Aaron Showalter/New York Daily News
The BCBG Max Azria 2013 Fall Collection debuted Thursday at Lincoln Center.
Start eying your curtains.
If the first day of New York’s Fashion Week is any indication, Scarlett O’Hara and her frocks made of drapes have proven to be very inspirational this season.
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Brocades, burnout velvets and heavier metallic fabrics usually seen on couches have hit the catwalk for everything from dresses to skirts, jackets and more.
BCBG Max Azria went for layers and layers (and layers and layers) of clothing, yet it surprisingly remained sleek and flowing.
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Shift dresses with tunics and loose trousers were layered with oversized embroidered and quilted outerwear and chic fur vests, which gave the whole lot an adventure vibe. These furries were pieced and dyed in stripes, blocks and in patterns that mimicked the prints on the clothes. Simple laser-cut leather tops and skirts were unfitted and relaxed in swingy, trapeze-y pieces.
Richard Chai LOVE was cut close to the bone with slim, military-inspired coats and jackets dominating much of the collection. While his olive drab was, well, drab and has been seen before, his fitted sheath dresses in lilac brocade and tweed printed with purple clouds were a breath of fresh air. With dresses like that, it’s no wonder that actress Christina Ricci was a fan in his front row, cheering him on.
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Timo Weiland also stuck with a slim silhouette. He clearly had his menswear collection on his mind while designing womenswear. Trousers and skirts were closely tailored to the nth degree, with the best look being a skinny windowpane plaid suit. Tapestry fabrics featuring scenes from nature, like leaves, were used for dresses and jackets, all of which were piled over skinny trousers.
Red carpet favorite Tadashi Shoji (who’s not afraid to dress women with fuller figures) is a master at creating a collection of pretty, pretty dresses that are designed with clear thought behind them. Inspired by St. Petersburg, Russia, the Winter Palace and its royal family’s exile, this season, these cues are clear â€" and almost literal. Voluminous court frocks gave way to posh peasant dresses and ultimately lace-encrusted, high-neck numbers.
Shoji also experiments with volume, first with pleated watteau backs (they resemble space for a baby bump, but on your back), then with capelets and gowns tiered in neoprene. Unfortunately, the neoprene took on a bit too much body, and instead of a trapeze-y swing, these frocks were more than a little Bo Peep.
Kenneth Cole’s return to the runway embraced technology. While the show was readily available on social media, technology also influenced the clothes. Lenticular plastic bits were used as insets and breastplates, there were lots of shiny silver-coated leather accents and even metallic coated fabrics. He’s still an accessory maker; the clothing was simply a base on which to pile on accessories.
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