L'Wren Scott

NEW YORK, September 12, 2008
By Meenal Mistry
The gusts of wind coming off the Hudson and sweeping straight down 21st Street to the door of the Gagosian Gallery set a fitting scene for L'Wren Scott's Spring collection, named "Zephyr," after the Greek god of wind. "There was a windstorm when I was designing," Scott explained inside the gallery. She set herself a specific goal this time: injecting billowing movement into her strict, rake-slim signature silhouettes of skinny jeans; sharp Victorian-inflected jackets; and lean, curve-gripping dresses. That objective was reflected in this almost exclusively black and white collection's vaguely avian theme: tail-feather pleats on fitted jackets, featherlike tufts atop a pinstriped chiffon blouse, or fat white feathers jutting from the sleeves and neck of a corseted cream dress. Siren gowns had both wispy marabou trim and the gentle swish of a fishtail hem. A dramatic marabou cape looked as if it might just take flight.

The collection had Scott's typical rock 'n' roll elegance, complete with dolly-bird hair and tilted lace fedoras, the latter a collaboration with Stephen Jones. The stylist-turned-designer is now in her fifth season, and her message rings ever more confidently and clearly, as evidenced by numbers like a romantic black plissé dress with white lace shoulders and an almost whimsical "globule" lace shift.

To finish, there was a trio of white evening looks, though Scott—known for advocating 24/7 glamour—wouldn't categorize them as bridal. "They're just dresses to wear out," she said. After a final model lineup, the designer raised a glass of Champagne to the assembled: Ellen Barkin, Sarah Jessica Parker, Rachel Feinstein Currin and John Currin, and Scott's beau, Mick Jagger, as well as those members of the working press lucky enough to snag a ticket. Parker gave her a giggly, girly hug. Mick's verdict: "I loved it." Enough said.

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