|Versus Hires Jonathan Anderson
November 29th, 2012 @ 11:04 AM
Cacharel Unveils New CEO, in Major Corporate Revamp
November 21st, 2012 @ 00:56 AM
Kane Drops Out of Versus in Major Shake-up
November 20th, 2012 @ 10:14 AM
Pucci’s Madison Avenue Store Debuts Massive Expansion
November 16th, 2012 @ 00:35 AM
Ghesquière Departs Balenciaga in Major Surprise
November 05th, 2012 @ 00:43 AM
Sao Paulo Fashion Week: Between Optimism and Fear
November 02nd, 2012 @ 00:28 AM
London Unveils Men’s Season Schedule
November 01st, 2012 @ 00:36 AM
Azzaro Releases Castello Branco
October 25th, 2012 @ 00:18 AM
Revenue Soars 22 Percent at LVMH in First Three Quarters
October 16th, 2012 @ 00:18 AM
Rykiel Names Geraldo da Conceicao Artistic Director
September 21st, 2012 @ 8:12 PM
Brazil’s New London Pop-Up
September 21st, 2012 @ 7:20 PM
McQueen Men Returning Home to London
September 12th, 2012 @ 7:19 PM
Roitfeld, Mum and Son, Open in Brazil
September 07th, 2012 @ 00:54 AM
Berluti Opens to Big-Time Business in London
September 06th, 2012 @ 3:27 PM
Stefano Pilati Back with a Bang at Zegna
September 05th, 2012 @ 7:10 PM
Hugo Boss Wows in Berlin, Plans for New York
July 06th, 2012 @ 00:17 AM
Salvatore Ferragamo: Crusin’ the Louvre
June 13th, 2012 @ 11:04 AM
Michel Klein Gains New Backer; Launches Sunglass Collection
June 13th, 2012 @ 00:48 AM
Sykes Jettisoned by Aquascutum; Maurer In at Rabanne
June 06th, 2012 @ 00:18 AM
Armani Conquers China, Chastises the Pope
June 01st, 2012 @ 11:53 AM
Vera Wang: Thrill, Rather Than Kill Bill
September 14th, 2010 @ 1:55 PM - New York
One got a masculine meets feminine moment, a crossroads of pinstripes and sheer chiffon at Vera Wang this season when the designer presented her spring 2011 collection Tuesday, Sept. 14, on models that looked like modern day damsels, thought not remotely in distress.
In her program notes, Wang explained that she drew her “emotional and creative inspiration” from Quentin Tarantino’s “Kill Bill” in a show that was a “fusion of East meets West.” Yet, though the characters on her runway had the gutsy authority of that film’s heroine, they also suggested a far more romantic allure, especially with their Napoleonic courtesans’ twirling bouffant haircuts.
Throughout, Wang mixed eras and genders – like cutaway padded biker jackets worn with girly asymmetric bloomers, or gauzy athletic T-shirts over gentlemanly banker’s stripe pants, albeit cut with twisted sumo wrestler belt fronts.
The designer mixed lots of Asian motifs into the mix, whether Obi belts, Chinese wrap peasant pants, kimono blouses or Geisha gal dresses – generally in a dark palette of plum, stone, charcoal and chartreuse. And, despite a distinctly arty attitude – like hyper ruched skirts, or vests with vertical tentacles that rose theatrically to the neck – the clothes always had just the right soupcon of steely street style.
Not all her ideas worked - finishing several dresses with mini chiffon trains looked pretentious. But overall this was a fine statement of audacious modernism, and a timely reminder of how Wang can keep cleverly revamping her signature DNA with a certain classy aplomb.
Quite why Wang has not a far greater reputation remains something of a mystery. Her collections are pretty consistently among the best in every New York season, and visiting Europeans frequently give her the ultimate, albeit slightly backhanded imprimatur, of saying her collections would go down a treat on catwalks in Milan or Paris. And, to be clear, at least amongst themselves, they say that about rather few New York designers.