Fashion News

Markus Lupfer blended the feminine with the masculine, looking to influences as diverse the Arctic Circle and classic men’s tailoring for this sophisticated but easy collection.
“She likes to mix things together like sporty leggings with sequinned skirts,” said Lupfer of his muse. “Basically she throws things from all different angles to make almost everything possible.”
The designer created an arctic flower print that he scattered onto a soft blue dress with a pussy bow. He turned the flower into a jacquard for a green and orange long-sleeve dress that he styled with a black shearling vest and sunglasses by Linda Farrow.
Lupfer also played with volume and shapes in outerwear and tailored suits. He took a traditional men’s suit and gave it a ladylike touch, pairing a polka dot pussy bow blouse with a plaid jacket and languid trousers.
He used the same plaid pattern for trousers, which he paired with a floral printed tie neck blouse and an elongated white shearling coat with floral embellishments on the sleeves.

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Roland Mouret ramped up the sensuality for this 20th-anniversary collection — and his return to the London catwalk — with languid silhouettes that breezed across the concrete ground floor of The National Theatre. Although Mouret slipped in a few of his early career looks, he said the last thing he wanted was to look backward. Instead, the aim was to drive home his message of “louche sensuality,” with draped and slashed fabrics, tucks, pleats and playful details that suggested getting dressed — and undressed.
Myriad versions of the Dusty Springfield classic, “The Look of Love,” accompanied a lineup of elegant and feminine silhouettes — a short mauve wrap jacket fixed at the front with a kilt pin; a blanket coat that was draped and tucked to accentuate the body’s curves, and a belted one that was slashed high at the back.
Tops were loose and fluttery — one had a single draped sleeve, another was made with a soft fold at the back revealing a flash of skin, while a third had loose ties at the wrist that could be worn done — or not. Among the standouts was a black velvet cape, slashed here and there, with a silk rope tie — the designer’s wink to bondage.

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Your front row view, no ticket required.

Comedian Josh Gondelman goes to fashion week.

This was a homecoming of sorts for creative director Natasa Cagalj, who decided to move the Ports 1961 show temporarily from Milan to London, where she lives and works. It also came from feeling safe and protected by her own four walls that led her to experiment with a series of interesting fabrics and textures inspired by the home interiors of a world traveler.
Moroccan rug patterns twisted their way into cozy, off-the-shoulder stretch dresses, while long, veil-like tops were thrown over roomy trousers, recalling the gauzy drapes that billow from the terraces of seaside villas. Extra-bulky knits embellished with reflective mirror pendants lent a quirky touch to the collection.
Cagalj has a talent for taking apart classic women’s wear staples and piecing them back together, and for fall she re-worked a host of shirts.
She sliced them at the sleeves and cut them into panels, moving the parts like a chess master. The shirts had open backs, asymmetrical fronts and great volume.
Extra-large tote bags appeared as a new category, part of the brand’s plan to expand its women’s wear business and grow internationally.

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