Tag Archives: Donna Karan

Adam Lippes Resort 2015: A Showroom Review

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One wondered what the future had in store for Adam Lippes after he narrowly escaped fashion purgatory and bought back his name from Kellwood two years ago. Since then he’s retooled his design manifesto and company culture, abandoning corporate ambition and distancing his clothes from a cannibalizing contemporary market. Today he runs a smaller and more familial operation, the kind required nowadays if a designer is to truly engage luxury clothing in a sound and sustainable manner. It’s certainly no easy feat but going by the clothes Lippes’s efforts have certainly been worthwhile.

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Over the last several seasons he has distilled a design vernacular built on the tenets of the best of American fashion: ease, sportswear, classicism, timelessness. For many designers working in New York these tenets can  become tenuous, reduced to corrupted clichés haphazardly spat out to journalists, conflating the words “classic” and “uninspired.” Should you ever forget what it means for a garment to be timeless, for it to truly evoke that rare sensation of imperishability, Adam Lippes serves as a refreshing reminder. The new resort collection reads like a “best of” of American fashion in the 1970s when its designers, armed with a minimalist rigor, soft fabrics, sportswear separates and a fashionably fluid line, championed a new modern woman. That those ideas, updated with a thoughtful and utterly contemporary sensibility, that they can look so new and bold today as they surely did then is a testament to their infinite appeal and Lippes’s adept ability in handling them. The spirits of Zoran and Halston are present in the floor-length monastic dresses, coats and square cut tops. Fabricated in the most luxurious silks and cashmeres they are no less minimal or exquisite than what those minimalist masters managed in their prime. The flirty but pragmatic appeal of a paper bag-waist in a striped cotton pajama pant and in a leather skirt echo Donna Karan and Louis Dell’Olio’s seductively sensible efforts for Anne Klein. The trapunto stitching used on collars, waistbands, and belts throughout the collection, notable on a v-neck Korean do bok top (rendered in fine silk and chambray) brought to mind the worldly explorations of Bonnie Cashin, a designer who never shied away from adapting an idea from the other side of the globe if it could coax a modern innovation.

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To mention that the clothes Adam Lippes designs are impeccably crafted and finished is redundant as quality workmanship is necessity when addressing simplicity and minimalism. But, from design to construction, Lippes’s clothes are beautifully thought out. Every line, stitch and fold is crafted and considered. And whether it be silk, cashmere coating or humble cotton poplin, each fabric represents the most refined of their genre. It stands to be reiterated: the clothes are impeccable. And they must be, the customer Lippes addresses is a discerning one. She is a woman who demands the best and is to willing to pay for it. She can’t be bothered with trends or fashion shenanigans, she is too sure of herself for those. She expects her clothes, like all the best clothes do, to enhance her own natural appeal, not obscure it, and to grant her ease and therefore elegance as she gets on with her life. One could say after such a bold move to relaunch his name and under such risky auspices that Adam Lippes has come out a winner. Working out of an enchanted townhouse in the West Village, a real modern maison, he has escaped fashion’s distracting din, enabled to toil on his beautiful clothes with integrity. Indeed, Lippes champions forward, but the real winners are the women who get to wear his clothes and live in them.

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Donna Karan, 1995

DK95

“The Row customer is a woman who 20 years ago would’ve worn Giorgio Armani, or maybe Donna Karan.”

– A Busy Celebrity Stylist quoted for Style.com

Donna Style

Having learned the ropes from the mistress of 7th Avenue herself, Anne Klein, she was well schooled in the ins and outs of sportswear separates where styling is as essential as the design itself. Fashioning herself into the embodiment of the easy, confident, and sensual Anne Klein woman — the working woman who’s style and class matches her ambition and chutzpah, Karan created a unique personal style of her own. Now shrouded in vaguely ethnic (by way of Tibet, I guess) drapery in olive green, ocher, and anthracite cashmere jersey topped off with wooden necklaces and bangles, her own style was once as bold as the feminist proclamations she built her fashion career on. Relentlessly keen, even in the late ’80s, understanding a new current of street fashion and urban living, she adopted her DKNY persona, full of the street swagger and boisterous bravado that only she could pull off.

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Donna Karan, 1992

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Donna Karan on the street with a bit of swagger in her stride, photographed by Marion Curtis.