Like Miuccia Prada, Akris’ Albert Kriemler got turned on by cars this season. Kriemler specifically referenced John Frankenheimer’s 1966 film Grand Prix, set in Monaco and other pit stops from motor racing’s golden age. Still, the two collections were as night and day as you’d expect; where Prada was cheeky, Akris was sleek. Kriemler devoted a large part of the collection to the photoprints that have become a house signature. A shot of the Hotel de l’Hermitage on racing day and another of spectators gathered on top of a large rectangular viewing structure were bold. More clever, if not necessarily more subtle, were the tiny speedometer print and a graphic horizontal stripe made from manipulating the image of a car. Speed was the organizing metaphor here: Shifts were aerodynamic and A-line, while jackets and pants with racing stripes looked inspired by uniforms. Sport has been a persistent trend this season, and this collection puts Kriemler and co. in the center of it. (by Nicole Phelps style.com)

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“I always wanted to live a man’s life in a woman’s body.” That quote, which appeared at the top of her show notes, is something Diane von Furstenberg has said before, so it’s perhaps surprising that men’s suiting is something she hasn’t explored much in the past. Its appearance helped make for one of the designer’s more satisfying shows in a while.

To start things off, von Furstenberg threw a bolero densely embroidered with chiffon rosettes over a heather gray felted wool double-breasted pantsuit with short, cuffed trousers. It was a novel concept that she repeated later with an ivory silk cord cardigan worn over a satin black tuxedo jacket and matching evening jumpsuit, though it’s not as believable a look as, say, a corduroy jacket with leather elbow patches slipped on top of a ruffled chiffon minidress.

But it wasn’t all about playing the hard against the soft. Frocks, the wrap dress in particular, are this designer’s bread and butter, and there was no shortage of feminine frills here. Some of the more interesting offerings included a simple black shift with chain mail inset horizontally below the hips, a twenties-ish belted chiffon tunic dress worn over cropped pants, and a vibrant panne velvet number embellished with a giant glittering beetle, not unlike the dress von Furstenberg wore to take her bow. This was her right-hand man Nathan Jenden’s last show; he’s leaving to focus on his signature collection. No doubt they were both pleased to be ending their relationship on a positive note for their victory lap.
(by Nicole Phelps – style.com)

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Since his Spring show last September, Prabal Gurung has seen his profile rise and rise. Demi Moore, his number one fan, and Thandie Newton wore his cocktail dresses on the red carpet, and he made a red gown for Oprah Winfrey to wear on the cover of O magazine. His Fall collection, the first one he’s put on the runway, won’t slow his upward trajectory one bit. On the contrary, it shows that Gurung is just as savvy a tailor as he is a dressmaker. (by Nicole Phelps – style.com)

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