This season marks the tenth anniversary of Erin Fetherston’s New York Fashion Week debut (before that, she showed in Paris); it’s also her first collection since she became a mother.
“I have a more relaxed attitude because you just got to go with the flow,” she explained of her latest lineup. “That has translated in the best possible way to my designs this season.” Indeed, Fetherston’s signature flirty frocks were longer and looser for Spring; of note were the slouchy off-the-shoulder dresses that seemed tailor-made for a dinner party in Laurel Canyon or a casual beachside wedding. More surprising still, were the suits, which were slightly oversize and cut from a pliable crepe. Though at times they came across a little staid, the suits toward the end—which came with blouson sleeves—deserved a second look (the sleeves particularly provided a smart tweak for women who like to look put together, but not buttoned-up). These must have been what the designer was referring to when she spoke of striving for a “refined take on bohemian dressing.”
Despite these unexpected turns, Fetherston stayed true to her signature girlish romanticism. The iridescent opal looks—which shimmered like butterfly wings—felt particularly true to her brand. Of the offering, Fetherston said, “I feel like this is a perfect anniversary collection for me because it really reflects who I’ve been, but it’s also very much a look forward.”
Michelle Ochs and Carly Cushnie know their customer, and while subtlety may not be her strong suit, having fun sure is. For Spring, the pair sent out a collection that relied heavily on the slashed and split sexy-at-all-costs clinging silhouettes that party girls and paparazzi-bait alike have come to rely on them for—this time, in color-block pastels inspired by Miami, and Michelle Pfeiffer’s character from Brian De Palma’s Scarface. “We’re women designing clothes for women, and we’ve been doing it for eight years now, and it’s working,” said Ochs.
The slinky, sexy looks certainly seemed to resonate with the front row, which included at least two former CW stars and one former pageant queen, all of whom looked like they may have at any given point been photographed out on the town with the ever-growing groups surrounding the Hadids or younger Kardashian/Jenners.
And there was plenty here for that particular cohort to covet, from a cocktail frock that bared both flank and haunch to the flowing monochromatic jumpsuit that opened the show. For those with board meetings in their future, there was even some suiting, demurely slit at the shoulders. The disco-era Miami influence was most keenly felt in the sparkly Lurex cocktail frock and cutout jumpsuits, though one could make the argument for the final group of geometrically beaded gowns with pleated accents coming from that city’s architecture (Gianni Versace’s Miami mansion, maybe?). After all, as Pfeiffer’s character so famously said, “Nothing exceeds like excess.”
In the hopes of cooler weather I went in search of a new fall/winter fragrance. I took a chance and spritzed some Jazz Club: Brooklyn 2013 on my wrist and let it settle. I was quite surprised as to how much I loved it. It is a male fragrance that’s described as heady cocktail and cigar in a New York Jazz club. It features top notes of pink pepper, primofiore lemon and neroli oil, middle notes of rum absolute, clary sage oil and java vetiver oil, with base notes of tobacco leaf absolute, vanilla bean and styrax resin.
It’s a masculine scent and leaves you smelling as if you spent hours in an underground jazz club. At least that’s what the marketing people would like you to think. It initially has a strong scent of rich, slightly creamy rum scent, with a mixture of sweet and sugary coal. Think rum and coke. As it starts to dry, it turns into a sophisticated, mature, non-artificial tobacco and cigar aroma. It’s offset with a lighter scent of fresh, citrusy lemon and sweet vanilla. A few hours after I tested it, it settled into a warm vanilla leathery scent. Perfect for the cooler months ahead.
Side note, although this was created for men, I can totally see this being unisex. For the ladies that like a slightly masculine, rich and woody scent, you will quite enjoy this.
You can purchase it through Sephora.
Marissa Webb doesn’t seek deep sources of inspiration when it comes to her collections. Webb dresses what she knows—and that is the women around her, specifically the “modern New York woman,” as she stated backstage, after a show whose pieces had a metropolitan polish. Remember the Glastonbury look that was popular during the 2000s—a worn-in, oversize army jacket thrown over a tired-looking baby-doll dress? (Kate Moss wore that muddied festival ensemble time after time). Here there was a city-appropriate incarnation of the field jacket, now elevated by way of a hip-length crop and sculpted, rounded sleeves, styled over a print dress that was pertly buttoned at the neck.
Ruffles played a clever role. Sure, predictably, in some instances they were feminine, like on an amber charmeuse blouse that had ruffles scaling the arms. But when added to a blazer, the wide ruffles went as far as to add a clever structure; they stuck up high, coursing down the sleeves, giving off an air of broad executive power.
Webb also played with waist heights. Low-slung cream trousers in silk became an instant closet staple that could seamlessly go from the boardroom to cocktail hour. The high-waisted leather cropped pants are something to look out for: The ankles had sets of grommets fastened by laces, and a fastened belt caused the extra fabric to bloom upward and gather unevenly past the waist, perfectly flattering the silhouette. It’s not just New York women who’ll love that.