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“I can’t show you a stretch pant and a T-shirt.” That was Tomas Maier in the Bottega Veneta showroom today, presenting the label’s Resort collection for 2015. Some designers do take a straightforward approach to in-between seasons like Resort and Pre-Fall, but Maier’s not one of them. BV’s creative director is as intrigued by process as he is by the final product, a fact that his new clothes crystalized.

He started with the idea of bleach and how laundering a garment in the stuff can fade it in random ways. Extending that notion, he used a process called corrosion to remove color from pieces in graphic patterns—bleach stripes at the neckline of a crisp cotton shirt, a white floral motif on a lilac top. Other times, the actual substance of a material was changed, as in the case of a dévoré blouse and a jacquard flower-print lamé miniskirt.

Maier’s trick was that nothing felt contrived. Industrially washed for a faded effect, his knit sweaters were utterly simple, yet completely divine. And that enviable sense of simplicity extended into his evening dresses. No ball gowns or bustiers here, of course. Maier’s long dresses are modeled after tank tops and T-shirts. The ease is built right in; the drama comes from the way he corroded and then over-dyed them. One featured a bold grid pattern, another an abstract, oversize floral. Perhaps the best part: When they go into production, no two dresses will ever be 100 percent the same. “I like that,” Maier said, “and it’s good for the customer.”
—Nicole Phelps
Runway Feed

London-based menswear designer Martine Rose is on her own trip. That’s what makes her work such a pleasure—the sense that she’s telling a story no one else knows. This season, she delved into her own teenage memories of raving, with a lot of help from the Wild Life Archive, a collection of youth culture errata compiled by Rose’s friend Steve Terry. Using Terry’s old rave fliers as a jumping-off point, Rose conjured the “low” glamour of the original scene—the shiny shirts, the crusty furs, the baggy pants and anoraks—and exaggerated the look as a means of elevating it. The big faux fur—shaved with a beard trimmer, with embedded fliers—has been a surprise hit, according to Rose. But that makes sense, actually. Even Rose’s most fanciful pieces are grounded in a masculine reality that makes them relatable. The same is true of her more challenging silhouettes, like the extra-voluminous denim: They’ll look great in editorial, but the look wouldn’t strike you as absurd if you encountered it in the street. That’s an impressive trick. Martine Rose has been flying under the radar for a while now; here’s hoping this is the collection that gets her the buzz she deserves.
—Maya Singer
Runway Feed

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With the uneven number of male and female stars, this meant Meryl and Danica did their sambas as one. P.S. No viewer may be more disappointed about … Carrie Ann says Danica hit every shape. Len thinks it took a while to get started, but he loved it …
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This Week at BHS: Bemidji inducts five new members to Hall of Fame
"I'm looking forward to seeing them again." NESTLE GRIMES. Wrestling was a constant in the Grimes household back in the 1970s and the workouts at home kept Nestle Grimes in shape and ready for each season. … Small in stature, Grimes discovered that …
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Yigal Azrouël recently created ballet costumes for choreographer Emery LeCrone, which debuted at the Guggenheim as part of the museum’s Works & Process series. The cultural collaboration found Azrouël contemplating the human form and complementing the dancers’ fluid movements. The designer’s new Cut25 collection reflects a different approach to the female physique. Instead of tracing the figure, Azrouël focused on covering it with sharp, sculptural silhouettes. Still, he managed to keep the overall look sexy and consistent with the DNA of his brand.

Azrouël opened his Fall lookbook with a structured bomber coat that merged panels of regular tweed and “reflective glass finished tweed.” He also incorporated bonded neoprene treatments into sporty sweatshirt dresses, and played up exaggerated volumes with enveloping outerwear items such as a draped, funnel-neck topper cut from a textured bouclé jacquard. Elsewhere, Azrouël reinterpreted his linear preoccupations in more streamlined ways, featuring a graphic brushstroke print on soft crepe de chine separates and showing slim sheaths with asymmetric cutouts. Meanwhile, a cocoonish, blanket stripe wrap teamed with coordinating, relaxed trousers was a definite standout, as was a cozy, color-blocked cardigan styled with herringbone denim stovepipes. Overall, there was a lot going on in the conceptual mix, but it ultimately came together and felt like a considerable step forward for Azrouël’s diffusion line.
—Brittany Adams
Runway Feed

Victor Alfaro was a designer on the rise in the nineties. He picked up the Swarovksi Award for Womenswear (then called the Perry Ellis Award) in 1994, but eventually experienced business setbacks that forced him to shutter his company in 2003. In between then and now, he designed a lifestyle collection for the Bon-Ton department store chain. Last year he relaunched his signature label, selling it to ten specialty boutiques for Spring 2014. The new Fall collection, handbags included, has been picked up by Barneys. Alfaro learned a lot of valuable lessons working in the hinterlands, keeping costs down being chief among them. He reports that he devoted a lot of energy to finding Italian factories that could deliver his products at the prices he wanted. In his new venture, he’s opted out of runway shows entirely, preferring to hone the retail viability of his clothes. He’s mainly addressing professional women’s working wardrobe needs, and he’s built a lot of versatility into the Fall pieces, both in terms of the collection’s mostly neutral color palette and the many layering possibilities. There’s an emphasis on leather, and the key shape is slightly sack-backed—chic but not constricting, and super-easy to wear. A pair of bold, abstract prints based on the designer’s own paintings gave the lineup its energy; the green version in particular looked striking on a silk cady sheath dress.

Alfaro is thinking big: He says he’s planning on adding a contemporary-priced collection within the year and a menswear line not long after that.
—Nicole Phelps
Runway Feed

Rie Yamagata emphasizes wearability above all with her relatively straightforward collections, but introduces elements of her own quirky personality with thoughtful details that make the clothes feel special. At a Fall preview, the Rhié designer explained that this season was partially inspired by fragmented memories from her formative middle school years spent in California. A flashback to the shiny bathroom from her childhood home, for example, steered Yamagata toward a python-embossed lamé that she featured on a pleated midi skirt as well as a crafty pullover that mixed together a variety of materials. But those two silver items were about as flashy as this lineup got. Elsewhere, Yamagata focused on honing her tailoring skills, which was evident in relaxed, double-breasted suits and jumpsuits, as well as a variety of menswear-inspired topcoats (that will retail for less than $ 1,000), including a standout style in bright grass green. As usual, there were subtle references to school uniforms, with preppy plaid pieces and crisp shirting dresses. All in all, this well-considered range should appeal to girls both buttoned-down and eccentric.
—Brittany Adams
Runway Feed