An Ovation to Oscar: The setting was intimate and cozy.  A change from Oscar’s usual slot at the Bryant Park tents. There were four rows of chairs around a raised runway and clearly a very edited guest list.  Before the show Oscar was at ease mingling with the front row editors, laughing and chatting away. He was dapper as could be in a stingray grey suit and white button down with a red satin handkerchief peeking out of his right pocket. When the show began, he stood on the left side of the stage making sure that each look was perfect before the model headed up the stairs to the runway.

This was a cohesive and complete collection with beautiful jewel tones in hyacinth deep purple and electrifying teal.  There were also neutrals that came alive with his “ladies who lunch” skirt suits in sparkling white lace with jackets fashioned as cozy cardigans, each with a hint of golden thread.

The collection was also youthful and fun as seen in a cropped denim jacket with a purple fringe detail that was paired with a purple, black, white and blue confetti splattered full dress. A matching oversize broach was icing on the cake.

His contrasting colors in different materials were contagious. He took a beautiful white sheer balloon sleeve blouse and tucked it into a bronze and red tulle sequin embroidered skirt cinched with a cognac leather ring belt. He also mixed puffy sleeved white shirts with brightly colored corseted dresses which paid tribute to his Spanish roots with a fresh and tailored craftsmanship. Beautiful teal and hyacinth, big-shouldered, tulip-shaped dresses took last season’s obsession with the shoulder and transformed it into a fresh, feminine, flower-petal shape – still puffy but not rigid.

One of my favorite looks was a teal and purple clustered flower-print fitted gown topped off with a golden and hyacinth dyed feathered fox shrug.  This look went down the runway and everyone’s mouths dropped and all the i-phone cameras starting clicking.  It’s a prim and proper look but with an effortless cool edge.

Sequins and shine is difficult to manipulate and master without looking trashy and tacky but Oscar’s innovative cuts and techniques of weaving the metallic threads and sequins throughout the tulle and silk was fresh and exciting. Glitter and shine took the form of a sharp and chic silver short sleeve jacket paired over a loose balloon sleeve white blouse with pleated Capri pants, or mixed into a Moroccan bronze and tulle sequin gown.

The attention to detail was uncanny.  From the clothing to the handbags, belts, shoes and jewelry, every component of the looks was utterly cohesive. The accessories were to die for, long dripping golden chandelier necklaces and chunky bracelets or oversize opal stud and turquoise chandelier earrings.  Accessories are always key and Oscar always know how to please his customers.

Thank God for Oscar and his color.  With all of the monotone and neutrals floating around I needed to see a collection that made my eyes open just a bit wider. From his refreshingly shocking colorful sequins, and tons of tulle and lace, to his delicate dramatic ruffles with tiered chiffon layering and decadent draping, this was a show not to be missed.  I am quite certain this is on my top favorites list of collections so far.  From the chatter around me after the show, I clearly was not alone.

Narciso Knows Best

Narciso’s Spring 2010 collection embraced a more fluid and feminine silhouette than his trademark sleek and structured lines. The bandeaus were far looser than usual and the white and back sheaths hung around the models bodies with extra length in the back and zippers up the front. This was a refreshing take on his traditionally body-conscious bandeau paneling by opting to create lines that still contoured the female figure but from afar.

This was a softer side of Narciso, less structure but he still implemented his architectural lines.  His color palette was mostly neutrals but with pops of hot pink and purple haze supernova prints popping out between the sheer black lining around the torso and along the hemline.

One of the most beautiful and interesting twists Narciso added came in the racer back ties on his tank tops and dresses. They hung loosely with exposed shoulder blades but the highlight was a new kind of backline; similar to asymmetrical boomerang cut outs in the back.  Still precisely angled but this time twisted in unusual areas and creating an exciting and new erroneous zone; the back.

I especially liked his cropped jackets and vests with soft shawl collars lining the mud-cloth and beige linen vest-all baby doll and princess waistlines and chiffon layering underneath to create an exaggerated peplum.  The silk and linen jackets and shirts were styled over hammered silk dresses and pleated full skirts. Everything was floaty.  Form fitting was replaced with fluidity and air that made the dresses float around the models bodies.

Narciso always toys with the graphite pebble coloration he created by combining black, white and grey and this time it manifested in a beautiful embroidered tank top hung loosely over matching skinny leggings.

The finale demonstrated his architectural transformation from structured to softer fluid lines in the most delicious white black and grey silk gowns, light as air with beautiful necklines and bands of fabric going each and every way.  The final piece was a mercury silver sleeveless silk dress that was fitted at the bodice and then billowed all the way to the floor with a train in the back that looked like a hot air balloon that inflated as the model pranced by. Instant glamour created with looser lines and beautiful fabrics.  This was a beautiful transformation into a softer silhouette.

Zac On-Track:

This show was the Altman building early bird (the AM wake up call was a change for Zac Posen who usually has a late night showing at the tents).  The new space sparked Zac’s playfulness and allowed even more creativity with the setting, stage and layout.  The pink chairs were organized in rows diagonally like king and queen pieces on a chessboard, complete with a bright pink carpet runway. The music put me into a fantasyland-disco with shiny lights, feather boas and jackets, and an acid-induced color palette: yummy bubblegum pinks, dark purple, grainy yellows and fluorescent oranges.  There were also brightly-colored clusters of flowers on short, beautifully draped cocktail dresses and sheer blouses, creating new, fresh looks.

Once the music started, the sunglasses came off, the Starbucks cups went down, feet starting tapping and heads started swaying.  It immediately became a party and there was no room for party poopers.

His trademark fitted blazers and matching skirts were made over with a color-blocking technique; the sleeves were purple or green and the torso was a contrasting mix of black and grey, inverted pleating, cinched-in with a tiny, patent leather belt – prim and proper with a definite snooty attitude.

I loved Zac’s famous knitwear with a Rubix Cube geometry set of shapes splattered on grainy green and orange, or a soft pink and purple structured twill with a transparent raincoat overtop – clearly his woman has nothing to hide!

The beautiful, youthful and fun flower cluster prints, credited to young downtown artist Rosson Crow, came in short, asymmetrical draping as well as long, ballet-neck mermaid gowns that fit like a glove.  There were what looked like the Rolling Stones lips in lime green as a necklace or a broach, by jewelry designer Yazbuckley, that perfectly complemented Zac’s Rainbow Brite color palette and carefree spirit.

My favorite look was a tromp l’eoil black and highlighter-green woven, open, long-sleeve ballet top, and then falling into a flirty, pleated short dress.  It was like a maze I couldn’t find my way out of.   Another maze-like design showed up in a high-neck burgundy and bubble gum pink fitted top – it floated away from body in the shape of an asymmetrical accordion pleated dress with the two colors contrasting on every other side. The more time you looked at it, the harder it was to finish the puzzle! But those are the nuances that make Zac so interesting… Right?

As usual, Zac is a dress man, and usually a red carpet dress man. His final look comprised of decadent nude and black second-skin silver, sparkling, sequin-flower appliqué that looked like four leaf clovers.  The genius of the craft is seen only if you look incredibly close – would you see that the inside was lined with a tiger spot print. Attention to detail is key and this is one aspect Zac never overlooks.

As always, the show was over-the-top dramatic, fun, flamboyant, and fabulous.  I only wish there had been more variety for bottoms even though Zac is known more for dresses.

Visit Zac Posen‘s website.

Derek Lam has certainly made a name for himself.  Although he isn’t as well known among the masses, the critics and insiders are all clearly cognizant of Lam’s talent. Which was evident by the front row: all the big department store, buyers, celebrities, and magazine editors were in attendance including Carine Roitfeld, the Goddess of Fashion (French Vogue).

His program read,

“Ode to Summer: something I heard on the radio. Asbury Park, Rehoboth Beach, P-Town and Key West. Patriotic, optimistic, free for all. A carnival carnal and a little bit tawdry.  Glitter dust. Summer love.  A summer fever, some bittersweet memories. I wish you were here.”

I certainly wished I were there. The clothes were so fun, flirty, feminine and most of all, upbeat and up above most of the previous shows I have seen.

The color palette was deep turquoise mixed with cobalt blue, grainy yellow, pops of deep purple and red, and the most refreshing take on what traditionally looks like grandmas old flower prints, transforming them into a young, chic bouquet in various shades. I have never been a fan of flowers but Derek Lam reinvigorated them with life. The clothes were so exciting and fresh that it made me want to jump right onto the runway, put on some of the clothes, and get ready for spring.  It was a positive note in a dire economic climate: just what we need.

The first look that set the tone for the show was a purple and white star pattern crepe de chine star dress that had a turquoise lighter print cowling around the neck like a bandana.  Cinched with a wheat suede belt with star embellishments on the front, I knew from the start this was going to be brilliant collection.

Another look that struck me was a wheat, grey and white crepe shooting star print blouse with the same cowl neck seen before, this time paired with uber high waisted crepe trousers that had a waistband thick enough to make a corset around the models torso.  From the corset they pleated out creating a slouchy pant that became incredibly tapered at the ankle.  High waists have been in for a while but the corset-like creation was a new take and one that I am certain will be successful this spring.

There was an adorable navy and white Roman stitched jersey fitted jacket that mimicked pinstripes or seersucker.  To make the look fresh and young, Lam paired the jacket with a corseted blouse/leotard that had low cut legs, looking more like a ‘50s pin-up bathing suit than a top.

I also loved his remake of the blouse, with sleeves that end at the elbow with tight black cuffs causing a fullness that once again followed the trend of the bold shoulder.  This shoulder was bold but it was a softer rounded shoulder than last season.  The blouse was a bouquet of navy, jade and turquoise with black animal spotted trim and styled with a deep blue Venetian faille pleated short. A black and turquoise leather elastic belt and oversize blue enamel star earrings finished the look. It was prim and proper without an ounce of snobbery or smug undertones.

Lam played with beading and sequins and one golden dress was a bit overkill for my liking however he did make use of the sequins in an innovative manner with a white, deep blue, and yellow beaded blouse paired with a navy, deep blue and yellow beaded ruched skirt.  From afar it looked like flowers clustered; a beautifully fresh cut spring flower arrangement.

The Final look was a navy double crepe deep v-draped neckline and was not only flattering on the model, but because of the ingenious detail of ruching and corseting Lam implemented, would be something that would easily transform from runway to real life.

I left this show wanting an encore and determined to start saving up to be able to purchase some of his pieces.  I also felt fulfilled and hopeful; both for the reality that is outside the door, and also for the next collections to end on a similar encouraging end note.  If only for  8 minutes, this optimistic spirit was infectious and  deeply desirable.