Donna Karan was emotional as she took her runway bow. She was nodoubt thinking about the 30 years that had brought her to this point,the ups and downs, about her late husband Stephan Weiss. She alsothought about the stress of the past 24 hours during which a series ofmishaps, horrible lighting test included, had her “freaking out.”
Karan should also have thought, “God, I just staged a beauty!” Indeedshe had. For this career-and-life milestone, Karan was in full-on citymode, sensual, urbane, focused. “I was so clear in what I wanted tosay,” she said after the show. “I wanted to show the strength of thewoman. I wanted to show that after 30 years I think we stand forsomething that is absolutely, iconically Donna Karan. I wanted it to be areflection of the past, and the present coming into the future. Iwanted it to be about art, the city, the body, movement, the strength oftailoring, evening.”
Before the show, Karan screened a film shecommissioned by Steven Sebring that was all blurred images of bodies inmotion, mesmerizing and elegant. Then came the show, opening with threeversions of her original building block — the body — now rendered asbody jacket and body shirt as well as bodysuit. These were worn withover-the-knee suede boots and night porter caps frothed with dollops oflong-hair shearling, giving the models the air of showgirls at adecadent yet refined nightclub. They set the stage for a parade of theBest of Donna, by which we mean less retrospective (though there wereelements) than Donna at her best, not letting earnest crossover from hersojourns get the better of her homegrown chic. She contrastedlight-as-air chiffon against substantial jackets and coats, some withartisanal elements — hand-punched patterns; graphic gold embroidery.This motif repeated again and again, varied by the shape and material ofthe toppers and the exquisite decorative flourish of the underpinnings.Among the coat options: sleek cashmeres, flamboyant long-hairshearlings and a genuinely sophisticated puffer.
Evening rocked,particularly those gowns with fluid, translucent skirts that waftedprovocatively over bodysuits and bare legs. Some were beaded incelebration of New York’s night sky. “I have the honor of looking at thecity lights from my apartment every night,” Karan said. “This place isso, so beautiful, and I wanted to capture that.” Done. And dazzling.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast