Fashion and Style combined with Polyvore sets
While most designers have gone for a 1970s look and feel to their Spring/Summer collections thus far, designer Donna Karan has shown that she marches to the beat of a different drummer this season. Forgoing the same 1970s look and feel, Karan instead opted to go for a 1940s – 1980s aesthete; not sticking to one decade, but a range of decades. While sticking to a range of decades is difficult, if not challenging, it can work out in your favor if you, in the words of Tim Gunn of “Project Runway” fame, make it work. As opposed to the run-of-the-mill shapeless, baggy, boxy, and loose silhouettes that have dominated the runways these past few seasons, Donna Karan New York’s latest and greatest collection chose to take a different route by showcasing various silhouettes from form fitting the female figure to an exaggerated boxy silhouette. The designers who have hit the runway over the last 4 days have been all about cohesion, which is good when it comes to a collection, but that cohesion often comes at the expense of keeping the same old silhouettes, whilst trying too hard to make it stand out one way or another.
When you get too comfortable with presenting a mostly shapless, boxy silhouette in your collection in the name of cohesion, it’s likely that the reviews you may get will all be mentioning a possible inability to try out new silhouettes in order to change things up. The only time one should keep something as is is if one has one piece, look, or accessory that immediately develops a cult following with fans, buyers, and reviewers alike, a signature item, if you will. Don’t be afraid of going outside of the box, for if you make it work, the end result will likely be a favorable one.
Armed with a color palette of red, black, white, nude, blue, tan, and champagne, Karan’s latest collection proved to be a standout with her take on what I consider to be a mash up of the 1940s-1980s. One thing that stood out to me almost immediately was the exaggerated shape and size of the hats worn by the models in look 5, look 17, look 23, look 32, look 33, look 40, look 42, and look 44. If ever there were a standout or statement piece in this collection, these hats would be the reigning champs. Tweed skirt suits were present in the collection, one of the suits featured a cropped jacket with a fringed trim. Speaking of fringe, there was one pencil skirt that had beaded fringe trim near the bottom half of the skirt.
Bangle bracelets were seen, one of them being a spiked bangle, while the other were rounded squares that are stackable enough to make one think that it’s one bangle in 3-D shape/form. As far as I’ve been able to tell, there were some looks that really stood out to me, and this is in a good way. Looks #5, #17, #23, #25, #26, #32, #33, #34, #35, and #40 all stood out to me, primarily through means of fabric manipulation and drapery, Look # 35 was an exquisite example of drapery being turned into a work of art, and this dress emphasizes the art form that is drapery and fabric manipulation. Ruffles were added to a pencil skirt and one of the floor-length mermaid skirts. Sheer fabrics, taffeta, and fabrics with abstract prints were dominant, although there were other types of fabrics used. The sheer fabric was used for the bottom flared skirt in Look #41, three dresses in looks #14, #15, and #43 as well as the hats won in the looks I mentioned above. High waisted pedal pushers made a grand debut , and shirt dresses followed suit.
A new trend that has been spotted on previous runway shows over the past week, which happens to be none other than culottes, made its way to Donna Karan’s runway show. Within all of the slit skirts and asymmetrical hems, there were a few a-line skirts, along with some puff sleeves in many of the tops and dresses. Look #20 strutted out in a dress that would surely start a disco inferno anywhere had this been worn in the 1970s- early 1980s with its liquid like look and feel in the fabric used, and the draped cowl neckline would be the piece de resistance. The fabrics with the abstract prints looked as if they’ve been lifted from the modern art section of The Metropolitan Museum of Art/or even street art that covers (or covered) every sort of structure in the city. A strong Jean-Michel Basquiat influence was detected when I saw some of the printed fabrics and belts. Overall, I would describe the collection as being modern art meets Eichler feel accented by graffiti and surreal cubism.
I loved this collection! My favorite looks would have to be #1, #2, #3, #4, #5, #6, #8, #9, #11, #12, #13, #14, #15, #17, #18, #19, #20, #21, #22, #23, #24, #25, #27, #28, #29, #30, #31, #32, #33, #34, #35, #37, #38, #40, #41, #42, #43, and #44. That was most of the collection there, and that in itself tells you just how much I loved this collection!