Interview

The weather in New York was unseasonably lovely for Louis Vuitton's garden-themed 2010 Resort Line. Hostess Maggie Gyllenhaal enjoyed the temperature, wearing satin shorts and a cowl-neck black tee underneath a plum LV trench. The event, held at Saks—which was the first department store to carry Vuitton women's ready-to-wear—premiered super-rich, voluminous-but-shrunken looks presented for Spring 2010.

Transformed into the costumes for Le Jardin, the collection appeared on a series of vignettes inspired by nature and featured heavy doses of the iconic LV. Artisans hand-painted flowers on luggage underneath full-sized trees and well-manicured hedges and lawns (often emblazoned with the logo) were nests for handbags and necklaces.

Most of the collection, aside from a floral frock with heavy layers and a pleated evening gown, didn't necessarily require the whimsy of this event. Instead, the house favored toward the Americana it has been doing so well recently, with nautical mini-dresses with full skirts, or slouchy, tailored rain coats in lilac yellow. However, resort collection revolve around fantasy, and despite the odd weather, as the winter months set in, an idyllic respite on Fifth Avenue sounds just about right.

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Live competition equals drama and excitement, two qualities that, to MJ Diehl, make great fashion. To open Style Wars, the event producer and her business partner, Roman Milisic, created an impromptu armored bodice composed entirely of "We Heart Our Customers" hangers and packing tape, on stage, live. The result, though definitely not durable, looked a bit like something Gareth Pugh might create, were he homeless and living perched beneath a dry-cleaner.

The fashion world doesn't take to cheek and enthusiastic camaraderie easily, which is the crux of House of Diehl's now-traveling, two-year old competition: a fashion show that has hit three continents and most American cities, taking the winners from each locale and pitting them against each other for what Diehl calls a "ready-to-wear rumble." She hosts every city, and its Diehl's spark, plus a team of witty local, ever-changing judges (this time included Isabella's model daughter Elettra Rossellini and Jenny Shimizu, of Angelina Jolie fame) that preserves a sense of authenticity that flirts with the gimmicky. From New York, Diehl and Co. head to Atlanta, LA and then San Francisco. The winners from each city will face off for a final battle and a chance at larger exposure.

"Some call it the 8 Mile of style," Diehl says. "We ask stylists to transform Hefty bags into Herve Leger." Like a rapper herself, Diehl speaks in over-the-top metaphors ("In the real world, you have a budget tighter than Shrek in a speedo" or "It's like WWD meets WWE") and fuels the competitive aspect of the show. "It's like an emcee battle in the sense that designers go head-to-head on stage, and they have four-and-a-half minutes to do serious style or serious damage." With industrial tubing, tin foil and phone cords as fodder, this may be the only fashion show where judge Rebecca Weinberg (of Sex and the City) reprimanded a contestant for "stapling a paper towel to a bustle."

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When Christopher Kane's Topshop collection appeared on Broadway on September 18, there was a near stampede, in spite of Fashion Week fatigue and high-for-Topshop pricetags. Signs littered the store with buying limits: "No more than five"; "None of the same items in different sizes." Regardless, absurd eBay prices followed, as did and the near-selling out of the collection in Topshop stores in the UK. The collection itself is classic Kane–club kid-worthy sheer tops and grommets with an emphasis on punky, asymmetric cuts. Even the look that garnered mainstream attention–the brightly colored animal prints made popular by Rihanna–gets an update with a crocodile on both a tank and a sheath dress. The lace and metal, pink, black and printed leggings, dresses, and hooded sweatshirts are tough. They give the average Topshopper the impression that C. Kane likes his ladies rock-and-roll. (IMAGE: CHRISTOPHER KANE SPRING 2010)

So, earlier this week in London, Kane gave fans a minor shock with his spring collection, a gingham-laden, all-American frock fest. Some of his darker, more downtown leanings appeared with a tailored blazer or a sleek, cut-out turtleneck, but for the most part, his London show featured picnic-ready, flowing checked skirts and bodices. The last half premiered lilac rose prints embroidered on ladylike chiffon. Granted, the majority had thigh-high slits or bustier cuts, but this is quite a step away from the cutouts, enlarged prints, and toy-like, neon paperdoll dresses of last spring.

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Hardly known for breaking ground (more for taping up), Hervé Léger sticks to the contour look that made him famous. The bandage dress–the brand's great, if stifling, legacy–was essentially invented by Léger, and when the label was acquired by the Max Azria group in 1998, that skin-tight garment continued to stay front and center. The Azrias have done much to honor the "sex on heels" history they inherited. This year, woven fabric and braided material added texture to the smooth, body-con silhouettes that spectators have grown to expect. The addition of chiffon and pinched, raised fabrics even allowed for flowy movement, adding a hint of elegance to the racy, cut-out-and-Bandaid looks. While the added layers and shimmery beads gave depth to a designer known for sleekness, most of the models looked typically strapped-in as they paraded down the runway in bandage-like bodysuits and ribbon dresses to slow, sultry rock-and-roll. Instead of black and beige, the palette of choice of Max Azria for Herve Leger, the spring prints had a desert tinge. Sky blues, dust-colored greys, and cloud prints were a welcome bohemian touch. Even though there was some stumbling with ungainly denim-patchworking, the line always hits its stride for spring and summer. After all, nothing says warm weather like the suggestion of skin underneath a Leger bandage dress. (LEFT: LOOK 10)

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