District L

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

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

Looks like Dragqueen Barbie is getting ready for her post-Fashion Week getaway. She is packing her flowered bikinis and lipstick swimsuits for a bit of haute yachting and moonbathing in Vendée. The Blonds theme was “Psycho Beach Party,” and perhaps my favorite kind, because their blingy bodysuits and shell-encrusted corsets were never intended to touch the sand.

Phillipe and David Blond must have planned ahead for their psycho escape. Knowing that the west central coast of France is rather brisk this time of year, they stocked up on Latex legwear and opera gloves by none other than our beloved Jac Langheim – a Blond S’13 staple.

Upping the ante on theatrics and glitz each season, The Blonds drew their returning front-row fixtures like Jay Alexander, Jay Manuel, Amanda Lepore, and Adam Lambert. But even those stars weren’t blind to their new runway companion as Paris Hilton arrived in a glittering platinum dress and sky-high Louboutins. Gasping delightfully at each glittering creation, it was obvious that The Blonds have seduced yet another celebrity blonde to their fan base.

Post by Amanda LaMela

In a smoky, green-lit room inside Milk Studios, ROCHAMBEAU’s dark pagan-like obscurity returned. Inspired by the “folklore surrounding water throughout history,” Sunday’s set resembled what the southern coast of Iceland might look like in night vision goggles. With their post-prophetic perception, designers Laurence Chandler and Joshua Cooper channeled Nordic beaches blackened by volcanic ash.

Water and its historic symbolism of “afterlife, departed spirits, and the mysteries of death” was nurtured by a murky color palette. Models in layered blazers, harem pants, and diagonal shorts swayed to a pulsing beat atop narrow tree stumps – melancholic remnants of last season’s levitating foundation.

Post by Amanda LaMela

Guests filled The Studio for Katya Leonovich this afternoon, a highly anticipated encore from last season’s presentation. Having outgrown The Box, it seems that Katya’s designs also continue to flourish since her well-received New York debut.

Fashion Week’s favorite young painter remains loyal to the watercolor prints that have earned her such adoring buzz in the past. In addition to her hand-painted corsets and evening gowns, Leonovich includes new rich textures this season, such as python and metallic jacquard.

Post by Amanda LaMela

“Artist Frank Stella-meets-Marilyn Monroe,” designer Erin Barr responded to that one question all designers dread, and yet I asked anyway. She elaborated, “My collection was inspired by Frank Stella and his 1958 Broadway series paintings. It also reflects Marilyn Monroe behind the scenes, when she was alone and being real – being Marilyn.”

The set provoked thoughts of the few champagne-drenched Sundays we spent in the retro-styled lobby bar of The Standard East. Models leisurely perched on chaise lounges, flipping through coffee table books and sifting through records. 

Barr is Wisconsin-born, Central Saint Martin’s-cum-Parsons-educated, and currently resides in Williamsburg. “I don’t know if I want to be considered a ‘real New Yorker’ yet,” she mused, after I mentioned that, by most New York standards, her eight years living in the city has earned her official New Yorker status. It would seem uncharacteristic for Barr to declare such irrelevant labels anyway. What is more important to her is remaining genuine.

With her attention unwaveringly focused on quality and sophisticated design, we expect she’ll have no problem staying true to the aesthetic that critics are loving at first sight.

Post by Amanda LaMela

Let’s try a little word association. When I say “book release party,” what is the image that immediately comes to mind?

Is your first thought, “six topless models covered in body glitter, emerging from giant candy bar wrappers and dancing to a two-part drag performance by Joey Arias?” If so, this accurately describes last night’s scene for the release of Antonio Lopez: Fashion, Art, Sex & Disco.

Antonio Lopez, a renowned artist of the 70s and 80s, was known for his erotically-charged fashion illustrations and exhilarating persona. Suitably celebrated with cocktails, candy, and partial nudity, bold-faced names poured into The Prince George Ballroom to acknowledge Antonio’s lifelong industry contributions. With guests like Amanda Lepore, Fran Drescher, Anna Sui, Pat Cleveland, and Cory Kennedy, this was a far cry from your average book party. 

Post by Amanda LaMela

It would be impossible to overlook the common denominator on the New York runways last week. From fox to faux, Cennamo to COTA, fur frequented the shows more than any other trend. It surfaced on Day 1 at Ailey Studios for Danilo Gabrielli in the form of sophisticated stoles and trims. Son Jung Wan took a more grandiose approach during her Saturday morning showing, with emerald-toned raccoon jackets and fox-trim toppers.  The following day, Mathieu Mirano received a warm introduction for his red and black fur jackets at the Box in Lincoln Center.

Norisol Ferrari’s presentation on Valentine’s Day morning boasted lush mink jackets, fox-trim trenches, and sable-lined vests. Later that afternoon, I headed over to the Rubin Museum to catch the Josie Natori collection. Over champagne, Natori’s Mongolian boleros and fox-topped gowns were love at first sight, as they dramatically made their way down the museum’s spiraling staircase to an elegant piano soundtrack.

That following day, at the emotionally-charged Joanna Mastroianni showing, marabou magnificently masqueraded as fur, just as it had in days prior. A few hours later, NOMIA added a pelted touch to her streamlined urbanite collection. Raccoon resurfaced at our final show, The Blonds, adding a glittering finish to our sumptuous season.

Rafael Cennamo

Christian Cota

Danilo Gabrielli

Mathieu Mirano

Josie Natori

Son Jung Wan

NOMIA

Post by Amanda LaMela

When I received the invitation to “Live Fast Die Blond,” I had to, once again, restrain myself from doing that really annoying countdown thing that people do on Facebook. It’s never been my style, but The Blonds are always a highlight of every Fashion Week – from glittering Playboy processions to the theatrical Chinese dragon dance, Phillipe and David Blond never fail to shock and surprise.

When we arrived, the photographers were already manically snapping a very boldfaced front row that included Jay Alexander, Sauli Koskinen, Jay Manuel, and Patrick McDonald. But after the customary interlude of socializing, posing, and photographing took place, guests found their seats and prepared for a full-throttle production – that is, until a team of bodyguards arrived to escort Lil’ Kim to her front row seat, opposite Adam Lambert.

The lights finally dimmed and the sound system echoed, “Live Fast! Die Young!” Fading from a clever mix of ‘last call’ music, the scene was then set for the original Alpha Kitty to make her grand entrance. Introduced by a succession of male models, Phillipe Blond approached the EVOLVE electric motorcycle at the end of the runway.

This high-energy procession of crystal corset tops, jewel encrusted motorcycle jackets, and ‘Thriller’ corset dresses earned Phillipe and David a standing ovation as they skipped off the runway to conclude another fantastic season.

Post by Amanda LaMela

Captain Kirk, at the brink of his midlife crisis, hired a younger, sexier yeoman to shake up the Empire. Shrouded in sculpted shoulders, mod silhouettes, and angular necklines, she’s secretly positioned herself to take over the starship.

Designer Geoffrey Mac indulged his crowd in futuristic-60s appeal with beehive hairstyles and swinging hemlines. Ultramodern contours and intense contrasts could be spotted from space, yet were objects of fantasy for decades. And on Sunday afternoon at Exit Art, Geoffrey was “…a dream that became a reality and spread throughout the stars.”

Post by Amanda LaMela