Fashion Wire Daily: the First Word in Fashion


Versus Hires Jonathan Anderson November 29th, 2012 @ 11:04 AM

Cacharel Unveils New CEO, in Major Corporate Revamp November 21st, 2012 @ 00:56 AM

Kane Drops Out of Versus in Major Shake-up November 20th, 2012 @ 10:14 AM

Pucci’s Madison Avenue Store Debuts Massive Expansion November 16th, 2012 @ 00:35 AM

Ghesquière Departs Balenciaga in Major Surprise November 05th, 2012 @ 00:43 AM

Sao Paulo Fashion Week: Between Optimism and Fear November 02nd, 2012 @ 00:28 AM

London Unveils Men’s Season Schedule November 01st, 2012 @ 00:36 AM

Azzaro Releases Castello Branco October 25th, 2012 @ 00:18 AM

Revenue Soars 22 Percent at LVMH in First Three Quarters October 16th, 2012 @ 00:18 AM

Rykiel Names Geraldo da Conceicao Artistic Director September 21st, 2012 @ 8:12 PM

Brazil’s New London Pop-Up September 21st, 2012 @ 7:20 PM

McQueen Men Returning Home to London September 12th, 2012 @ 7:19 PM

Roitfeld, Mum and Son, Open in Brazil September 07th, 2012 @ 00:54 AM

Berluti Opens to Big-Time Business in London September 06th, 2012 @ 3:27 PM

Stefano Pilati Back with a Bang at Zegna September 05th, 2012 @ 7:10 PM

Hugo Boss Wows in Berlin, Plans for New York July 06th, 2012 @ 00:17 AM

Salvatore Ferragamo: Crusin’ the Louvre June 13th, 2012 @ 11:04 AM

Michel Klein Gains New Backer; Launches Sunglass Collection June 13th, 2012 @ 00:48 AM

Sykes Jettisoned by Aquascutum; Maurer In at Rabanne June 06th, 2012 @ 00:18 AM

Armani Conquers China, Chastises the Pope June 01st, 2012 @ 11:53 AM


Jason Wu Goes Platinum

Renata Espinosa
February 13th, 2010 @ 00:49 AM - New York

The grainy, deeply tonal quality of an Irving Penn platinum print photograph, as well as the personal style of the man himself, provided the inspiration for Jason Wu’s Fall 2010 collection, which he showed in New York on Feb. 12.

Staged on a narrow, hot pink carpeted runway that was so long, Wu sprinted down it when he took his final bow, the collection contrasted eccentric, menswear-inspired day looks with highly tactile, romantic evening looks that were unquestionably ready for a dramatic photo shoot.

“I wanted the collection to be a big step forward for the brand,” said the 27-year-old Wu after the show. “I wanted to show looks that are quite different for me.”

Wu, who has made waves as one of first lady Michelle Obama’s preferred designers, has specialized in the kind of ladylike daywear one might expect at official State functions, or Upper East Side luncheons - coordinated skirts and blouses, nipped waist dresses, femininely tailored jackets.

But Wu’s opening look for his Fall 2010 collection indicated a different direction - a boxy double breasted cashmere coat with inky splatters, which Wu dubbed a “carbon platinum-print” in his program notes, indicating the Irving Penn reference. It was as though Wu’s uptown girls had raided the closets of their grandfathers and taken their finds to artist friends to rework and paint over.

Like the black gauze drapes that swathed either side of the runway, muting the pink lighting effects below their surface, Wu’s daywear played with textures and weights, layering more substantial menswear coats over wispy, transparent chiffon blouses and skirts, twisted charmeuse dresses, along with skirts made of silver rectangular paillettes and Guinea peacock feathers. Gold leafed duchess satin sheaths also appeared paint splattered, and were often paired with the unlikely combination of a heavy knit mohair braided scarf.

Knits were frequently layered into the day looks to great effect, toning down the frills of what might be a more feminine element of a look - paillettes, silk charmeuse - and giving it a more idiosyncratic, nonchalant attitude.

Knitwear represents another new direction for Wu, who just recently started working with TSE Cashmere, and will show a separate capsule collection he designed for them later during fashion week, this Tuesday.

Wu’s evening looks were likewise inventive, but where for day his creativity took wildly successful turns merging wearability with artistry, for evening that same poetic, romantic inclination went a little overboard - though kudos to Wu for the attempt at breaking the staid evening mold.

The key word here was volume, from a drop-waist version of an early ‘50s ball gown to a short trapeze “waterfall” cocktail dress in Chantilly lace, to other lace corset dresses that seemed defiant of the very definition of the constrictions of a corset, which were instead hand-draped and ruched with ample fabric that added considerable heft to the skinny models. As good as Wu has always been at construction of a dress that follows a woman’s body so closely it would seem painted on, when it came to draping, sometimes the models appeared to have been rolled in a free-for-all of fabric and then pushed down a very steep hill.

But, here’s the thing. There’s something quite romantic about being rolled up in lace and left to spin, and that’s the effect Wu seemed to be going for here. And lest things get too out of control, he wisely threw an overcoat over the poetess to bring her back down to Earth and remind us all of her eccentric proclivities, and in the process brought the collection full circle.

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