Autumn/Winter 2015-16 Roberto Cavalli

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IF you’re looking for fierce tiger, zebra and leopard prints, knitted dresses streaming in long silken tassels, and sizzling ombré plissé goddess gowns hot enough to spark wet sand, then Roberto Cavalli is your go-to; he had it all in spades. There’s no mistaking the Cavalli customer, she’s the one in Cannes dancing on super yachts until the small hours – those tassels will look just marvelous in motion – but this season she’s looking for love, not just a good time. Poetic blouses with ruffled bibs and frilly cuffs cinched in ribbons added an air of romance to proceedings, so too those scarf prints spread over wafty bohemian maxi dresses and voluminous silk jumpsuits.

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Other highlights included a brief military moment, with fur-hooded khaki pony skin parkas, cargo mini skirts in corduroy and boxy officer jackets punctuated in gold conical buttons. Denim too got an outing – remember, the fabric was a Cavalli starting point in the early Seventies – here it was patchworked together, and elsewhere covered in black micro sequins – ideal for catching those lights on dance floors the world over. It’s apt that the Italian house should revisit denim and patchwork, perhaps it was a moment to look back; this season is quite possibly Eva and Roberto Cavalli’s last. Rumors are circling that the sale of a majority stake is imminent and that Pucci’s Peter Dundas is tapped to take the helm.

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Autumn/Winter 2015-16 Michael Kors

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One can always rely on Michael Kors when it comes to real clothes for real women. This season, those ‘real’ women circled around the lives and wardrobes of Babe Paley, Carolyn Bessette Kennedy and the Duchess of Windsor. Whether you have the lifestyles of those or otherwise, there wasn’t one look that came down his runway that women won’t want.

Unless that is, you’re anti-fur. There was plenty of it; it was a statement from the get go. The opening look: an opulent, gargantuan golden and grey fox fur coat, just the ticket for New York’s arctic temperatures. Fur popped up everywhere, there were foxy collars and patch pockets upping the ante on oatmeal and camel grandpa cardigans, a laser mink coat and a sable stole accenting a khaki gabardine trench.

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You won’t find a better coat all season long than the nip-waisted camel version presented here, nor are you likely to find a better tweed suit – with a trumpet shaped skirt, no less, or, for that matter a toffee-coloured Aran knit, regardless of where else you look. Status knitwear is set to be a big idea for autumn and Kors had it in abundance.

But it wasn’t only daywear where he excelled, there were some sensational ideas for evening too, like the graphite caviar-beaded bias cut gown that Karlie Kloss sauntered along in, and elsewhere, a pyjama suit bedecked in twinkling crystals was a favourite, what woman, American or otherwise wouldn’t want to step out in that for the night?

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Autumn/Winter 2015-16 Iris Van Herpen

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Autumn/Winter 2015-16 Dolce & Gabbana

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Italian men love their mothers; we all know this, it’s well documented. Domenico Dolce and Stefano Gabbana are no exception – their Dolce & Gabbana campaigns have long depicted the perfect La Famiglia seen through multiple generations.

This collection, Viva la Mamma was all about a celebration of motherhood, dedicated to mothers of the world. Edoardo Bennato’s Hurray for Mum was translated into 15 different languages and handed out to show goers. To an audience of mostly women, many of whom are missing their own families at the end of the third leg of fashion month, the Italian duo had us from the get go.

The curtains opened to reveal a stage set with mothers, dressed in black silk and lace slips each with their own children; from babies to toddlers, sat on laps, gripped in arms. As Spice Girls’ ‘Mama’ blasted out, Bianca Balti emerged, heavily pregnant in a blush coloured shift. She received a round of applause . More toddlers emerged, dressed in matching mother-daughter combinations and other slightly bewildered, but perfectly behaved bambinos, clamped to hips, held to bosom.

The clothes? It was signature Dolce & Gabbana through and through – Sicilian lace dresses, Forties skirt suits, fit and flare coats. The red rose was the recurring motif; it popped up in sequins on a white shift dress, embroidered climbing its way up black guipure lace and red astrakhan dresses, and even, worked into prints featuring the Madonna and child.

The closing dresses were a parade of billowy white silk frocks printed in naïve scribbly Crayola drawings – the sort of nursery-stage scruffy-cornered artwork that would proudly be Sellotaped to the wall in any family home.

Utterly uplifting.