Little is ever as it seems in a Prada show. That was certainly true for the label’s fall 2013 presentation. Dramatically suggestive silhouettes were projected on the walls: birds alighting on a window sill, a lone cat, a woman in a doorway. On the catwalk, models had dripping-wet hair that suggested a sudden change of plans. It all lent the event an air of film noir-ish unease.
However, it was the many coats and dresses in gingham-checked wool that best expressed designer Miuccia Prada’s penchant for tradition-twisting. In her hands, the innocent pattern became sensual and a touch wayward on dresses with slipped-off-the-shoulder straps (pictured above) and swingy coats worn over semisheer dresses. It all seemed to say: The lady has misbehaved.
Ms. Prada “is obsessed with this Hitchcockian, twisted midcentury woman—slightly repressed but strong,” said Barbara Atkin, vice president of fashion direction at Canadian department store Holt Renfrew. “Gingham has the connotation of vulnerability. I kept thinking of Dorothy in the ‘Wizard of Oz’ trying to find her way home. I think the Prada show was a commentary on women’s vulnerability and struggle.”
Prada isn’t the only one playing with gingham. This summer, the fabric that usually lines picnic baskets is showing up in myriad unexpected forms.
For Beth Buccini and Sarah Easley, co-owners of New York City’s Kirna Zabête—a colorful boutique with an aesthetic one might describe as “high-fashion candy store”—overflowing wardrobes are a job hazard. “That’s just a reality of my life: I save everything,” said Ms. Buccini, who refers to one of her closets as “the archive.”
Later this month, the pair will have even more wardrobe-busting temptations with which to contend. Ms. Buccini and Ms. Easley will relocate their business to a 10,000-square-foot space at 477 Broome St., a block away from their current location on Greene St., which they opened in 1999. The décor of the store, by interior designer Steven Gambrel, will prominently feature Kirna Zabête’s trademark colors—bright pink and red—along with new elements like a black-and-white striped floor. They’ve also created a large eveningwear section, and added 30 new labels including Mary Katrantzou, Nina Ricci, Sacai, Roland Mouret and Valentino.
Even with constant access to the newest clothes and accessories, both women still keep and regularly wear items from past seasons. In this capricious era of fast-fashion and short-lived trends, finding pieces that endure, both in terms of workmanship and style, has become a challenge. However, Ms. Buccini and Ms. Easley, both 41, agree that it’s not impossible.
Featured in Design Bureau’s special edition issue, Weddings By Design (on newsstands, Spring 2013)
When Omar, a restaurant and private supper club opens next month at the former Hotel Griffou in Greenwich Village, many night-life veterans may ask, “Omar who?”
He would be Omar Hernandez, a behind-the-scenes fixture on the party circuit who is seeking the same, first-name-only recognition once reserved for legendary hot spots like Nell’s and Elaine’s.
“It’s not meant to be a vanity project,” Mr. Hernandez said the other day, as he whirled about the gutted space on West Ninth Street, pointing out the new décor and not-yet-arrived fixtures. “It’s about the spirit I want to convey.”
It goes without saying that Julie Dickson knows a lot about hair. The stylist and salon owner has been styling locks since 1996, with stints at some of the city’s coolest beauty hubs — including the Upper East Side’s Minardi Salon, Dop Dop in Soho, and Blackstone’s in the East Village, before finally opening her own Nolita space, Fox & Boy, in 2009.
Besides her almost encyclopedic hair knowledge, which she’s also cleverly spun into annual “hair how-to” parties (Psst! The next one is November 16th!), Dickson’s one savvy advocate of her ‘hood — and where to go once you bounce out the salon’s doors. Thankfully, we tagged her for an insider guide, and she’s giving us the lowdown on the best place to meet your friends for after-work drinks, an awesome inexpensive breakfast café just a short walk away, and her go-to spot for a gorgeous dinner party dessert on the fly.
Given the dizzying number of parties, in-store promotions, and celebrity appearances taking place this Thursday night, no one blinks when I hesitate to answer the question, “So, what are you doing for Fashion’s Night Out?” Likewise, I’m not so surprised by the immediate assumption that I’ll actually be out there in the fray, along with what feels like the rest of the city. Except this year, I’m opting out.
Truthfully, I’d rather skid down a 50-foot sandpaper slide into a pool of salt than cope with the lines, crowds, and drunken chaos of the night — and for what, the chance of a glimpse at a designer singing karaoke or some free, watered-down booze? Call me a grouch, but I know plenty of other fashion industry insiders who equally dread FNO (cleverly dubbed “EFF NO” by The Cut), if not more because some of them will actually have to dive in and report on the frenzy for their jobs.
As the collaborator behind two newly debuted styles for eyewear label Barton Perreira, the aptly-named “Giovanni” and the “Ribisi,” the actor’s bona fides are a stellar combination of killer personal style and a formal training in the world of 3D animation. Granted, the latter was intended to land him in Hollywood’s expanding world of blue screens, but like any serious actor, Ribisi isn’t one for being typecast.
Scarlett Johansson has a multicolor scene on the inside of her arm and lingerie model Isabeli Fontana has a large set of angel wings on her upper back. Looking at ads Johansson did for Dolce & Gabbana and photos of Fontana in the Victoria’s Secret catalog, however, one would not suspect that either possessed even a millimeter of anything other than flawless, ink-free skin. Despite the growing faddishness of tattoos, many major brands and magazines continue to airbrush away the ink on their models and actors. (All the tattoos at left have been removed in at least one instance, as you’ll see in the slides that follow.)