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It’s a funny thing about references: Some designers cite a familiar muse and you roll your eyes; others say her name and you think, Oh, yes, that makes total sense. Such was the case this season with Serafina Sama, the designer of Isa Arfen. Her inspiration was Tina Chow, and Chow’s sensibility is such a good fit for Isa Arfen, maybe she should just be a continual influence. Refined yet streetwise, a little eccentric, too. Check, check, check. If Chow was the spirit informing this collection, which was the most complete and cohesive expression of the Isa Arfen woman yet, its conceptual girding was the idea of the dynamic life of clothes, the way women wrap a jacket around themselves for warmth, or how a shoulder slips on a top or a dress. There was something nicely humane and well-observed about that, but Sama should have treated the theme with more conviction—a heavily embellished tunic dress, for instance, was cut to sit straight, but presented awry. That kind of thing should be incorporated into the pattern, really. And there were places here where it was—a pair of wrapped tops, for instance, got the slipped-shoulder look exactly. Sama’s not really a conceptual designer, though. She makes clothes for living in, not thinking about. And this time out, there was a real sense of elevation and polish, with attention paid to subtleties like the seam detailing of a red wrap coat. Sama’s also very good with her fabrics—there were about six different kinds of silk in the range of blouses here, alone—and she showed her knack for them again as she emphasized easy-to-wear jerseys and expanded into knits. This season, her sweaters were a velvety chenille, very nice. The main quibble, really, is to do with Sama’s silhouettes: She needs a few fresher ones to work in with her signature pencil pants and culottes. All will be well if she just keeps asking herself, What would Tina do?
—Maya Singer
Runway Feed

“If I don’t feel like sleeping in it, it normally doesn’t make it into the collection.” So spake Raquel Allegra about the ethos that’s earned her a staunch following of women who like their luxury with a side of slouchy bohemia. Fall saw Allegra playing more to the gypset elements of her design DNA, taking a few generous steps back from the deconstruction and distressing she’s known for, and upping the ante where pattern and material are concerned. The shapes on offer were still simple ones (collarless shirts, straight-legged baggy trousers, and flowing jersey T-shirt dresses) but with plenty of flair. A basic fitted maxi dress in jersey found new life thanks to a pulsating tie-dye print that carved out a sort of bombshell-does-Berkeley hourglass figure, an anomaly in Allegra’s universe of the boxy and the billowy. This sense of play seemed to mark the bulk of the collection. While the use of destroyed fabrics was scaled back, they still got an homage in the form of a new print, created using a photograph of the designer’s signature cobwebby slashes and laddering. Cashmere pullovers felt almost literally electric, blasted as they were with a kinetic allover tie-dye. But perhaps the real star was Allegra’s “pajama dressing” take on suiting, an area on which she seems to be training her sights more with each new collection—to praiseworthy results. These latest forays, particularly faded striped drawstring pants that made for a mean combo alongside a buttery leather popover, felt sophisticated, easy, and even a bit debauched. The sort of clothes that could be easily shoved into a weekender bag for a last-minute jaunt—just plain cool. And, of course, eminently sleep-able.
—Kristin Anderson
Runway Feed

Maison Kitsuné is a funny expression of our globalized times. The look of the brand, which is multifaceted and comprises both a record label and a fashion house, leans heavily on American sportswear style. Its ethos, meanwhile, is rather Japanese in terms of the fetishistic eye for detail that founders Gildas Loaëc and Masaya Kuroki apply to the make of these erstwhile casual clothes. But their effect, ultimately, is very, very French—the individual pieces have an unmistakable rigor, but the way they’re worn is with that ur-Parisian insouciance.

This season, Maison Kitsuné’s collections for men and women had a particularly American patois, in that the reference was, generally, mid-century rock ‘n’ roll. There was a bit of mod olde England in the mix, as well, especially so in the menswear’s lean, double-breasted velvet suits. But the general vibe was more heartland than that, what with looks like a suede bomber with a contrasting black goat-hair collar and a dense flannel-check jacket with sharp, angled pockets. The kids at the sock hop never looked so refined. But they were present in spirit. The women’s collection erred—as French brands often do—toward the gamine: to wit, the pale blue coat with velvet trim, which looked up-sized from Bonpoint. But there was nothing underage about this season’s extra-skinny denim, and pieces like a zigzag alpaca sweater gave things a pop of early eighties, Mudd Club electricity.

As a general matter, Maison Kitsuné’s clothes for women are less accomplished than the ones for men—there’s less specificity, in either the details or the look as a whole. But in both collections there are desirable items, perfected in that finicky Japanese way, and expressing that untouchable French cool.
—Maya Singer
Runway Feed

Rosie O'Donnell Is Losing A Pound Every Other Week! Check Out The Latest …
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Alessandra Ambrosio Covers Self's June 2014 Issue, Shares Summer Bikini …
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Marion Cotillard turned up at the Cannes Film Festival earlier this week in a minidress from Maison Martin Margiela‘s Artisanal collection, densely embroidered from neckline to hem with multicolor buttons, crystals, and various other doodads. By and large, the label’s new Resort collection is far less embellished, but the lab-coated designers in the MMM studios can’t resist making their tweaks. A sweater is never just a sweater, instead it’s a little pink mohair knit with detachable shrug sleeves. Jackets, as smartly tailored as usual, feature linings that peek out from lapels and sleeves, or entire second jackets that can be layered or worn separately. Pants were mostly left alone—why mess with a good thing? But skirts were a different story; one leather style was actually a vest worn inside out and snapped around the waist over black stirrup pants.

The MMM ethos is to challenge expectations. They created “summer fur” by quilting raffia for a bomber jacket, and turned tweed into a warm-weather fabric by weaving laminated threads. But if they’re fashion intellectuals, it’s not only about experimentation for experimentation’s sake. They also like to have their fun. The girl who wears their glass-beaded backless bib and tuxedo pants on the red carpet is guaranteed to have plenty fun of her own.
—Nicole Phelps
Runway Feed

Edeline Lee is part of a burgeoning cadre of Canadian designers in London, a list that includes Erdem Moralioglu, Thomas Tait, Todd Lynn, Mark Fast, and Jean-Pierre Braganza. Unlike her fellow Canucks, most of whom come from the eastern provinces, Lee grew up in British Columbia, as a Whistler Mountain ski jock. Her new Fall collection is devoted to her inner teenager, a sporty 17-year-old who dreamed of life in the big city.

Even when Lee references the past (as she did with the Bloomsbury Group last season), she imagines how those from bygone days would dress in the future. She also has a penchant for the architectural and the artistic. The first look encapsulated that: a boned bustier dress, from the waist down it was half-culotte, half sun-ray pleats. The cocoon coat that followed was made from double-faced satin and wool with a prodigious shawl collar in laminated bouclé and neoprene. Grid detailing in asphalt gray felted fabrics replicated the color of the New York City streets, and there were paper-bag waists and a top with an oversize bow that could be tied in a multitude of ways. Flaps on a jacket shoulder were shaped like glass shards from I.M. Pei’s Louvre pyramid.

Lee is a self-described “pattern-cutting nerd”—her precision comes from her days at Alexander McQueen, John Galliano, and Zac Posen. In the past, she’s gotten flack for her monochrome-loving ways, so she injected a fair bit of Yves Klein blue here. Her arty, intellectual fans will gravitate toward the graphic black-and-white print on blue that was inspired by Japanese wood-blocking techniques.
—Afsun Qureshi
Runway Feed