District L

The Monday before last was a show-hopping debacle – unavoidably misty, yet bitter and cold. It was the kind of weather that sits heavy on the hair and could stop an attendee in her tracks. But waterproof mascara, taxi cabs, and 30-minute blow-dry salons are created for a reason; this was not a collection I was about to miss.

Daniella Kallmeyer held her presentation at Parlor New York, the members-only restaurant and lounge in Soho. The walls were decorated with images of scandalous old Hollywood nightlife, setting the tone for her inspiration. Leather-clad models in sheer separates positioned themselves around the first room, eyes fixed in unwavering, sultry stares.

We grabbed a glass of champagne at the baroque-style bar and walked to the next section. Continuing Kallmeyer’s twisted-classic ambiance, the second room displayed long, angular shapes in muted gem tones. Body-skimming silhouettes blurred the lines between feminine and dangerous - old glamour and new school pleasures.

Post by Amanda LaMela

Insanity is trendy these days. Whether you’ve snatched up a Prada gun print shirt or hung onto every word of Cat Marnell’s latest fever-dream, you have to admit that a little crazy can be chic… if accessorized properly.

Philippe and David Blond knew this, of course. They are already the unofficial leaders of New York’s glam-freaks and most scandalous celebrities, reigning over the glittering Island of Misfit Toys. Inspired by old horror films this season, The Blonds lead their fabulous variety of fans through a spine-chilling runway tale. Corset straight-jackets, rope dresses, and (my favorite) jeweled “blood” gown haunted Milk Studios to eerie, non-linear tones.

“Come play with us… Come play with us…” a track from The Shining goaded us as two models in matching bustier babydoll dresses slowly walked towards the cameras. A star-studded front row enjoyed a particularly intimate introduction to Carrie, The Butcher, and 16 other horror-themed looks.

Guests including Carmen Electra, Debbie Harry, Neon Hitch, and Robert Verdi also got a close glimpse of The Blonds’ thrilling nail art – black and red talons scrawled with phrases such as ‘REDRUM’ and ‘Bates Motel.’ And nails weren’t the only sharp objects on the runway. Plexi knife necklaces and gun-to-the-headbands by Max Steiner were sported by glitzy renditions of Psycho and The Slasher.

Ending with a signature hair-toss, Philippe Blond closed the show in a blood red, jewel encrusted jumpsuit. Yup...it looks like The Blonds have put on another killer runway.

Post by Amanda LaMela

Alessia Prekop was our last show on Sunday evening and we had slipped into Eyebeam Studios just in time. The first look was already halfway down the runway -- a sleek, futuristic coat that paired well with the cool, warehouse-like venue.

Bold geometric sheath dresses and leather-blocked cigarette pants projected naturally against the studio’s exposed brick entrance. A palette of black, red, and blue combined for shapes as angular and satisfying as the pyramid of champagne glasses in the back of the room.

Yes, there’s nothing quite like a Sunday that ends as boldly and boozy as it started. 

Post by Amanda LaMela

What would a Custo Barcelona show be without seat-rattling bass, mixed furs, and geometric prints? Titled “The Beauty and The Beast,” the Dalmau brothers combined a “bionic” sporty aesthetic with feminine inspiration to represent “The Beauty.” Their iconic prints came in the form of tribal and Nordic inspiration, symbolizing “The Beast.”

Contrast furs and mixed-media mini-dresses charged down the runway to Happiness by Sam Sparro (upbeat beauty!) and Flutes by Hot Chip (moody beast!) ..Isn’t it comforting to see a collection as capricious as we are?

Post by Amanda LaMela

Due to a series of unfortunate, but probably avoidable events, I was running a half-hour late to Erin Barr’s runway show on Thursday evening at Pier 59 Studios. When I finally arrived, my heart sank as guests were filing out of the studio in the opposite direction. I had missed the entire thing. The fact is, starting on time is easy to do when you pack a house as quickly as Erin. In just four seasons, Barr has earned quite a following with her sexy tomboy aesthetic.  

Luckily, I was able to sneak backstage to catch a glimpse of the post-show insanity and speak to the designer. There was a long line of eager editors and bloggers waiting to talk to her, so I took a moment to delve into her racks. Patterned crop tops and sage green leathers evoked a crisp, natural essence. Indigos and twilight blues were inspired by the landscapes and energy of the “Northwoods,” the area around her family’s cabin Northern Wisconsin.

“Many of my motifs and prints were inspired by the loon,” she told me. I responded with a confused look.

“The loon,” Barr continued, “is a beautiful bird from Northern Wisconsin. Look up a picture – it also has an amazing call.”

In her short bralettes and sheeny fabrics, it was an amazing call, indeed.

Post by Amanda LaMela

Nina Skarra’s F’13 presentation began at promptly mimosa o’clock, with champagne flutes circling the Box for the first showing of the day. Those who accessorized with a demure hangover this morning were favorably informed that Skarra’s collection title, “Frosted Circus,” was not to be taken too literally. Instead, trumpet waists and plunging v-necks in ringleader palettes took center-stage. Skarra’s lioness knits and intricate textures earned an early morning applaud – or rather, the raise of an effervescent glass or two.

Post by Amanda LaMela

The demanding instrumental intro of Led Zeppelin’s Kashmir opened the Katya Leonovich show. Wearing Lucite geometric wedges, models charged down the runway in the designer's trademark prints. This season’s hand-painted garments came in swirls of cobalt, Egyptian blue and frosted moss, cinched with python corset belts and draped in faux fur. Achieving a balance of mystical and edgy, Leonovich combined leather corsets with dreamy watercolors, Zeppelin with Electroclash.

In summation, it's the kind of collection that makes you want to strut down the Bowery to Felix Da Housecat - Happy Hour.

Post by Amanda LaMela

Smoke billowed out of the freshly hot-boxed Highline Loft for Highland’s F13 Collection. That conspicuous scent permeated the air, leaving one question in everyone’s mind: “How many models got stoned in the making of this presentation?”

A long-haired DJ spun in the back, eating cereal out of the box and drinking a can of PBR. Lava lamps lined the walls, popcorn and pillows were scattered on the floor, and tables held two bongs in front of the tube television. It looked like what the basement of Travis from Clueless might look like – 90s slacker paraphernalia with a hazy disposition.

Then the models filed in, each more ‘Stoner Casual’ than the next. Soft fleece vests over printed layered tees and knit hats were the uniform du jour. In head bands and long johns, this presentation pushed show production limits that have yet to be matched this season.

Post by Amanda LaMela

There is nothing more masochistic than covering a backstage dressing area full of uninterested male models. But alas, there I was, a half-hour before runway time at Studio 450 for Marlon Gobel. With compasses affixed to their pants and garrison caps slightly tilted, they embodied the designer’s dystopian inspiration.

Titled “The Punishment of Luxury,” Gobel draws insight from Michael Carson’s short story of the same name. He writes, “From the brink of apocalypse, humanity has reorganized itself into five factions, each of which uphold and live by a single core value […] Abnegation (the Selfless), Erudite (the Intelligent), Candor (the Honest), Amity (the Peaceful) and Dauntless (the Brave.)”

Post by Amanda LaMela

Despite yesterday’s early threat of Nemo, I braved the cold and headed to 39^th street for Ann Yee’s penthouse presentation. As guests were teased with the plethora of welcoming knit layers and accessories, models were cozying up to the emerging designer against a snowy, winter backdrop.

She revealed that her inspiration came from Black Mountain College, a now-inactive creative institution that boasted alumni such as Robert DeNiro Sr., Ray Johnson, and Joel Oppenheimer. Three students sat on the floor and live-sketched the presentation from different perspectives, adding a performance art aspect to the presentation. Drawing from the school’s counter-culture philosophy, Yee achieved refined nonchalance in slouchy boucle sweaters and cropped wool jackets. 

Post by Amanda LaMela