The mood in New York and on the catwalk lightens as the clouds disperse.
New York Fashion Week: Day Four: Glamour breaks out as the sun breaks through
When the clouds parted over rain-soaked New York, the sun came out to bring smiles to the faces of fashionistas, and, apparently, some glamour too. One show-goer, the respected journalist Teri Agins of the Wall Street Journal, was in full gold and black regalia outside the presentation by Reem Acra, a designer who cannot be accused of using luxurious fineries abstemiously. The Lebanese Acra, who has a formidable bridal business, has rare insight into what women really want, especially the well-moneyed variety, and sought to answer the wardrobe needs of an American princess who likes to steer clear of patrician traditions.
She took the stuffiness out of high society dressing, instead infusing some fun by putting leather belts on silk chiffon gowns with feathers and taffeta dresses. And, naturally, there were knock-out red carpet wonders too, such as an antique silver mermaid gown and embroidered gold sequin dresses. While many of Acra's wares were perfect for red-carpet, night time appearances, Carolina Herrera, who is no stranger to the high-end market, had more variety with chic, Korean-inspired daywear that's just right for Park Avenue power dressing: silk dresses came with geometric panels and belts with cinched waists and large box pleats, borrowing elements from the Korean hanbok.
At the show of Rad Hourani, a designer who has carved a strong aesthetic that sits in between Rick Owens and Damir Doma, the audience had the most forward-thinking interpretations of glamour, which is fodder for style bloggers such as Tommy Ton Of Jak and Jil (who was in attendance, along with Brad Koenig, the model who features in Chanel campaigns). Collectively, they were the most progressively dressed of the week.
There were an editor from an Asian title whose glam rock look included velvet trousers and a leopard-print belt, people in trousers made from cascading panels of leather, jackets with dangling and glittering black paillettes, and one too many impossibly cool characters wearing sunglasses indoors. Marc Jacobs used spectacles with a purpose: to create his fashion proposition that nods to one of the most glamorous decades - the disco era of the 1970s. There were two-toned taffeta and A-line chiffon dresses not out of step with what the Studio 54 crowd wore, gold lamé blouses with large petal decorations, and knitwear with gold trims.
The jovial collection had the spirit of Yves Saint Laurent, which for many glamour hounds in the audience, including the British model and television presenter Alexa Chung, is a convincing reason to wear them on occasions that require high-wattage attention.