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Six-by-six [inch] pockets; 12-by-12 sleeves without armholes, and a 36-by-36 platform for the show that is six inches high, explained Yeohlee Teng of her fascination with Mathe-magic, as she calls it. These considerations control the form and inform the shape. And what one might even call an obsession was, most significantly, evident in her spring Yeohlee collection sometimes dramatically, but often with subtlety. Nothing in the lineup was without in-depth consideration given to its construction. Seams were used instead of darts; a fabrics grain lines were carefully moved around in contrasting ways that added shadows and light to the surface of, for instance, a beautiful, dark navy silk faille sheath. But Tengs focus for spring was on the melding of volume and form. She illustrated that fusion in a bonded wool coat with huge theatrical sleeves and a simple but cleverly cut white dress. These might have lacked the ease of some of her other looks. But after the final cut they, too, captured the movement that is so important to Teng. None of the heady stuff was visible in some of her strongest silhouettes: the relaxed white crepe sheaths with elbow-length sleeves; the terrific pinstripe-slender skirts; and the black rainskirt that was cut like a circular tablecloth. The designer appears to heed the words of Richard Martin, former Costume Institute curator at the Metropolitan Museum of Art, who praised her approach to fabric and silhouette by saying she is resisting the untoward and unnecessary cut. Teng said she simply wants to add to the fashion vocabulary. |
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Summer of 69 was the lens for Katharine Polk this season. While shes known for her cool girl, tomboy take on fashion, for spring, she took an ethereal and romantic direction. Inspired by grainy beach photographs, she played with textures and transparency. Handmade embroidery, crochet and lace were used in an innocent yet provocative way by revealing just a glimpse of skin. The primarily white palette felt a bit bridal, but it was offset by injections of dusty rose, indigo blue and sand hues. Key looks included a lace sweatshirt and midi skirt, an off-the-shoulder top with paisley embroidered maxiskirt, and a geometric crochet lace dress. The vision could come off as sugary sweet, but somehow in Polks hands, the delicately feminine fabrics felt cool and modern, especially paired with white Converse sneakers as a throwback to her longtime muse Katharine Hepburn. |
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Agency: MIKAs Stockholm Height: 187 Size: 48 Shoe: 43 Hair: Light Brown Eyes: Hazel |
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Agency: Le Management Denmark Height: 187 Size: 48 Chest: 90 Collar: 38 Shoes: 43/44 Hair: Blonde Eyes: Green |
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Agency: M Management Paris Height: 6'3" / 191 Chest: 35" / 89 Waist: 28" / 72 Hips: 36" / 91 Shoes: 12.5 / 44 Hair: Light Brown Eyes: brown |
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Tropical Couture is how Angel Sanchez referenced his spring collection. After years of minimal architectural looks, Im going back to my Latin roots in a very clear way, Venezuelan-born Sanchez said backstage. At times it worked beautifully the gazar racer-back dress with hand-cut flowers was airy and romantic but there was the occasional misstep, such as an oddly cut jumpsuit with leather-flower appliqués on the illusion sleeve. Sanchez played with Fifties couture shapes, draping and intricate details on his cocktail dresses and gowns. A vibrant palette of fuchsia, citrus-green and orange was cleansed with black-and-white styles. Flowers adorned dresses, from hand-cut leather versions to Plexiglas and laser-cut embellishments. Sanchez also worked an oversize hibiscus print on a voluminous strapless gown. The colorful lineup was a bit dizzying at times, but the craftsmanship was evident throughout the bold collection. |
