Interview

PHOTO BY KAVA GORNA

At some point in the past year, pop stars became mystics, and somebody's gotta dress 'em. Florence Welsh channeled Kate Bush's sylvan rock poetry, Fever Ray made dark shamanism hip (improbably, with opera), and whoever is behind the recent phenomenon the Iamamiwhoami project  has pushed a nation of music bloggers to research paganist folklore. New Age's pop moment proves timely for jewelry designer Michelle Lane, whose "mysticism meets physics" (her words) style has proven a hit with whimsical musicians Victoria Bergsman and Eleanor Friedberger. Lane's "rope necklaces," made from special Japanese cording, are soft, tactile, but pleasingly weighty and coil with almost preternatural ease against the wearer's neck.  "They aren't really jewelry in the traditional sense, but almost an extension of a piece of clothing," says Lane. To create that sense of intimacy between object and wearer, she sculpts and sews each by hand—like an artist, or a witch.

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After Marc Jacobs' busting out all over presentation for Louis Vuitton yesterday, it seems that bosoms are back. The show, which again began precisely on time, created one of those awkward, exhilarating fashion moments where as soon as everyone stood up to leave, most of the front row suddenly looked like they needed an update. With all the veritage gowns Louis Vuitton showed, Pixie Geldof actually pouted for most of the show, while Daisy Lowe placed a strategic hand over her knees to cover up. Japan Vogue's Anna Dello Russo wore long, but then she's an editor with a lot of experience and no doubt was privy to pre-show info. To prove he means business, Marc Jacobs came out dressed in an almost baggy, banker's grey suit and tie that was somehow much more shocking than the kilt he was sporting last season.

Times are tough and Jacobs's LV show feels like an attempt to return to reassuring core values, the kind we had in the 1950s; specifically 1956 when Roger Vadim turned Brigitte Bardot into a star for the film And God Created Women.  The only problem with the reference is that Brigitte spent most of the film taking her clothes off and pushing up her skirts; this  wasn't exactly an ode to mid-calf, amplitude and bustiness. After the show I thought of  Summertime starring Katharine Hepburn as a middle-aged woman from Akron on vacation in Venice... but I guess Marc Jacobs knows better than to base fashion on realist cinema. In any case it was nice to have the girls back and I mean that in more ways than one. Laetitia Casta and Elle Macpherson made rare runway appearances and one hopes that they, and more of their womanly kind, will be back to inspire us all next season.

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PHOTO BY THOMAS FORD

Today marked the Independence Day for fans of British fashion—the launch of the collaboration of heritage print brand Liberty and Target. The line wrapped around the store at Sixth Avenue and 42nd Street, and while the store moved customers through rapidly, there were almost a hundred people on line at any given moment. Amanda from Jacksonville had spent a half-hour online, the longest of anyone we spoke with, but she'd come out with a floral print bike. Amanda had spent an hour inside, but only because, "There are only five fitting rooms in there!"

Julie Alvarez, a Fashion Editor from Family Circle emerged from the store with eight full shopping bags. She'd come the first time around for the 8:30 press preview, and came back with two other editors for more. "Obviously it's not silks, but it's really good for the price." Melina Kemph, a stylist for Nicki Minaj, Ludacris, and Usher, described the predicament the sale presented her: "I woke up to a text message from a friend asking that I cancel my lunch appointment and go shopping." She was "crossing her fingers for cute socks." She had a long line in front of her but planned to stay in the store shopping "until they kick us out."

JULIE ALVAREZ, BACK FOR MORE. PHOTO BY THOMAS FORD

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INGRES, JOAN OF ARC AT THE CORONATION OF CHARLES VII, 1954; LOOK 3

Alexander McQueen's legacy was laid to rest with dignity, in an old-fashioned Parisian way: a handful of editors, a majestic ballroom and a grandly festooned show. Sarah Burton, McQueen's right hand, spoke of the designer's return from the frenzy of last Spring's techno extravaganza to the couture-like craft that he'd made his signature.

With all of McQueen's calling cards—luxuriously detailed and draped silks, ornamental ballroom skirts—the designer's inspiration spanned as far as Byzantium to Medieval North Europe and back. He illuminated his religious references like manuscripts, gilding everything from the headdresses down. Looking to the Romantic and Neoclassical paintings of Rubens, Ingres and Rosetti, the designer threaded Joan of Arc's dark victory within metallic feathered headdresses and sculpted armor-like shoulders. There were hints of real-life Renaissance goddesses Elenor di Toledo and Maria Maddalena in handloomed jacquards and stately tri-paneled dresses resembling tightened stomachers which unfolded into loosened panniers. Even Empress Theodora stopped by in luxuriously detailed silk chitons which were draped over short feathered short ballroom skirts. Farewell to a master.

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