‘‘We’re turning Atari images into really chic prints for women on things like cardigans with Swarovski crystals on top,’’ he said. ‘‘ Video games on top of the ‘40s: It’s kind of insane but kind of cool.’’
Opulent Touches and intense tones of malachite green, oxblood red and amethyst were Lhuillier’s red carpet calling cards.
With the Oscars around the corner, the drama on Lhuillier’s runway was wrapped in beads on lace and punctuated by malachite, with illusion effects, plunging backs and strapless glamour.
Lhuillier has been lucky in Hollywood (Julianne Hough at the Golden Globes) and hopes these gowns will help continue her run.
‘‘Well you know, every time I start a collection I always say, ‘What haven’t I don’t before, what’s exciting, what’s new, what do I want to accomplish this season?’ So I wanted this girl to be super sexy. It’s dramatic, mixed in with a little Art Deco, and just really intense color and intense structure.’’
While she didn’t skimp on comfy, everyday looks for fall, sending out cable knit dresses in bone and shaggy fur coats, her gowns stole the show — though her roomy cocktail dresses with high-low hemlines and swingy sheer overlays were pleasers, too.
She used a digital feather print on crepe for a sheath dress and a crepe strapless gown. A burnished brocade was printed on a tweed, notched-collar coat paired with black pants. Another print was an abstract of butterflies.
Lhuillier said backstage she ‘‘wanted to be darker, more sensual, and a little stronger and more confident’’ on the runway this time around. And she wouldn’t talk Oscars.
‘‘You'll have to wait and see but, um, anything is possible,’’ she smiled.
Connie Britton, who appears in ‘‘Nashville,’’ wore a fitted black Lhuillier on the front row and said her gowns are ‘‘pretty fantastic.’’ Actress Bridget Moynahan was in a red Lhuillier and calls the designer ‘‘a good friend to have.’’
It was that easy: Stuart woke up one day thinking about how stylish British model Stella Tennant and her friends were, so Stuart thought she would create a wardrobe just for them.
She aimed to dress an aristocratic fashion risk-taker for all those parties at castles in the English countryside.
‘‘I was thinking about the beautiful dinners and the charades she and her friends play, and the great performances they see at the end of the night,’’ Stuart said backstage.
Her offerings include a plum-colored halter dress covered in satin flowers, a more tailored dress in black wool with more sharply cut flowers, and a white sheer man-tailored shirt paired with black evening shorts and a full-cut long black coat.
Miller’s collection was called ‘‘Menswear With a Twist: Raiding the Boyfriend’s Closet.’’
It was the good girl meets bad boy, packing a wardrobe of tough leather jackets, pleated skirts and several fedoras for the adventure. No apologies to mom.
There were particularly short knit dresses and a skin-hugging corset dress in a print called ‘‘tatooage,’’ which looked exactly as it sounds.
And there were outfits more in line with what’s expected from Miller, including a long dress in a wallflower print with a ruffle front and a stretch-denim dress with sexy net inserts.
The black matte-jersey, floor-length dress, with a dropped leather waist and notched V neck, that closed the show was the right high note to leave on.
But where Miller saw ‘‘golf pants’’ on a pair of loose baggy trousers paired with a burned out velvet-and-georgette blouse, the audience might have seen glorified sweats.
Feminine beaded tops over boy shirts were paired with punky skinny pants adorned with zippers as Taylor explored Frank Lloyd Wright and the Lower East Side of the 1980s.
‘‘I had been reading that book, ‘Loving Frank,’ and I wanted everything to feel a little bit more architectural,’’ said the New Zealander based for years in New York. ‘‘It inspired me to look at his work because I hadn’t been terribly aware of architecture, really.’’
A black tweed and leather T-shirt was shown with an olive green stretch leather pencil skirt to capture both inspirations. Taylor paired a black, box-pleat top with a girly peplum and a frayed design in a tweed skirt done in wine red.
A black pleated leather skirt was trimmed in a mesh-like lace and worn with a pleated top in plum.
The collection for fall, Taylor said, was definitely more structured and tailored than her work in the past, with help from a bonded stretch knit that created a delicate texture.
She patched colors together in an ode to Wright’s famous stainglass windows, relying on petrol blue, ruby, lavender, violet and camel.Continued...