Mario Moya Fall 2010 Collection

I got a chance to help out at the Mario Moya show, and I really loved his collection for the fall. The pieces were ultra-feminine and classic silhouettes with sexy accents. It was all film-noir Hollywood glamour, mixed with the definitive Parisian timelessness: perfect coiffures, rouged lips, winged eyeliner. Seeing the collection, I really felt that Moya was tapping into a romantic narrative without endangering his work by getting too costume-y.

I really enjoyed his Noir Powernet Monroe Dress. Moya works well with sheer accents; he knows how to use them to seduce subtly. The Noir Chiffon Femme Fatale Blouse with the Noir Wool Diamond Skirt was another personal favorite - the exposed back really sold me. It had a really great cut, and it looked stunning on the model. I think both this and the Citron Apocalypse Gown with the Citron Blaze Cape would photograph beautifully, and they would make really interesting editorial pieces.

See the full collection at Mario Moya.

Images by Jenna Gang.

Sartorial Sleight of Hand

I was lucky enough to attend the Prabal Gurung show during Fashion Week. I really liked some pieces, and I enjoyed the young designer's play with color blocking.

On a side note, I saw Anna Wintour at the show. And she was so cool. And maybe this is embarrassing to admit, but I felt like I had just seen a unicorn.

Check out my review on Urban Darling this week!

All images via Style.com

Ibrahim Ahmed and Resin Denim

I recently saw some work by up-and-coming artist Ibrahim Ahmed, and I loved it. I'm really fascinated by artists who tap into their heritage subtly without ramming an agenda down my throat. Ahmed's work is meditative, sensual, and quite beautiful.

Ahmed works with a lot of non-traditional media, i.e. windowpanes, that evoke a sense of spirituality and lightness. He's definitely tapped into his Middle Eastern influences in a fresh way - his windowpanes speak to the tradition of using stained-glass windows to lend a sense of light and warmth to architecture.

Ok, I'm getting a bit art-nerdy, and I apologize.

Interestingly, he's also got another pet project: he has designed the artwork for Resin Denim, a new label that is already being whispered about amongst those in the know (there was even a recent window display at Barney's). Ahmed did the work on the pocket designs and linen.

Of course, my initial thought was, "Why denim?" After all, a lot of artists do get involved in the fashion scene - but they tend to break in through magazines or women's wear. But upon further thought, it really makes sense. You can really see a sense of authenticity to the materials in Ahmed's artwork - simply constructed wooden window frames, glass, acrylic, metal. Resin is an organic artist's material.

And denim? Designing a great pair of jeans is, not to be too corny, a total art. After all, it is a simple workers' fabric that has been redefined and repurposed by the fashion world. Styling and accessorizing denim does not speak to the utter complexities of comprehending and working with this material.

Someone who understands denim must realize the singular importance of being authentic to this fabric and its history: the sense of movement and comfort it embraces; the strict understanding of style it necessitates. And frankly, I think we are all familiar with the harrowing aftermath of the recent ill-fated era of bedazzlement. From now onwards, I want the person designing my denim pieces to have a discerning eye - not some jewels, a hot-glue gun, and too much enthusiasm.

You can check out Resin Denim here. I can't wait to get a pair!






Top image compliments of Samer Fouad
Middle two images compliments of Michael McKeon
Bottom image compliments of Tyler Olsen

The Heartbreaking Loss of Alexander McQueen

This morning, upon learning that visionary designer Alexander McQueen had passed, my initial thought was that he couldn't handle the pressure of out-doing his Spring 2010 collection.

I now take that back. As the news settles in, I am terribly upset to think that such an artist is gone. Few designers have such a knack for balancing theatrics and genuine sartorial genius - and I have not a doubt in my mind that McQueen would have shocked and offended and bemused us all again.

Who can forget the spectacle of lithe models gliding down the stage with the bizarre ten inch lobster-alien shoes, carefully masking their trepidation behind detached faces? Or what of the hologram of Kate Moss? His bow at the end of a show in a bunny costume? Bumsters? The "Highland Rape" collection? McQueen took chances, and some were successes, and some - not so much.

But frankly, I have never questioned his technical abilities and talent. The man could cut and drape cloth like nobody's business. I remember the first time I saw a dress from his Spring/Summer 2003 collection, made out of sand-colored organza and chiffon. I think it spoke to every one of my romantic sensibilities and fantasies. The stunning, shredded goddess-at-sea piece was reminiscent of the powerful wet-drape folds covering the Nike of Samothrace.

And I suppose that is why I'm so upset by the loss of Alexander McQueen. His penchant for the spectacle and the spectacular never felt like artifice: he buttressed even his most ridiculous creations with uncommonly excellent craftsmanship. He tapped into our greatest fears and dreams; he fed our appetites for romance and sin. His presence will be missed dearly.





Images via Style.com and MetMuseum.org.