Style / Insights

Spring Trend: Patterned Denim

Rag & Bone takes denim to an abstract level.

February 28, 2012

These Rag & Bone Goetz leggings ($253), seen here on model Andie Arthur (snapped by fashion blogger Vanessa Jackman), are the perfect example of spring's patterned denim trend. Rag & Bone, 119 Mercer Street.

—Jessica Ferri


Colorful Kicks by Lacoste L!VE

Lacoste designs stylish spring/summer sneaks for the boat, the beach, or the street.

February 27, 2012

In March, Lacoste will release its spring/summer 2012 collection of kicks for sister-line Lacoste L!VE. As you can see from the preview images, the color of these shoes really pop, making them perfect for the Hamptons—so stock up. The line will be available at Lacoste boutiques and wherever Lacoste is sold. 134 Prince St., 212-226-5019

—Jessica Ferri


Dispatch: The Fall Fashion Week That Was, Volume III

In the final days of fall 2012 New York Fashion Week, a model took an epic fall, Marc Jacobs stole everyone’s thunder, and the stars came flooding in.

February 23, 2012

Marc Jacobs

Day Five
Dita Von Teese sat front row at the Jenny Packham show on Monday (9 AM, Studio) and it was fab casting. “I guess I picked the two shows that were really me. This and Zac Posen were definitely clothes I wanted,” Von Teese told Dispatches. Packham did demure 1940s style, also a theme this season, with updated silhouettes, slim waists, and big shoulders. A sparkling black number with gold seemingly sprayed on the shoulders was a standout.

Donna Karan (2 PM, Chelsea) showed a sophisticated vintage turn-of-the-century female cross-dressing theme. Just when you think all of Karan’s clothes have a particular look, she flips the switch. The show was about coats cut with peplums, tall, stiff collars, and tiny masculine hats. Every element was beautifully executed. A tardy Rose McGowan and Karan’s insistence on having a Whitney Houston song close the show resulted in a slow start, though.                

Designer Betsey Johnson’s show (6 PM, Theatre) was more put together than usual. The clothes recalled Johnson as a young hipster, with big glasses and low hats. She showed punchy plaids with much color and flowery prints. When Johnson goes back to her roots—groovy and not granny—she’s a force to be reckoned with. Edie Sedgwick was her contemporary, and that came through in this collection.        

The most spectacular setting of the week was Rachel Feinstein’s Gaudí-esque castle for Marc Jacobs (8 PM) at the massive 26th Street Armory. Filing onto an undulating runway, models walked to the beat of a continuous "Who Will Buy?" loop from the musical Oliver. They wore oversize Dickensian clothes with giant scarves and hats by milliner Stephen Jones. Jacobs’ girls could have been waifs plucked from the streets of London during the Industrial Revolution—only, the most elegant waifs one could imagine. It was a gem of imagination. Jacobs made it look easy, but Feinstein told me that she had 170 workmen at her disposal to make her set happen. MoMA should put this set on display.  

  A look by Jenny Packham

Day Six
Tuesday, nearly every last editor and society pal of Tory Burch (9 AM, Alice Tully Hall) woke up early to see her elegant runway show. The catwalk was covered with a pale blue runner that would have looked at home in a Park Avenue foyer. Burch did beautiful camel-colored suits with black and lace accents. Her twist on uptown style is one that would work anywhere from Milan to Hong Kong. A blue sequined plaid skirt paired with a plaid wool jacket was a favorite.  
Joan Rivers swept into the Badgley Mischka (10 AM, Theatre) front row with a full film crew and plunked herself down next to Kelly Osbourne. (Osbourne later told me they talked Oscar dresses throughout the show.) Beyoncé’s stylist, Ty Hunter, was there and said that as many as seven gowns would work for the new mom. It is a season of sparkle, gold, shimmer, and black beading, and that is Badgley Mischka country. But the inspiration of the Badgley Mischka show was the massive teased-out hair. The big, blonde frizz made the big, bold dresses look tame by comparison. By the way, Kate and Rooney Mara have a cousin who works at Badgley Mischka.  

Backstage at Diesel Black Gold (1 PM, Pier 57), designer and founder Renzo Rosso gave me a preview of the collection. “Always sexy and modern and rock-and-roll,” he said. “We hand-painted the denim and then cracked the paint on the denim on purpose. I went by yesterday,” said Chelsea Tyler, who was wearing head-to-toe Diesel and who looks just like her dad, Steven Tyler. “I’ve always thought of Diesel as leather jackets and jeans, and then I saw the fancy dresses," chimed in Emmy Rossum.

The work of Naeem Khan (2 PM, Theatre), too, matches the sparkle of the season. Backstage, Khan talked about the dust of India and regal paisleys. But on the runway, it was big black-and-white patterns, flouncy black skirts, and beaded dresses that looked ethnic and haute. His sheer was clear; the black shimmered like liquid. One glittering silver pantsuit was heaven. Khan does beading and bold like no other. The Help’s Ahna O’Reilly was also wowed and went backstage after the show to meet the designer.

At Dennis Basso (3 PM, Stage) fluorescent furs brought smiles. The front row was peopled with tony gals, such as Joan Rivers, Star Jones, and Susan Lucci. Whether you’re for or against fur, Basso does it beautifully, and he sent out the occasional demure dress to augment. But, as if to add a pinch of drama at the end, one model in a trailing orange dress fell hard on the runway. Then she bravely walked back out a few moments later with the rest of the gals to recap the show, and the crowd cheered. But then she fell hard again near the end of the runway. Double ouch.    

Day Seven
Wednesday morning, Michael Kors (10 AM, Theatre) hosted a spectacular front row: Jessica Alba, Amber Heard, Anjelica Huston. Kors said his vision was more après ski than slope style. Kors showed big furs, roomy sweaters, buffalo check prints, and dresses with lots of sparkle.      

An hour later, Stanley Tucci was standing with Emily Blunt’s sister, Felicity, in the front row of Nanette Lepore (11 AM, Stage). Blunt had on a blinding diamond engagement ring given to her by Tucci. And she sounds exactly like Emily. “I was born first, so she definitely ripped me off," said the Brit literary agent. Kristin Chenoweth presumed that she’d likely get to keep the dress she had on, which had been altered down to her exceedingly petite size. “I mean, who is going to wear it now besides a child?” she asked. On the runway, Lepore did a stellar job of reviving psychedelic ’60s patterns that we’d never seen before but had likely dreamt of while tripping. The inspired designer did sheer with chic beaded overlays. Everything she makes appears so cool and affordable.   

  Emma Stone and Rooney Mara at Calvin Klein

Joe Jonas was perched in the front row at friend Jeremy Scott’s show (1 PM, Milk Studio). Scott did bright Bart Simpson faces on oversize sweaters; some models had on multicolor wigs. After the show, Jonas, who said he loved The Simpsons reference, was not so sure what he could wear, but he believed that Scott might design something custom. The front row, meanwhile, got Scott’s multicolor computer keyboard print on a gifted oversize handbag.     
Over at The Plaza Hotel, Marchesa (5 PM) offered up yet another fairy-tale wedding of a show. I noted cascading tulle, dreamy sprays of sequins, much shimmer, and big satiny skirts. Technically an uninvited guest, I watched from a hallway, through a window, and was still wowed beyond words. The enormous, beautiful dresses threading through the rows of gold ballroom chairs were inspirational. Each looked like a museum piece. Stacey Keibler, in red lace, told me she was Oscar shopping.  

Day Eight
Lastly, on Thursday, Francisco Costa showed his Calvin Klein women’s collection (3 PM) on West 39th Street. Rumors that Occupy Wall Street protesters were going to show up turned out to be false. Backstage, Anna Wintour popped out from behind a curtain and surprised Emma Stone, bussing her on both cheeks. Stone’s jaw literally dropped. Rooney Mara, also backstage, had black netting at her shoulders, and her hair was drawn back in a loose bun. Her black dress matched her jet-black hair.

The inspiration for the collection? “An exhibition called “Under the Big Black Sun.” “California art from 1974 to 1981. The punk spirit is really great. There is an artisan feel to it,” said Costa. The styling of the show, short black hair with bangs, was apparently a nod to Mara. “She looks utterly modern in everything she wears, because she never goes over the top with embellishment,” Mary Alice Stephenson said of Mara after the show. “She never lets it wear her.” From the loud drumbeat soundtrack to the beauties in the front row, including supermodel Lara Stone, the show contained drama and a simple elegance that continues to haunt.

—Jeffrey Slonim


Dispatch: The Fall Fashion Week That Was, Volume II

The weekend shows at Fall 2012 New York Fashion Week were heavy with military looks, maroon hues, and equestrian trends.

February 23, 2012

A look by Jill Stuart  

Day Three
On Saturday, Dispatches began the morning at Lacoste (10 AM), where Kellan Lutz was visibly disappointed with his seat, which was in front of a giant plastic snow machine. However, the machine, and the real snow falling outside of the Theatre at Lincoln Center, gave the clean, wintry show a seasonal feel. Lacoste had a hip European collegiate look going. The clothes were tight for winter and appeared warm. Dresses had zippers with ring pulls, an aprés-1970s ski update.

At Jill Stuart (11 AM, Stage) the show kicked off with oversize coats. “It’s always great, always very different,” said Twilight actress and front row guest Nikki Reed on Stuart’s work. The designer’s collection mixed maroon, velvet, dark brocade and floral prints, and sheer stripes and lace.

Over at the IAC building, Zoe Saldana, clad in iridescent floral pants and an aqua blazer, sat front row at Prabal Gurung (2 PM). As the collection emerged, the clothes showed an effortless edge and futurism. He sent hats down the runway that were fit for a cardinal, only black. He did sci-fi patterns mixed with leather and fur. There were sheer cut-outs, and the vision was like no other. Gurung hit it out of the park.  

Moments later, I was backstage at Hervé Léger (3 PM, Stage) catching up with supermodel Camila Alves. “The thing that I love about Hervé Léger," she mentioned, “is how it fits the body of a woman.” No kidding, these bandage dresses hug and tug. Designers Max and Lubov Azria took the dresses one step further this season, adding sexy leather harnesses that had Hermés-quality straps and buckles. The appeal was basically S&M for the boardroom. In the front of the house, Kristin Chenoweth called Max “adorable” and then started speaking in French.
Christian Siriano (4 PM, Theatre) began his show in an unexpectedly demure fashion, with an off-white jacket over an oatmeal dress. He later sent out a big tulle skirt with a leather jacket and a Harvard crimson number. He claimed that he was inspired by the 1930s film The Vampire Bat

Much like Tadashi Shoji and Jason Wu, Monique Lhuillier (7 PM, Theatre) offered up a Shanghai-in-the-1920s feel. And she did so with fiery orange leather looks and a likewise orange lava print that Ty Hunter, Beyoncé’s stylist, went wild for. There was also a tall, voluminous red dress that had Oscars written all over it. And she ended the show with sparkle and shimmer. This diminutive French designer has big ideas and superb execution. 

Day Four     
Sunday morning, I brought a friend’s son who is interested in fashion to Lela Rose (11 AM, Studio). I gave him my seat and stood with his father in the standing section. After the show, Brad Goreski was super-nice to the kid. (I think he was reminded of himself at that age. He later thanked me for bringing the kid along.) Rose showed gray and black stripes, patterns on patterns, and a slew of sexy cocktail dresses with sparkling flourishes. She has a keen eye for uptown style.  
At Tracy Reese (2 PM, Studio) there were fun prints paired with big glasses, big sweaters, and riding helmets. Her shows are always styled beautifully. I noted orange and gold, fur shoulders, and the rust color that has also been big this season. Her oversize purple pattern on one camel-colored dress was heaven. 

  A look by Tommy Hilfiger and Peter Som

Dispatches then checked out the Skaist-Taylor presentation (2:30 PM) in the Lincoln Center basement garage. Okay, the jaded fashion set was simply expecting car exhaust, but the women who brought us Juicy Couture (and sold the line) are now doing the rich hippie clothes that they wear themselves. Models wore wide-brim hats and long coats with fur trim. In the background, TV screens showed models running through redwood forests. “We are total Californians,” said Pamela Skaist-Levy. “We wanted to bring car culture to New York City. And the redwood forest. And nature. And everything we love. We’re super-eclectic,” she said, with large gold rings on every finger.  

Dispatches returned to the Park Avenue Armory for Tommy Hilfiger’s women’s show (8 PM). This time designer Peter Som was offering Hilifger an assist. Still, there was a fascinating congruence between the men’s and women’s shows, which took place in the same re-created indoor park.

The Som-Hilfiger vision was even more military-inspired. We could feel the drum beat of a military academy as we enjoyed the crimson, yellow-gold and army green coats and dresses on the runway. And there were riding notes, like vintage Gucci-style patterns. Hilfiger has a vision that works. Few designers can show so grandly and still deliver such a clear point of view. I noted long, double-breasted jackets with military collars paired with skirts. Those looks will make women rethink horsey clothes at the back of their closets.

—Jeffrey Slonim


Dispatch: The Fall Fashion Week That Was, Volume I

A wrap report on the trends, the stars, and the moments that made us laugh during day one and two of fall 2012 New York Fashion Week.

February 22, 2012

Debbie Phelps and son Michael Phelps at Heart Truth  

Dispatches feels a bit weak after eight straight days of hourly fashion shows, but will now wend back through my notebooks, penned in dark, tented rooms with throbbing music, to recall a few fun moments.  

Heart Truth
Fashion Week began with The Heart Truth Red Dress Collection on Wednesday (February 8) evening at The Hammerstein Ballroom.

“He’s a great son,” Debbie Phelps, told Dispatches backstage before the show. Later, her son, six-time Olympic gold medalist swimmer Michael Phelps, stepped up to smooch her as she strutted down the runway. Also backstage were Rebecca Romijn and Aisha Tyler, who practiced her walk with none other than Miss J. Alexander. And I ran into Patti Stanger, Bravo’s Millionaire Matchmaker, who told me that she had lost 30 pounds by sprinkling some magic powder on her food.  The ladies wore red dresses by all different designers to raise awareness for women’s heart disease. Chaka Khan and Christie Brinkley stole the show. She’s fabulous,” said Tyler of Khan. "We exchanged numbers backstage.”

Day One
Thursday morning began with BCBG Max Azria (10 AM) at the Theatre at Lincoln Center. I had always assumed Azria’s high caliber front row guests to be a result of big bucks spent on advertising. But a friend mentioned that she comes to BCBG because it runs like a playbook for the season’s trends. Color-blocking appears to be big for fall. Max and his designing wife, Lubov, showed tan leather, and maroon (another trend this season). Mixing patterns is also apparently a thing. Key word for this collection: wearable.

At Richard Chai Love (11 AM, Stage) Dispatches noted the multitude of stripes, which later emerged as an overall fall trend, worn by models walking out from behind a stark white backdrop. And Chai did big cargo-style pockets sewed onto the outside of his coats—big gray pockets on one blue coat. Military, not war, is the trend. There were maroon moments here as well.

  Jeffrey Costello and Robert Tagliapietra

I had never met Tadashi Shoji before his show (2 PM, Stage), but The Help’s Octavia Spencer certainly has—she wore a gown by Shoji at this year’s Golden Globes. Backstage, I was introduced to the designer, who noted that dressing Spencer was easy, because she has inner beauty. True. He also told me about his inspiration for the collection: Shanghai in the 1920s. Indeed, Shoji showed a jewel green gown paired with long gold earrings and a sparkling four-tiered gold dress. And I saw a classic Mainbocher silhouette in one red velvet dress that was set off by shimmering black sparkle. Heaven.
Susan Sarandon and Padma Lakshmi did lunch before taking their places in the front row at Costello Tagliapietra (3 PM, Milk Studios). Tagliapietra often gifts front row guests with an over-the-shoulder bag made from the season’s most prominent print. The show was strong, and Sarandon told me she was pleased that she caught it. I loved the hilarity of the designers, both bearded, burly and lumberjack-esque, taking a bow at the end of their arty, light downtown show.   

That evening (7 PM) Cynthia Rowley showed at the Frank Gehry-designed IAC building, which was made popular as a Fashion Week venue by Prabal Gurung, who also showed at IAC this season. Television screens spanned the long wall facing the bleachers in the lobby of the building, providing a cubist slant to the already spectacular setting. Cynthia showed a fun fingerprint pattern that the TV screens called up in black and white, which made the show look incredibly futuristic and glam. There was an unfinished elegance to her leatherwork. Rowley has hit her stride. She represents that rare, cool girl—who is actually cool.       


Day Two
On Friday, Ali Hilfiger and Nary Manivong’s NAHM line, showed at Milk Studios (11 AM). Affirming their distinct point of view, the designers used a hip vintage print, from Hilfiger's personal fabric archive, of Egyptian gods mixing cocktails. A big vintage floral print covered the wall that served as the backdrop for the show. Hilfiger sobbed as friends came up to congratulate her. Happy tears.

Jason Wu showed in a behemoth industrial space on the West Side Highway (1 PM). From behind a giant red velvet door, models emerged showing looks with a vintage Shanghai feel. Wu presented imperial-style Asian fabrics cut in a sleek modern way, with red piping; fur sleeves; and black beading with a kind of poured, sparkly glamour. And he employed Philip Glass-like repetitive choral music that gave the show, in this long, dark space, with laser-red lighting, even more drama. At show’s close, models filed out through a plume of smoke. Front row guests included Shailene Woodley, of The Descendants, who wore a Wu sweater and introduced herself to Elettra Wiedemann and Alexa Chung. "Hey, I'm Shai,” she said. She's only, like, 20.  

Like lace? At Rebecca Taylor (2 PM, Stage) I noted diaphanous fabrics and strategically placed lace panels paired with dark leather, as well as sparkling overlays, and a gray leopard print that had a genius fading effect. Taylor’s hip art school aesthete seemed to be what many designers strived for this season—but it remains Taylor’s home court.

Theophilus London opened at Rebecca Minkoff (3 PM, Theatre) with a rap show that continued to riff as models worked the catwalk. Minkoff showed python prints, lots of leather, fur sleeves, and a dress with a possibly unintentional soccer ball-shaped print that would make a fab footballer's wife frock. And Minkoff’s signature bags came dressed in fur for fall.   
In the evening, designer Simon Spurr gave an assist to Tommy Hilfiger (5 PM) with his men’s collection, shown at the 69th Street Armory. For both his fall men’s and women’s shows, Hilfiger re-imagined the interior of the Armory as Bryant Park, with a great brick wall opening the shows. He wanted a military school vibe. In the front row, Bradley Cooper sat with Giants player Victor Cruz. Cooper wore a plaid tweed coat and a fresh crop of scruff on his face. The floor of the armory had been covered with crushed gray rock, and Kellan Lutz sat at the table next to Cooper and Cruz. Again, maroon was a big color this season, and it went well with the leather miltary jackets with zip-off sleeves. Cruz mentioned that he and Cooper were loving the long coats.   

—Jeffrey Slonim


SAG Awards Trend: Black and White

Black and white dresses ruled the red carpet at the Shrine Auditorium.

January 30, 2012

SAG Awards fashion marked a return to black and white glamour. The timeless colors set off a mix of designs ranging from sexy and sophisticated to fun and flirty.

Back to Black
Black was anything but basic for Angelina Jolie and Amber Heard. Jolie wore a slinky, backless Jenny Packham gown while Heard wore an edgy cut-out Zac Posen gown. Looking lovely in lace were Stacy Keibler in an off-the-shoulder Marchesa gown, Emma Stone in a flirty Alexander McQueen cocktail dress and Jayma Mays in a Reem Acra sequined number with a sheer back. 

Winning White
On the lighter side, a fashionable Zoe Saldana wore Givenchy couture straight from the Paris runway. Also a vision in white, Rose Byrne wore a heavily embellished Elie Saab jumpsuit. Judy Greer chose a feminine Collette Dinnigan dress while the newly engaged Katrina Bowden wore a glittering strapless design by Amsale. White was also a winning color for Viola Davis, who took home the best female actor in a leading role wearing a Grecian-inspired Marchesa gown.

—Michelle Ward


A Guide to Luxury Lingerie

Find the most ladylike lingerie in Manhattan.

January 26, 2012

Agent Provocateur
Subtlety is not Agent Provocateur’s specialty. Eroticism, and in the best of ways, however, is the British label’s forte. With a full line that ranges from silk kimono robes to playful nightwear and accessories, Agent Provocateur offers a selection beyond traditional notions of lingerie. 675 Madison Ave., 212-840- 2436;

The family-owned Italian lingerie brand recently opened its first New York flagship, right in the heart of Soho. Cosabella is primarily known for its sheer mesh underwear, which was perhaps the first thong style to reach trend status among women; the style is available in more than 30 vibrant hues. 220 Lafayette St., 212-405-1190;

Designer Valérie Delafosse brings her innate knowledge of the body to her designs. The beloved French bathing suit label first debuted lingerie in 1998 and since has developed a loyal clientele who turn to the brand for its superior fit and airy fabrications. Barneys New York, 660 Madison Ave., 212-826-8900;

{Intimacy} provides an education with professional instruction on caring for bras, wearing them appropriately, and finding that perfect fit (the shop carries more than 90 sizes). With a penchant for style as well as functionality, {Intimacy} focuses on designer European labels such as Chantelle and Empreinte. 1252 Madison Ave., 212-860- 8366;

From edgy to ethereal, Journelle’s diverse collection of unmentionables are carefully selected by founder and expert lingerie curator Claire Chambers and her staff. In line with the store’s name, which is derived from journellement, meaning “daily,” its wide range of designers—including Bordelle, Eberjey, and Zinke—are meant to be worn every day. 125 Mercer St., 212-255-7803;

Kiki de Montparnasse
Not for the faint of heart, Kiki de Montparnasse unapologetically encourages clients to explore passions and fantasies without sacrificing luxury. The Soho shop’s scandalous lingerie is made from the finest French laces and silks. On special occasions, live models are known to replace the mannequins in Kiki’s storefront windows. 79 Greene St., 212-965-8150;

La Perla
The ultimate purveyor of luxury underpinnings, La Perla is a one-stop shop for elegant bridal lingerie, negligées, swimwear, and loungewear utilizing three unique fabrics: delicate leaver’s lace, silken soutache, and antique-styled frastaglio. For the perfect bridal shower, request a private luncheon or shopping session at the Madison Avenue boutique. 803 Madison Ave., 212-570-0050;

La Petite Coquette
This playful multibrand shop charms with its girlie Victorian décor, complete with fringe lamps. Its true appeal, however, lies in the boutique’s expert bra fittings. At La Petite Coquette, sizing you up does not involve a tape measure but instead a genuine knowledge of fit and a system of trial and error. 51 University Pl., 212-473-2478;

Victoria’s Secret
Victoria’s Secret is the world’s most renowned lingerie brand for a reason—and not just for its stunning Angels. Its enormous selection has something for every woman and every occasion—from sheer baby-doll dresses and seductive lace bustiers to silky camisole sets and animal print slips. 1328 Broadway, 212-356-8380;

Many know Wolford as the leader in hosiery, but the Austrian label’s lingerie and shapewear collections also stand out among the industry’s finest. Wolford’s intimates have a classic cool with traditional hues and a plethora of understated polka-dot styles. 93 Greene St., 212-343-0808;



Brooks Brothers Fashion

Brooks Brothers returns to its original New York outpost from 1884.

January 16, 2012

  A spring look from Brooks Brothers

History tends to repeat itself, and trends cycle in and out of our wardrobes with ease. Recently the idea of bringing back heritage styles has consumed the marketplace, as evidenced by the proliferation of wingtips and bow ties on Manhattan men. In New York, drawing fashion inspiration from the past comes naturally, and Brooks Brothers is doing just that.

After nearly a century, the venerable house of prep style has returned to the Flatiron district, where it set up shop from 1884 to 1915. It was there that America was introduced to the polo button-down. To honor its heritage, the store is suited in typical Brooks Brothers fashion with exposed brick walls, curtains created from signature striped tie prints, and refurbished antique furniture. Claudio Del Vecchio, chairman and CEO, looks back at Brooks Brothers’ sense of history and embraces its forward movement. “To think that 96 years later we would be returning to within a few blocks of one of our original locations with The Flatiron Shop is a testament to the brand’s incredible staying power.” The seventh Manhattan location offers men’s and women’s apparel plus accessories for both classic and contemporary customers. 901 Broadway, 212-228-3508


Ferragamo Resort Wear at Duke Mansion

Salvatore Ferragamo presents a collection at Manhattan’s historic Duke Mansion.

December 14, 2011

Karolina Kurkova modeling the finale gown at the Resort collection sho

For the first ever Salvatore Ferragamo Resort show in New York, the fashion flock gathered at the grandiose James B. Duke Mansion, once a private residence that had previously never been open to the public. The show marked a bold move for the Italian fashion label, which decided to stray from its traditional presentation in Milan.

The collection itself—a parade of retro Hollywood glamour and 1930s decadence—appears to have dictated the move to the home of one of America’s most renowned heiresses of the time, Doris Duke. One could just as readily imagine any one of Manhattan’s tastemakers sitting front row (Eva Mendes, Ashley Greene, and Olivia Chantecaille) wearing the swirling, silver- beaded gown for a red carpet fête as a starlet of Ferragamo’s era.

Humphrey Bogart’s rich voice boomed, “Here’s looking at you, kid,” from Casablanca over the show’s soundtrack as models paraded pieces that signaled a distinctly aristocratic air. Perfectly suited for traveling to Morocco for the season or standing out in the winter wonderland of Manhattan, Salvatore Ferragamo’s landmark Resort collection hits stores just in time for a holiday season full of enchanted expeditions. 655 Fifth Ave., 212-759-3822



Gorgeous Lalique Jewelry

Lalique returns to its heritage with a renewed focus on fine jewelry, premiering in Manhattan.

December 07, 2011


French glassmaker René Lalique is remembered as one of the premier masters of the medium, but he was first and foremost a jeweler. Drawing on the fascination with Eastern art at the turn of the 19th century, Lalique took inspiration from nature and the landscapes around him, carving entire relief scenes into glass and creating painted, wearable sculptures of enamel and mother-of-pearl. A major contributor to the Art Nouveau and Art Deco movements, Lalique created pieces both naturalistic and symbolic, drawing upon the iconography of the time that lauded both nature and the female form. Today some of his pieces are housed in the Metropolitan Museum of Art.

While such distinctive style has remained central to Lalique, this season marks a return to the house’s focus on fine jewelry, with a new collection arriving in stores in time for the holidays. Eau Sensuelle presents a contemporary interpretation of the René Lalique style with water as the inspiration for spherical-cut crystals and sparkling cognac diamonds.

The fine jewelry collection will be sold exclusively in Lalique stores around the globe, with select one-of-akind pieces debuting at Basel in the spring. Until then, these classic gold bands accented with amber crystal and champagne diamonds are perfectly celebratory for the season—timeless treasures to cherish from a landmark debut collection. Petillante rings in yellow gold, amber crystal, champagne pavé diamonds, and pavé cabachons, Lalique ($2,340–$5,840). 609 Madison Ave., 212-355-6500


—amanda weiner

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