、食料品の買い物のアップタウンのマンハッタンのまわりでファスナーを締める余分-膝は、黒い瞳の影の5ポンド追い出し、型のシフォンの層、私は最終的に疑問に思っているギャップを作られた乳母およびminked-outのお母さんから一見を、得る:

それらはタブロイドのカバーガールオルセン対#2のboho/SoHoのつまらない装いとover-familiarおよびSienna Kateのコケミラーではないか。

従って私は、大豆のlatteの探求繁華街に脱出し、組合わせを誤まられた服装の海で浸る膨れさせたセーターの超過分で窒息させた追い抜かれて平らな、slouchy、misshapenブーツの多量すぐに質問させる:

醜い新しいhauteはか。

確かに、長引くbohoの熱のこれらの徴候はアップタウンのBirkin強調された毛および袋のユニフォームの後で新たになっていた、都心の端とアップタウンの光沢間に幸せな結婚、大胆な黒およびpatricianプラチナがあるなる-

」 -財政地区および東の村は」、リサAviva Bleviss、AvivaのUnderpantsのデザイナーを拾う。 リサがすべてを彼女のビジネスを作成するために販売したが、のでAvivaのUnderpantsは-そう示される-ウォールストリートのスーツのから」成っているスカーフのコレクション僅かSt.によって打ちつけられる生地である 印の」 antiestablishment。 「私はすべての事の古典を愛するが、また」説明するリサを文脈からそれらを取ることを愛する。 「それはアップタウンについて完全に繁華街に会うある。 なぜできてはいけないか彼らはハーモニーに住んでいるか」。

単にそしてきれいの切口は、2枚の織物、AvivaのUnderpants間の利発で、微妙な演劇と古典的であり、独特、お金はindieに会う。 それはある-

タウンハウス所有者およびhipsters両方からにやにや笑いを得る私が身に着けてもいい1つの事。

これを共有しなさい

Lacosteのpolosが完全に毎季節を期待どおりにするので、ショーは完全に他の有名なテントの行為の予想に添った: それは3倍長さ遅い始まった; 7:00 pmの勧誘時間と7:50 pmの実際の開始時刻の間に、カメラマンの突風はLacosteの譲受人および前氏のような前部rowersとの彼ら自身を、busied。 Mandy Moore、Andy Roddick。

最後にライトは盲目になる白として再度上がるために薄暗くなった; 茶党調子はわにが通常に動悸を打つことと都市に行ったと同時に、党混合する低音をとばされた。 しまのある膝高いソックス、帽子Kangolのように、および単一の時ミハエルあ涼しい手袋は簡単夏Southamptonで皮肉な通りの上品の上で遊んだ。 And as retro looks recycle themselves more often than Lacoste’s trademark polos, it’s no surprise that a lot of spring/summer 2006 looked back to, well, just a year ago: cuffed short-shorts only looked fresh as part of hip overalls, and hipster A-line minis floated around the teeny waists of catwalkers, along with bold stripes similar to that of a Sex and the City It dress a la Ella Moss.

But between seasons-ago chic and classic cash cows ― like always alligator-stamped polos and windbreakers, baggy men’s button-downs and V-neck sweaters for the girls, second-skin cardigans for the men ― were highlight pieces that shown brighter than Lacoste’s glowing use of neon red. A navy- and white-striped kimono robe ― worn like a belted mini dress ― was perfect East greets West, a belted trench ― or was it a little wrap dress? ― should be The Coat for spring, and a droopy cowl-neck hoodie may lead to the boycott of its plain Jane zip-up sweat cousin.

The score? Somewhere between an ace and love, love. It was hard to tell if the audience gave a standing ovation, or was just applauding as it bolted from its seats to the next show.

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Was it a fit of Warhol-esque irony that had promoters place the West Coast Paul Frank for Andy Warhol 2005 party outside of Hollywood? Was college town Long Beach a natural choice for a youth quake collaboration celebration? Should one just accept that there’s bound to be traffic on the 405 freeway, whether it’s 9 o’clock in the am or pm?

Either way, it was an hour-long schlep to Long Beach ― it “ISN’T that far” protested the evite ― and the first stop after entrance into downtown’s packed Walker Building was the mile-long line for the ladies’ room. As half of the fete’s female attendees were hanging out in the hall, it was where to be fluorescently lit and seen; hugs and squeals about outfits ― largely neo New Wave hipster dresses and beach bunny wedges ― were exchanged.

Some hair-fluffing later, and a tour around the space revealed the goodies: a mini-gallery of the Paul Frank for Andy Warhol 2005 collection; plastic cases and velvet ropes protected banana belts, wallets, and the sundae-print bag, the inspiration behind the highlight of the evening ― a sundae bar.

A sundry of ice cream flavors, syrups and candy toppings didn’t quite complement the Coronas being offered, but the sundaes made a pretty pair with all the bananas floating around. Banana-shaped balloons, bearing the iconic Warhol image ubiquitous in Paul Frank’s newest collection, made for, erm, phallic fun for many a male conversation, while most more innocently hung in the air. And those not standing around to beats by DJ John Mendez and DJ Denim Slinger were having their photo snapped in front of a logo’ed backdrop and bright lights, allowing partygoers to pretend they were famous for fifteen minutes.

If making money is art, and working is art, and good business ― and marketing ― is the best art of all, the Paul Frank for Andy Warhol 2005 launch party would have done Andy proud ― helping hype Paul Frank’s latest line and first season of collaboration with the Andy Warhol Foundation for the Visual Arts. It was also a smart link in the broader revival of cultural and commercial interest in in Warhol (think the delayed “Factory Girl” flick about Mrs. Warhol, Edie Sedgwick).

Watching rare Warhol footage projected on giant walls at the club, more Warhol wisdom played out silently in accompaniment: “Death means a lot of money, honey. Death can really make you look like a star.”

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 ma’ñaz; (man-yoz): : n. 1. originally a Spanish word spelled manias, loosely translating into “bad manners,” clothing line Mañaz found this spelling more aesthetically pleasing while creating its logo. 2. an excuse to write out a faux dictionary definition as an opening hook in attempt to snare readers. 3. an independent clothing line based out of Los Angeles, citing manias as its source of inspiration, ie. “Rock stars have a whole list of mañaz, they’re famous for them, so I want people to feel that naughty bad boy or bad girl feeling when they wear my clothes.”

So says Tony Iginuez, independent designer behind three-year-old Mañaz. He carries a taste for mañaz beyond a source of namesake and style inspiration, committing a few seeming fa’shion in’du’stry faux-pas: n. 1. the designer waved goodbye to fashion capital Manhattan in favor of being near his Los Angeles family. 2. rather than monitoring seasonal trends, Iginuez cites that popular practice as boring. 3. Iginuez bears not FIT or Parsons pedigree, but an internship at Cornell University and background in theatrical costuming.

“I still work in theater, it’s something I will always do,” says Iginuez. “What drew me to costume design, is just the whole complexity of it all. I think you can see a little of costume design in everything that I do,” said Iginuez. “I want people to wear my stuff and feel like a rock star.”

As for what Iginuez wears, like any small business owner, he sports a sundry of hats ― none of which are colored shy: “I was meeting all these guys at casting calls whenever I did shows,” he says, “and I was like, ‘Damn, I would love to see that guy in my clothes,’ so at a casting call one time, I just told the agent to get me five guys, and that was that, I started doing guy’s stuff.”

And starting Mañaz ― with beginnings in lady’s custom wear ― stemmed, too, from a simple experience. After strutting down a runway in elementary school ― “They dressed me as a cowboy with these real tight Sergio Valente jeans, kind of odd for a 10-year-old” ― Iginuez knew he wanted to do the Zoolander industry when he grew up.

And so he has, though keeping fashion industry hype and stereotypes at a distance. While Mañaz has had a few celebrity clients, like Lisa Marie Presley, the made-to-fit line challenges pop standards, making corsets for men and straying from using twiggy models.

“I love big girls who are comfortable in their skin,” said Iginuez. “I find that very powerful. It’s hard to try to look good or feel good when all these magazines and shows are telling you you’re the wrong way.”

Still, Iginuez has some criticism for Los Angelenos a little too com’for’ta’ble: adj. 1. free from stress or anxiety; at ease, ie. “I’m so comfortable in my sweats and Uggs.”

“Too many jeans and tank tops,” says Iginuez. “Save the tank tops for the beach.”

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Michael Moore groupies are to cheesy political tee shirts as worshippers of David Beckham as the metrosexual ideal are to:

a. lumber jack flannel from Eddie Bauer.
b. Linkin Park concert hoodies.
c. pink leather, zippered ties from Buckler.
d. a hyper-large sweater by Fubu.Mmm, C? Paired with ribbed sweater vests set to show off midriffs? And near fluorescent limely pants? Possibly a black hole-shaded rabbit fur scarf? Perhaps a white leather shopping bag thinly stamped with an old English coat of arms?

Or maybe Buckler’s entire stock of fall 2004?

Still, the Britophile line’s current collection spans far from some metrosexual cliché: marking Buckler’s second New York fashion week, the clothing continues to prance as ready to wear to watch. And then wear.

As with most men’s gear, the shows are more street wear reality than Sex and the City fantasy. “I think men’s shows should have a sense of practical as most guys wish to express that in their look,” says designer Andrew Buckler. Still, “I think a show is a show: it has to bring something interesting and new to its audience so your audience remembers and understands the collection.”

And the collection flows as an easy extension of last season’s athletic aristo-luxe pieces. Naturally, fall falls in dimmer colors: old grays, burnt oranges, and midnight blues, highlighted with orangey golds and Chanel pinks and sherbet greens, versus spring/summer 2004, which marked brighter and simpler times with less complicated jackets, shades of primary colors, and sleek and zippery bondage-meets-track pants.

The autumn palette runs more city-sophisticate, from subtly bold―think Easter egg pastel polos and a lush, black-on-black rabbit fur jacket―to tastefully loud―thickly “pin”striped track pants and the aforementioned pink leather, front-zip tie.

Despite what the average American bloke may have to say about satin-covered buttons and manly pinks, the collection is self-proclaimedly “overtly masculine.”

“Buckler has always played on the masculine aspects in a mod Bond, understated but confident way,” says the Brit-born designer. It’s “his roguishness and his mismatches with some humor that make him sexy.”

Springtime captured that same classic Bond, James Bond vibe with pencil legged suits and graphic prints of coy bouffant lady-faces on tees.

It’s tee shirt and denim basics that staple spring and fall together: tees of Buckler’s trademark crest and mod prints link spring to fall, along with truly designer denim.

“After [working as head menswear designer for] Daryl K, I worked on developing slim low-rise jeans for guys. At that time there weren’t any around,” says Buckler. “I think it’s interesting how in the past jeans came as a second thought to a designer’s collections, they were and still are in some cases [just] a commodity. You can’t just take a generic jean and slap your name on it anymore, it’s become a science, the yarn, how it’s spun, where’s it from, the chemicals in the washes, it’s an incredible process. In twenty-first century designer collections your denim has to be exactly right and a focus of the collection, in the same way they spent hours stitching tailoring you need to spend hours on your jeans.”

Maybe that sort of loyalty runs from:

a. Buckler’s passion for combining denim culture with a design attitude. “At the moment there’s a bit of a gulf,” says Buckler. “One the one end you got a bit down and dirty, which is a bit street-like, and on the other end you have this suit, very clean look. Buckler is about separates: you can take a suit jacket and try it on with a pair of jeans and it’s great.”
b. the original “Sexy Bastard”-dubbed denim’s spawning of a line of “Sexy Bastard” underwear. It’s “a low-rise boxer brief that will sit below the waistline on low-rise jeans,” says Buckler. “There are parts of the design which are unique and being patented–it will bring a whole new aspect to men’s underwear.”Or is it

c. Buckler’s trademark coat of arms, stamping tee’s and bags and catalogues. “We wanted to use something real,” explains Buckler, likely descendant of the said Buckler, Sir Buckler. “There have been many ‘coats of arms’ used in fashion and this happened to be an actual coat of arms awarded to Sir Walter Buckler in 1544 by Henry Vlll King of England, with a great Latin slogan [“Loyal unto Death”]; it genuinely gave it some depth out side of just a fashion logo.” How about all of the above? Plus Buckler’s easy understanding of fashion as more than mere merchandise?

That sounds right, considering Buckler’s Masters of Art from the Royal College of Art. “I’m always intrigued by the way garments are made,” says Buckler, “and I design to find ways that create details that come from the construction and technology that can make them, from fabrication or mixing old ideas with new ones.”

Yeah, let’s check “all of the above.”

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With the crash of neo-New Wave and its deconstruction, the pendulum swings back to all that is fancily femme: Coco blazers, more natural waists, skirts flouncing below the knee, cardigan sets, et cetera, all in a softly Easter egg palette completely lady-not-the-tramp.

Returning hand in hand with this elegance–classic New Look silhouettes and Fitzgerald-era beading and embroidery–is the revival of made-to-fit clothing, translating into purely custom couture to revamped vintage to simple tailoring; think everything but standard Savile Row renderings, imagine a more New World approach.

“In the years before mass produced clothing was readily available, custom-made clothing was always the driving force in fashion,” says Daniel Kinne, who, along with wife Lynda Kinne, head designs for A La Disposition, a New York clothier. “In England, designers such as Ozwald Boateng and Gieves and Hawkes began as Savile Row tailors but are now at the forefront of fashion, bringing the concept of custom clothing setting fashion trends full circle,” a circle A La Disposition rings in: the company expands into ready-to-wear after launching their Historique made-to-order collection and fashioning a name for themselves as specialty tailors with luxe custom corsets.

Designed to wear over, under, or alone, depending on the cut and courage of the client, the corsets turn from antiquated fashion staple to timeless couture with A La Disposition’s dedication to quality, comfort, and the marriage of past with present.

“Designers have been referencing fashions of the past for centuries, so that concept isn’t necessarily new,” continues Kinne. “What makes our label unique is not only the timeless design and overall quality of our clothing, but also the attention to detail in every piece we produce.”

It’s attention to detail that’s cherished by another contemporary couturier, We Are Lucid Dreaming, very much Los Angeles with their fresh West approach to couture.

“The initial concept for making We Are Lucid Dreaming was to create a purely couture line of jackets and skirts to cater to younger-minded individuals who wanted unique one-of-a-kind clothing that would fit them perfectly,” says Trang Chau, an artist who partnered with hair stylist Anh Co Tran to design and launch the line only last summer.

Chau started out showing sculpture and more traditional fine arts in Los Angelese galleries, but “I always had an interest in visceral elements and the structure of the body, which is apparent in my artwork. As a result, it just made sense for me to explore fashion design and especially to create clothes that were more art-oriented; hence the idea to create one-of-kind custom-made clothing. Therefore, the form and function in our clothing reflects our collaboration which is my art background and Anh’s technical clothing construction skills.”

It’s seeing Ahn’s obvious skill ― tiny pleats, revealing darts, well-fitting cuts ― that makes clear there’s purpose to hectic hems and barely-fraying edges, keeping deconstruction unsloppy and tense against tailored goods.

“Our design concept was to combine the deliberate clean structure and detailing of clothing construction with a more haphazard and spontaneous deconstructed look,” says Chau. “We were influenced by traditional tailored men’s suiting and wanted to create a break in this tradition by reconstructing as well as redesigning traditional men’s suits to target a younger-minded consumer. Our style is definitely a redefining of the more traditional controlled aspects of menswear versus the more varied and less controlled way women’s clothing is designed.”

Though the statement-style of We Are Lucid Dreaming bears the distinct mark of individual, the clothes are simply tailored to fit clients with little change in design concept. “Our main goal is to commit to the integrity of our design while keeping in mind that all of our clients are different,” says Chau.

Rockin’ Rodeo, on the other hand, stands ready to dismantle decades’ of design. “We’ll completely redesign a dress, working with the client to save the fabric but reinvent the piece,” says the vintage boutique co-owner Mary Ossanna. “We collect pieces with that are quality all over–the condition, the label, the design, but we’re always ready to look at a tee shirt or jeans in a new way. Mostly we’ll just alter to fit, but often a client will want a completely different cut with the same material, and that’s fun for us.” 70’s Rolling Stones tees are altered to fit like the buyer’s favorite tee, Mr. Harley Davidson boots and other leather goods are customized with antique studs and stones, and antique denim is patched with vintage textiles.

With service tailored to fit each customer, Rockin’ Rodeo’s collection parallels that luxury with its nods to clear highs–glammy glasses and bags by Gucci, Dior, Fendi, Vuitton–and less conspicuous costlies: aged Levi’s, Lees, and Wranglers, deadstock concert tee shirts, and Prohibition Era Acme boots. “The collection of vintage clothing is just that–a collection. Every item we put out has been hand-selected and carefully chosen. Our concentration has been on creating a very unique and at the same time very wearable selection,” says co-owner Robin Fauser. With a roughly rich feel, more than a high-meets-low fashion cliche, the boutique plays so casually couture.

C’est tres Americain.

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