Viva Sicilia!

Parallel to the eye-pleasing vibrancy of Dolce & Gabbana's Spring 2013 collection was the reminder from the fashion critics that we have seen this before. Anyone familiar with the recent concoctions by the Italian design duo Domenico Dolce and Stefano Gabbana would recognize the ornate Sicilian ode. Yet unlike the majority of their Italian contemporaries, the two are able to translate their brand formula into a different dialect each season, which is why it is successful, despite being so familiar.

The collection was a call to heritage rather than modern Italia. As always, pieces were injected with mischievous humor: our knights in shining armor emblazoned dresses with cartoonish facial expressions and a nod to street-theater puppets.

Aesthetically pleasing renditions of Caltagirone vases and dishes decorated crinkled-silk garments, embellished with pearly buttons.

Beyond this: umbrella-stripes in classical hues and structured raffia separates with open-weave or embellishments. With the addition of souvenir scarves and earrings, the collection brushed past kitsch. But what repelled the touristy air was the plentitude of extravagant fabrics and painterly prints that were softer than those of past shows.

Whilst some pairs of shoes toed the line between jaded traveler and naive tourist, I adored the handbags, totes and jewelry.

The details here were the standouts: for those of us who have yet to see such designs up-close, style websites are ready to rescue us. Close-up shots tell a vivid story not accurately portrayed in the classic runway photographs sprawling across fashion homepages. And while it is not the same as real life, it is enough to indulge our Sicilian fantasies.

The stunning clothing designs are bound to be a commercial success. How I would love to exude such Italian charm! And I have no doubt that there are many who shall succumb to the enticement.

I suppose I found excitement in Milan Fashion Week after all! I shall see what Paris has in store for me.

Click here to view the entirety of the collection (a whopping 80+ looks!).

Visit dolcegabbana.it.

All images from Style.com

The Italian Dilemma

Now that New York and London Fashion Weeks have passed and Milan is upon us, I can't help but feel a tinge of disappointment within the cavern of my high standards - although, admittedly, I can be a very harsh critic. (I purposefully restrain from negativity on Girl Loves Color, unless I feel that such opinions provide worthwhile substance.)

Milan Fashion Week hosts a variety of esteemed design houses that have evolved from generations of craftsmanship. Italian brands are notorious for their emphasis on heritage; it is rare to see modern launches, as the country is practically dominated by the old-timers. Nearly all of the well-known Italian brands today started out as small family businesses, dedicated to leatherwork or perhaps knitwear (see Missoni).

The heritage of these brands gives the lines richness and depth that are devoid from most American and British labels. And yet.

In my eyes, the Italian dilemma is that these fashion houses rely too heavily on their pasts. I feel that many Italian brands - in the struggle to match a faster, consumer-driven pace - are falling short of expectations in quality and design. It is difficult to create consistently innovative and interesting designs up to four times a year.

This situation is leading Italian brands in one of two directions:

Some houses are straying from the aesthetics their legacies are built on. Emilio Pucci's Spring 2013 collection had very little to do with its signature graphic prints, instead favoring glamourous solid-colored separates. The overall style was in keeping with Pucci's history, but a novice eye wouldn't connect the two.

Other brands are clinging to the styles that made them famous. The Versace Spring 2013 collection was ultra-sexy, ultra-feminine and ultra-glamourous. The collection was a different interpretation of the Versace aesthetic in that it presented a new theme scenario, but there was little evidence of a brand evolution. Just...Versace, again.

So why is there no excitement in Italian fashion?

I'm big on Prada, but even Miuccia's Spring 2013 collection left something to be desired. I'm perfectly fine with a subdued style, though Prada is generally more ambitious, but so many designers looked to the Far East for this seasons that none of the Asian-inspired renditions interested me.

And so many Italian brands are presenting the same ideas over and over again, in collections that look different but don't feel different. In quite a few cases, taste level is dropping to the point where I occasionally equate "maximalist Italian glamour" with "tacky."

Maybe I'm the only one, but I truly want to see the appearance of fresh faces in Italian fashion. I don't disregard the old hands of design (I'll always be loyal to Miuccia and the Missonis), but I feel that they could use the outlook of a younger generation that is accustomed to today's pace.

One example: Roberto Rimondi and Tomasso Aquilano of recent Italian brand Aquilano.Rimondi. 

Aquilano.Rimondi Spring 2013 collection

Images from Style.com

Their designs feel modern and have hanger appeal, but clothes are also exquisitely crafted, loyal to the specialty of Italian fashion.

Although Milan Fashion Week hasn't lived up to my reasonable expectations thus far, there are still collections to be shown in the coming days.

I'll have to wait and see.

What are your thoughts?

Roksanda Ilincic Spring 2013

Belgrade-born fashion designer Roksanda Ilincic has a distinctly feminine aesthetic focusing on tailored, structural silhouettes. Her Spring 2013 collection incorporated that signature, but what could have been easily defined was instead multifaceted.

Designs were looser and more relaxed: generous cocoon sleeves grew from boxy silhouettes, wide-legged trousers had an exaggerated shape, and many dresses were comfortably draped along the body.

Yet this didn't deter from the role of shape and structure. The sophisticated cuts both highlighted and created curves. High-waisted pencil skirts were fitted but still full of movement. Intersecting geometric curves formed an hourglass figure. But the juxtaposition of tight and loose called to mind today's powerful working woman rather than secretary sexpot. It was a masterful combination of femininity and athleticism.

Much of the strength of this collection stemmed from the details. The color palette was integral: rich blues intertwined with cheerful shades of orange, yellow and red - inspired in part by the ways in which artist Josef Albers worked with color.

There was color blocking, but it felt fresher than the past renditions presented under the trend umbrella. The sleeves of a solid blue crop top tapered down to orange cuffs; a blue, white and black dress had reddish-orange cuffs. Oversized clutch bags added color for extra dimension, as with a vivid orange ensemble (in two different shades of the hue) paired with a bright yellow version of the accessory.

Lastly, dewy makeup and t-strap heels further refined the overall look.

Ilincic's collection was one of the strongest shown at London Fashion Week, which, in and of itself, had a powerful season.

Personally, I can't take my eyes off of the first look pictured here.

Click here to view the collection in its entirety.

Visit roksandailincic.com.

All images from Style.com

Holly Fulton Spring 2013

Holly Fulton's eponymous fashion label emphasizes the application of couture techniques and attention to detail to womenswear collections. This strong foundation of craftsmanship allows for the beauty of her surfaces: strong prints and unusual fabrics and textures informed by Fulton's love for Art Deco and Bauhaus styles and cubist fashion.

Fulton's Spring 2013 collection had a preppy, resort-style vibe that radiated strongly from a collared tank dress with a pleated hem, as well as the espadrilles, oversized sunglasses and cylindrical sport duffels on the models.
Yet Fulton riffed on the Hamptons-esque feel with prints of Art Deco-style naked women on jackets, pants and dresses. What could have felt risqué was instead humorous and artsy, collaged against graphic evil eyes rendered in sky blue.
This collage aspect was carried over into the latter half of the collection. Pastel roses were layered on to embroidered dresses and a t-shirt and gingham skirt. The result was very pop art, daintily feminine and vaguely mod.

One of Fulton's signatures is the use of graphic prints. While Spring 2013 built on her talents with the technique, the designs no longer needed them as a center point. The collection was a beautiful expansion on Fulton's design skills and aesthetic.

Click here to view the collection in its entirety.
Visit hollyfulton.com.

All images from Style.com

Brood Spring 2013

After a myriad of beautifully tailored, neutral collections, Brood incited eagerness for the coming springtime. Designer Serkan Sarier was inspired by various manifestations of botanical rose prints throughout the twentieth century. 

Florals hold a permanent position in our idea of beauty, often blooming on dainty, feminine fashions. Sarier presented layered separates silk-screened with wallpaper florals in vivid pastels and a select palette of brights. Girlish aesthetic was undermined by sporty details and sharp lines. Black trim, sculptural necklines and utilitarian pockets mingled with lightweight fabrics with an elegant sheen. The resulting juxtaposition was a deeper, more unusual take on the floral cliché. 

It was a refreshing offering that strayed from the monotony of springtime florals. As much I love ultra-feminine garden prints, I constantly seek designers who are willing to break the mold.

The multitude of separates offers versatility as well as practicality, rare for such an eye-catching collection. Although prints formed the center point, solid-colored pieces were equally strong and could have been more abundant. 

The true gems of the collection were a pair of silky yellow shorts trimmed with printed botanica and a strapless floral gown coated with geometric graphics. The sunshine shade has never before been used so masterfully.

Click here to view the collection in its entirety.

Visit broodbyserkansarier.com.

All images from Style.com

Libertine Spring 2013

Johnson Hartig's designs for Libertine are a whimsical mishmosh of ideas. Excessive juxtapositions of texture, color and print keep the eye busy. Needless to say, it can be difficult to keep up with the excitement.

The label's Spring 2013 collection is loyal to the same principle, yet separates are increasingly refined. There may be an excessive complexity to the garments - a fleeting glance at each outfit is not sufficient to absorb it all - but every separate embodies its own charming properties.

Hartig's collection encompasses a decent variety of prints. A blue-and-yellow tartan print coat has much potential, as does the intriguing green top underneath. In the same look, dainty floral trousers with a Japanese air have a good combination of fit and slouch.
A sleeveless shift dress printed with graffiti-style mists of bright color hits a sweet spot; styled well, it veers towards cute rather than corny.
The stand-out: bias-cut dresses in diaphanous fabrics are beautiful in vintage-inspired floral and polka-dot prints.

My main regret is the styling in the collection's presentation. Neon hairpieces distracted from the clothing, which provided enough substance by itself.
However, translucent printed socks paired with ankle-strap stilettos was an endearing touch.

Libertine's complex mix-and-match aesthetic is evolving. If Hartig focuses on editing down his designs, he can present collections that are more successful, without having to stray from his style.

View the collection in its entirety here.

Visit ilovelibertine.com.

All images from Style.com

Lorry Newhouse Spring 2013

New York designer Lorry Newhouse appreciates quality craftsmanship and materials, stemming from her personal collection of historical and contemporary couture pieces. Newhouse's signature is evening attire; the Spring 2013 season marks her foray into ready-to-wear.

The pastel confections at the designer's intimate presentation on Friday afternoon subscribe to the same meticulous technique as the evening looks: they have a high-fashion, couture essence that makes for an elegant form of daywear.

Pieces were charmingly feminine and quite elegant, as if tailored for a debutante's entrance into the adult social scene. The effect mirrors the arrival of the RTW collection itself; Newhouse is known amongst friends for her style. (One attendee remarked, "She was always so well-dressed, I knew she was meant to design clothes.")

The collection's romanticism fared well in its environment: magenta carpet and painted backdrops based on a wallpaper design. (Lookbook shots took place within the walls of an ornate mirror.)

Pastels incorporated into paisley-style embroidered dresses and separates and gingham gowns veered towards quaint garden party rather than haughty prep. 

Silhouettes remained on the simpler side, allowing intricate textures and detailing to be the focus. Long-sleeved shifts were beautifully designed and an ivory suit was perfectly tailored. The stand-out shape (and my favorite piece) was a bell-shaped embroidered skirt in shades of pink and green.

The collection's prints were less affecting than the embroidery yet pleasing to the eye. A painterly garden floral print rendered in ivory and pastel green was a crowd pleaser.

The designs straddled the line between ultra-femme sophistication and Lolita-esque innocence. Evening separates like the two baby blue floor-length skirts leaned towards frou-frou and may not have won over harsher critics, but I took a liking to the more subdued, layered version.

That is not to say that the presentation was without an edge: shades by avant-garde optical brand A-Morir brought a wonderful touch of whimsy that could have been used more generously.

I am interested to see where Newhouse's future in ready-to-wear design will take her. Her aesthetic has much potential to flourish with increasing refinement and experience.

I am grateful to have been able to attend the presentation. 

Visit lorrynewhouse.com.

Lookbook images courtesy of Lorry Newhouse

Lisa Perry Spring 2013

Lisa Perry imbues her designs with a consistent '60s mod aesthetic. The signature is straightforward from season to season, but this doesn't prevent her collections from being wholly enjoyable.

The graphic color blocking that reigned the Spring 2013 collection looked even more so to the future than the past. The vibrant hues in clean geometrics update influences of the past. Fabrics appear wondrously weightless and loose A-line silhouettes are tailored to the liking of a 21st century girl.

Color palettes here are refreshing: ovals of bubblegum pink, tangerine and cerulean give a graphic pop to a lemon-tinted backdrop.

The pop appeal continues with the introduction of the collection's single print design: galactic shapes against a stark white. The print is a fun interlude from minimalist solid hues, but it leaves something to be desired.

It should be noted that the models for the presentation wore the clothes well, with an air of youthful sophistication. A fresh-faced brunette was the perfect choice for a simple green and blue shift dress, my favorite piece from the collection.

I liked the clothes in this collection, and I hope to see Perry push herself beyond the limits of her style.

View the collection in its entirety here.

Visit lisaperrystyle.com.

All images from Style.com

Costello Tagliapietra Spring 2013

Hours of daylight may be rapidly decreasing here in the States, but there is a whiff of spring in the air: New York Fashion Week has arrived!

Designers Jeffrey Costello and Robert Tagliapietra stated that their Spring 2013 collection was about love. As an onlooker, I felt that the designs embodied a poignant romanticism.
The highlight of the collection was the designers' usage of color and print. The color palette adhered to a selection of blue, green and orange hues that ranged from pastel to more vibrant selections. The curious mix made for an air of multifaceted femininity. This distinct personality was conveyed seamlessly by the colors and prints, an achievement that is hard to come by. The Spring 2013 girl is a juxtaposition of lifestyles: where uptown meets downtown, urban sophistication meets the quaintness of the countryside. This girl is grown-up, yet she betrays a romantic innocence in the masterful draping that gently caresses her form.

Painterly floods of color, miniature patterns reminiscent of watercolors and vivid brushstrokes have a modern appeal that could easily transition from upper-class, rural bliss to the creative Brooklyn scene.

Colorful looks were interspersed with beige and olive frocks: not nearly as thrilling to the eye, but successful in their forms. (The fluid silhouettes of this collection were executed with flawless craftsmanship.)

I certainly felt a rush of emotion upon viewing this collection. Refreshing precision married to purity: the first bloom of spring is budding!

View the collection in its entirety here.

Visit costellotagliapietra.com.

All images from Style.com