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Elie Saab

Daywear? Elie Saab has a ready-to-wear collection for that. At his Couture show today he was focused exclusively on after-dark. Saab made his point by lining the back of the runway with chandeliers, which were illuminated just moments before the first model made her grand entrance. The colors refracted in those chandeliers provided the palette: first blue, then pink, next blush, followed by black, white, and gray. For decoration, Saab preferred pearls. Tahitian blue for a navy chiffon goddess dress; white pearls on a long-sleeve princess gown; champagne-colored ones for a strapless cocktail number in a neutral shade of pink. The white-on-white looks were the prettiest, but damn if all those embellishments weren’t heavy. A few of the models really struggled with their gowns, and the bride, with her acres of embroidered train, didn’t fare much better. Surely one of Haute Couture’s pleasures should be the way made-to-measure clothes feel on the body.

Amid the tone-on-tone embroideries and the ombré effects, a sweeping ball gown in pink with tiny blue embroidery stood out. So did a couple of dresses that featured a lavish rose print. Saab should keep experimenting with print. For one thing, it’s a whole lot lighter than pearls.
—Nicole Phelps
Runway Feed

Cheryl Burke Condemns Body Bullies, Plastic Surgery Rumors

Cheryl Burke Condemns Body Bullies, Plastic Surgery Rumors
The Dancing With the Stars pro, 30, is no stranger to controversy and even defended her 15-pound weight loss in May. But this … I was actually looking forward to posting vacation photos since I've been eating healthy and feeling so good,” she said …
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See- if you're telling people you don't care what people think about you, then by definition you do. Life is not about getting your tweet read aloud on the View or posting your weight-loss photos or showing up your frenemies. None of that stuff is …
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Zuhair Murad

Beirut has been undergoing an architectural renaissance, with Herzog & de Meuron, Norman Foster, Steven Holl, and Zaha Hadid among the starchitects making their mark on the Lebanese capital. Zuhair Murad, who is based there, saw the potential for a Couture collection built from geometry—particularly Hadid’s extreme forms. To most eyes, Murad’s interpretation might seem tenuous; dresses generally adhered to classic cocktail or gala silhouettes, with an occasional angular bustline, displaced hemline, or enhanced-volume overskirt. But look closely at the surface detail and you could see how the stretched, encrusted wave patterns; guipure macramé; and puzzle-piece prism motifs expressed a certain neo-futurist edge—especially when rendered in black, white, and silver (the result of hammered metallic sequins).

In trading last season’s precious garden inspiration for a modern cityscape, Murad nudged his aesthetic forward, even if only incrementally. To his fairy-tale wedding dress, he added a 5-meter-long veil; yet the crosshatched embroidery evoked the distinctive cladding employed by various architects today. The designer could have pushed further beyond his signature glamour comfort zone—but perhaps his clients (well-evidenced by the primped-up women sitting front-row) don’t demand this of him. He mentioned that his couture customers are younger and younger—in age and also in spirit, and maybe the beaded, multicolored jump-short number will be purchased less because it represents a good investment than a youth-affirming indulgence. The penultimate look, a shimmery belted caftan, was an outlier in its Art Deco vibe; its unstudied elegance was the most modern statement of all.
—Amy Verner
Runway Feed

Rag & Bone

It’s hard to imagine a person who wouldn’t look right in Rag & Bone. That’s exactly the point designers Marcus Wainwright and David Neville made with their all-in-one photo exhibition/lookbook/collection presentation. For the men’s Spring 2015 outing, they recruited people of all shapes and sizes—a pro basketball player, a stand-up comedian, a guy who makes perfume, the proprietor of a local bar, men and women, old and young—and the whole cast did the clothes as much justice as any model could. “We made a lot of points about the versatility of the clothes and the individuality of Rag & Bone,” said Wainwright. “How one piece of clothing can be worn many different ways by many different people.”

Rag & Bone’s men’s line, now ten years old, isn’t known for creating new challenges for a guy’s wardrobe. The duo makes exceptionally easy-to-wear clothes with an emphasis on comfort, subtle detailing, and safe fits. This collection wasn’t a departure by any means, but it did shine a new light on the brand’s appeal.

Forgoing the preciousness of a cohesively themed collection, this was a loosely curated assemblage of nearly perfect individual pieces. Best in show was the outerwear—a fishtail parka in a high-tech sailcloth infused with fiberglass, a replica-quality bomber in onion quilted nylon, a moleskin overcoat that could have been from any one of your favorite Belgian designers. Denim—the category on which the house of Rag & Bone is built—was given a worn-in look; a longer rise; a darted and tapered leg; and a cropped, raw-finished hem. The effect wasn’t merely an updated classic, it was a total re-engineering, and to telling effect. Tops were long and languid, mostly stripped of the extraneous details we’ve come to expect.

Wainwright and Neville didn’t present a new vision for Rag & Bone here. They presented what felt like a reaction to fashion’s adoration of conceptual design, and a compelling case for interesting clothing that people actually want to wear. “Some people look for fashion and they look for art and they look for things that are completely new, and I think that’s fantastic,” said Wainwright. “But at the end of the day, if you can’t wear half of it, what’s the point?”
—Noah Johnson
Runway Feed