She used a digital feather print on crepe for a sheath dress and a crepe strapless gown. A burnished brocade was printed on a tweed, notched-collar coat paired with black pants. Another print was an abstract of butterflies.
Lhuillier said backstage she "wanted to be darker, more sensual, and a little stronger and more confident" on the runway this time around. And she wouldn't talk Oscars.
"You'll have to wait and see but, um, anything is possible," she smiled.
Connie Britton, who appears in "Nashville," wore a fitted black Lhuillier on the front row and said her gowns are "pretty fantastic." Actress Bridget Moynahan was in a red Lhuillier and calls the designer "a good friend to have."
It was that easy: Stuart woke up one day thinking about how stylish British model Stella Tennant and her friends were, so Stuart thought she would create a wardrobe just for them.
She aimed to dress an aristocratic fashion risk-taker for all those parties at castles in the English countryside.
"I was thinking about the beautiful dinners and the charades she and her friends play, and the great performances they see at the end of the night," Stuart said backstage.
Her offerings include a plum-colored halter dress covered in satin flowers, a more tailored dress in black wool with more sharply cut flowers, and a white sheer man-tailored shirt paired with black evening shorts and a full-cut long black coat.
Miller's collection was called "Menswear With a Twist: Raiding the Boyfriend's Closet."
It was the good girl meets bad boy, packing a wardrobe of tough leather jackets, pleated skirts and several fedoras for the adventure. No apologies to mom.
There were particularly short knit dresses and a skin-hugging corset dress in a print called "tatooage," which looked exactly as it sounds.
And there were outfits more in line with what's expected from Miller, including a long dress in a wallflower print with a ruffle front and a stretch-denim dress with sexy net inserts.
The black matte-jersey, floor-length dress, with a dropped leather waist and notched V neck, that closed the show was the right high note to leave on.
But where Miller saw "golf pants" on a pair of loose baggy trousers paired with a burned out velvet-and-georgette blouse, the audience might have seen glorified sweats.
Feminine beaded tops over boy shirts were paired with punky skinny pants adorned with zippers as Taylor explored Frank Lloyd Wright and the Lower East Side of the 1980s.
"I had been reading that book, 'Loving Frank,' and I wanted everything to feel a little bit more architectural," said the New Zealander based for years in New York. "It inspired me to look at his work because I hadn't been terribly aware of architecture, really."
A black tweed and leather T-shirt was shown with an olive green stretch leather pencil skirt to capture both inspirations. Taylor paired a black, box-pleat top with a girly peplum and a frayed design in a tweed skirt done in wine red.
A black pleated leather skirt was trimmed in a mesh-like lace and worn with a pleated top in plum.
The collection for fall, Taylor said, was definitely more structured and tailored than her work in the past, with help from a bonded stretch knit that created a delicate texture.
She patched colors together in an ode to Wright's famous stainglass windows, relying on petrol blue, ruby, lavender, violet and camel.
Max Azria wanted to infuse the metal sculptures of the artist duo Les Lalanne with the bandage silhouette of the Herve Leger line, but what he got was urban jungle-inspired armor.
Azria mixed studs, exposed zips, fur and beading with the bandage silhouette for which Leger and his namesake label are known, creating a riot of black, white and autumnal animal prints.
It all seemed demure, thanks to a below-the-knee hem and fur hooded goatskin sweatshirts that didn't seem out of place after the blizzard.
Demure isn't a word normally associated with Herve Leger, yet nary a knee peeked out of the collection. Whenever the lower hem wasn't covering up legs, tight black leggings made of bandage strips and knee-high boots covered up any skin.
The brand, long popular among club-going types, debuted a line of footwear during the show — boots that were, like the clothes, dark, sleek and skin tight.
Minkoff named her colors after planets and other spacey things.
A winter white was "Saturn" and used for a leather motocross jacket. The color caramel became "eclipse" for a leather duffel coat.
Minkoff put a twist on the colorblocking trend that has been around now a few seasons by mixing chunks of different textures instead of contrasting hues. That technique was also seen on the runways of Jason Wu and Nicole Miller.
Minkoff's soft-line exaggerated shoulder, instead of the aggressive ones that were so popular on the runways a few years ago (and in the 1980s), also turned up elsewhere.
The collection "embarks on a voyage to the future, marrying modern, spacesuit-like construction details and a new sophisticated grunge attitude," Minkoff wrote in her notes.
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