide-leg pants.

For men, the nomadic inspirations blended well, from a folkloric handmade colorful poncho to a quilted Japanese-in-spired kimono and cargo pants with floral embroidery details. Today’s globetrotter fashionista will feel right at home in this well-executed collection. — Alessandra Turra and Alex BadiaPh

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Cushnie et OchsBackstage before their fall show, wearing a couple of looks from their collection that didn’t make the runway cut, Carly Cushnie and Michelle Ochs discussed the season’s muse: 1920s actress Louise Brooks. “We imagined her going on this traveling circus tour,” Cushnie said.

In their glamorous lineup, which trans-lated to a modern take on Roaring Twen-ties-era style — stripes, ruffles and flapper fringe all were offered with a seductive wink. In addition to the duo’s signature stretch viscose cutout gowns and tuxedo suiting, of which there were plenty, Cush-nie and Ochs imbued their lineup with fluidity via bias-cut gowns in champagne, navy and ruby-red silk and velvet. A bold ruffled minidress in black patent leather conveyed the rebellious modernity that defines Brooks’ legacy. — Kristi Garced

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“I love it in here,” a black-lipsticked woman said, entering 88 Palace on Sunday night. “Is it just me or does this make you want to have some dim sum?”

The Chinese banquet hall installed under the rattling Manhattan Bridge where, yes, dim sum is normally carted around, was the site for Opening Ceremony’s post-show party and it was a venue that made total sense. Humberto Leon and Carol Lim always pick a spot like this — one in the depths of Chinatown that is tinged with the brand’s particular strain of Pan-Asian kook. This restaurant — all kitschy paper lanterns, gold banisters and worn damask carpeting — was just right. A little past midnight, the room — suffused with brash fluorescent light — was littered with hipsters getting wasted off of bottled beer. Celebrity OC devotees (Rosario Dawson et al) also made it out.

“It’s one of those places that proves you’re a true New Yorker; you only discover it if you’ve lived here long enough. It’s a random, amazing secret spot,” Leon said of the venue, surveying the room. “And it’s perfect for a down-and-dirty party.” —TAYLOR HARRIS

Opening Ceremony’s Postshow Party Rosario Dawson and Charli XCX toasted designers Humberto Leon and Carol Lim on Sunday night.

Not SocialAt a time when designers are re-ex-amining the traditional show format in order to generate immediate engage-ment with consumers, MSGM creative director Massimo Giorgetti is going his own way.

This season Giorgetti will ask press and buyers attending his women’s runway show on Feb. 28 during Milan Fashion Week to not post images on social networks. “Put back your phone and enjoy the show,” says the invite the brand is about to send out.

“I also promise to not post images of the show until the summer, when the collection will start hitting stores,” Gior-getti said. “It’s been hard to make this decision but I really don’t understand anymore how social media are actually influencing this business. I think that by posting all those images with fittings, castings, etc. — which for us are familiar things, — we are really making feel cus-tomers confused. They don’t actually really know how this world works. I’m totally confused… A few days ago I was at La Rinascente [Milan’s department store] and I saw a dress in the MSGM corner which I’ve never seen on social media or in editorials and I realized I had totally forgotten about that…I mean, I designed that. This shouldn’t happen.”

Giorgetti also said his decision might not be permanent. “I think it’s the right moment to take a step back from over-exposure. It’s the moment to support more retailers, online stores and print publications. If everything is out there immediately, people lose interest and everything looks so old in a second. In addition, I think that asking press and buyers to not post from the show, they might watch the clothes with their eyes not through a screen, which is some-thing good.” — ALESSANDRA TURRA

Amazon’s Private-Label PushAmazon.com Inc., already a scourge to brick-and-mortar retailers, appears to

be well on its way to vexing the next link in the apparel supply chain: the brands. The Seattle-based e-commerce giant has been putting out calls for apparel veterans to staff its Amazon Fashion Private Label team. One job listing that went up Friday said the company was looking for “an entrepreneurial, analytical and highly motivated [senior] sourcing manager to join our team to launch new high-quality products for our global customers.”

That’s a change in tack for the company, which in fashion has been more of a platform for other brands to sell their goods. If Amazon gets private label right and customers take to it, the effort could upend the business model of stores that surround their branded offerings with similar versions from their own lines, which yield a bigger chunk of profit margin. — EVAN CLARK

The Buzz on BethBeth Ditto has launched her first stand-alone plus-size collection, funded by Ditto herself, whose other title is creative director.

The 34-year-old singer’s range was revealed in December during the launch of a limited-edition T-shirt created by Ditto’s close friend Jean Paul Gaultier.

The 11-piece ethical collection was created in New York and will be available in U.S. sizes 14 to 28. She told WWD in December that her line was “inspired by her love of vintage.” The collection includes vintage-detail dresses, tailored pencil skirts, leggings, silk bubble dresses, and hand-embroidered denim jackets.

The price range is from 46 pounds, or $66 at current exchange, for a T-shirt to 300 pounds, or $433, for a silk jumpsuit. The collection is available for purchase on bethditto.com and in Selfridges in the U.K.

The campaign was photographed by Ezra Petronio and styled by Love Maga-zine’s Katie Grand. The advertisements feature plus-size models Barbie Ferreria and Philomena Kwao wearing Ditto’s graphic jumpsuits, dresses and blouses.

“I wanted to make pieces to last years,” she said. “Beyond trends, beyond chain stores. I wanted to create some-thing all its own, something just for us, made with love and consideration. Made

ethically in the USA as a small company with no big corporate input. Uncompro-mising, unapologetic, and timeless. Go-to pieces designed to last. A movement by us, for us.”

The Arkansas-born native walked in the Marc Jacobs show in September. She has performed at the Versus show in 2012 and appeared in Gaultier’s catwalk show in 2010. — LORELEI MARFIL

Team GigiTommy Hilfiger’s Monday morning was a Gigi Hadid party from start to finish. Not only did the model open and close the show, she also walked once more in the middle, making that three struts down Hilfiger’s nautical runway. Hadid, who was recently named an ambas-sador for the brand, was surrounded by other “It” models, including Hailey Baldwin, Martha Hunt, Taylor Hill, Binx Walton and Stella Maxwell, and further proved her “It” status by drawing a front row of, well, “It” girls.

Seated in a row of benches onboard Tommy’s makeshift wooden yacht deck were Kate Foley, Hannah Bronfman, Har-ley Viera-Newton, Langley Fox Heming-way, Jourdan Dunn, Tali Lennox, Chelsea Leyland and Olivia Palermo.

It was also a family affair, as Hadid’s mother Yolanda Foster and brother An-war Hadid sat across from the “It” crowd to watch Gigi on the runway. “I’m excited to see all the girls, I’m excited to see the whole collection,” said a Hilfiger-clad Foster. “I’m so impressed by this. As everybody knows, I’ve been in bed for almost four years and just to get out and see this is like wow, this is huge! I went to one show before, to Gigi’s Victoria’s Secret show, but this is impressive.”

As was revealed in December, Hadid is collaborating on a capsule collection with Hilfiger. “It’s amazing. I saw a couple of pieces yesterday and they look amazing, like when I saw it I was like, ‘oh my god — so Gigi, so Tommy, togeth-erness of two extraordinary people,’” Foster said.

Though she hasn’t been front row for many of her daughter’s shows, she has yet to miss one. “I live-stream, I watch every show she’s done and every time I cry,” she said, “So I hope today I’m not going to cry.” — LEIGH NORDSTROM

Fashion ScoopsA look from Beth Ditto’s

clothing range.

Massimo Giorgetti

Langley Fox Hemingway and Harley Viera-Newton

Humberto Leon Molly Bair

TK Wonder and Cipriana Quann Adam SelmanRosario Dawson

Atlanta de Cadenet Taylor