It's been a stiletto-adverse NY Fashion Week, but designers offer oversized coats for comfort
NEW YORK, N.Y. - Rain, snow, ice. There's a lot of grumbling about the stiletto-adverse weather as New York Fashion Week hit Day 5 on Monday. But there's a silver lining: cozy coats, especially styles with oversized fur hoods, never looked better.
Phillip Lim sent out his big coats in navy and black during a show in a cavernous space south of the Lincoln Center tents.
Houndstooth set off one of Tommy Hilfiger's coats for women. On a bomber jacket, he moved the comfy lining to the outside, putting the traditional Prince of Wales plaid on the inside.
In a romantic violet, Ralph Rucci sent out a coat in sable, while Alexander Wang stayed mostly with greys for big coats paired with fur hand warmers to the elbow.
Belstaff's coats were tempting in earth-tone shearlings for every lifestyle, and KaufmanFranco wrapped a tough-girl muse in a little luxury, lining a black leather driving coat with mink.
There were some yummy coats at Carolina Herrera. One of the nicest came in angora, with a fox collar. It was paired with a sandstone wool jacket and matching pant. She also had a set of fox fur sleeves — just the sleeves — worn over a wool and silk blouse and silk skirt.
Brandon Holley, editor-in-chief of Lucky magazine, said she's never seen so much fur in a runway season — and New York is only halfway done with its previews.
Ultimately, the consumer will likely wind up with some great outerwear outfits, including military jackets, traditional wool coats and some edgier leather bombers. "And the beautiful fur on hoods will be an accent on many of them," she added.
"Coats are very strong," agreed Avril Graham, executive fashion and beauty editor at Harper's Bazaar. "It's something everyone wants to buy and will spend money on."
Top of her list so far is the black leather and fur one by Wang.
The eight days of previews end Feb. 14, when the crowds head to London, then Milan and on to Paris.
Her entire fall collection was inspired, she said, by a piece of classical music that she specifically commissioned for the show, by the English composer Tom Hodge.
"I started out light, just like the piece, and I reached a crescendo with my more dramatic clothes," Herrerra explained. The piece, "Capriccio for Carolina," was in turn inspired by Beethoven's Kreutzer Violin Sonata.
As for the clothes, Herrera said she was inspired by the 1940s, especially in the shapes of sleeves and in the small waists of the garments.
Fur was a constant theme, even small bits of it. Whatever you're wearing, the designer seemed to be saying, even if it's not a coat or a jacket, there's a spot for some luxurious fur.
A strapless silk cocktail dress had some fox trim across the top. A long silky flowing skirt had fur trim around the bottom. Many garments had fur collars.
Nubby, shiny material familiar to varsity athletes surprisingly made sense on a coat that was paired with a goatskin collar shawl, lace-inset blouse and stretch-wool seamed pants.
But Thakoon Panichgul put together a cohesive catwalk of seemingly unrelated modern neoprene, a space-age dandelion print, beaded dragonfly embroidery and wallpaper-inspired florals.
He hit on a few of the trends that seem to be emerging from these previews, including peplums and structured rounded shoulders, but his collection was not done with a heavy hand, leaving a pleasant trail of almost vintagelike looks.
Posen presented his smallest show in years, taking a breath from a whirlwind few months that included joining "Project Runway" as a judge.
For a designer who thrives on flashbulbs, cameras and frenzy, the change might seem odd, but he said his intimate show at the Plaza Hotel was the best way to sharpen his focus in a collection that was thoughtful and intellectual.
"My fantasies about glamour or about society, about travel, all took place here growing up in New York. When you drive by great historical backgrounds, this is where Halston did his first shows, where Oscar de la Renta used to show," Posen said.
Part of Posen's signature are red-carpet gowns, such as the strapless, draped bustier ballgown worn by Crystal Renn and the architectural peplum gown with cutouts and sharp shoulders worn by Coco Rocha.
At first, Hilfiger's looks, staged like a movie-set library, looked like they were built on the Savile Row-styled menswear and Ivy League prep-school uniforms he has played with for almost 30 years.
There were houndstooth prints in every scale imaginable — on a coat, turtleneck, tuxedo pants and even a dickie — and probably even more plaid.
"Classics receive an unexpected twist," was Hilfiger's mantra, putting some newness on the catwalk while maintaining a relatable ease that would appeal to his broad audience.
Together on the runway, the collection evoked mod for 2013. The leather argyle pattern shifts and shirtdresses could reintroduce his muses — and fashion icons — Twiggy, Mary Quant and Marianne Faithfull to a new generation.
Romantic violet is the base of Ralph Rucci's new collection.
"It's a personal reference," he explained. Pried yet further, he added: "It's the eye colour of someone in my life."
Rucci's brilliant shade of violet appeared in a "mink pullover" — the mere term a clear sign of how he is attempting to meld his signature luxury into more casual garments.
The same colour returned in dresses of wool jersey or crêpe, in a silk raincoat, in a sable coat, in a particularly well-proportioned cashmere suit, in a cashmere coat with leather embroidery, and even in filmy lace pyjamas.
And it appeared once more for the final, show-ending garment: a long wool gown with tulle insets.
Rucci, famous for his intricate couture techniques, has a high-profile following. Guests included Martha Stewart and Sandra Bernhard.
Jocelyn Noveck contributed to this story.
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