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Photo: Monica Feudi/Feudiguaineri.com2/126Jack McCollough and Lazaro Hernandez of Proenza Schouler have embraced a very modern and rigorous idea of femininity, as seen in their beautiful chiffon dresses with lace cutouts and chic suits in a twenty-first-century print mix of photo reportage and street signs.
Photo: Yannis Vlamos/GoRunway.com3/126**Marc Jacobs’**s wonderfully linear notion of stripes and the sixties included graphic black-and-white clothes, streamlined silhouettes, and high hair. He was the first this season to introduce the idea of a longer skirt with flatter shoes for evening, a look that continued through London, Milan, and Paris.
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Photo: Photo: Gianni Pucci/GoRunway.com5/126By looking at some of the hallmarks of his past, Narciso Rodriguez ushered us boldly forward with slipdresses and sharply tailored jackets and pants that reflected his singular ability to bring sensuality to geometric prints and shapes.
Photo: Monica Feudi/GoRunway.com6/126Given that he’s so synonymous with a certain youthful, urban sexiness, Alexander Wang took on a new idea of volume with controlled shapes that stand away from the body. Whereas often oversize can look floppy or as if it’s swallowing the woman wearing it, Wang brought structure to maximalist silhouettes.
Photo: Yannis Vlamos/GoRunway.com7/126Christopher Bailey reined in his silhouette so that it’s closer to the body, and deftly continued to tell his story via the humble trench, as he does season after season—for spring, his vision possessed a wonderful sense of color.
8/126Who would have thought Frankenstein would have resulted in one of the season’s most sophisticated, well-executed collectsions? Christopher Kane also gave us great jackets, a strong color palette, and a new sense of embellishment with monster-like stitches holding lace in place on dresses.
Photo: Filippo Fior/GoRunway.com9/126Erdem Moralioglu is the leading defender of super-grown-up, super-feminine, super-wearable clothes. Not only does he challenge himself, but he also gently pushes women into new and more daring territory—patchwork, snakeskin, and lingerie details—without losing them.
Photo: Yannis Vlamos/GoRunway.com10/126Who knew spring’s cleaned-up, pared-down, graphic idea of dressing would suit Marni so well? Consuelo Castiglioni showed an incredibly well-worked idea of controlled volume with billowing full skirts and beautiful evening dresses—plus exquisite prints for longtime Marni fans, a chic bi-color saddle bag, and a streamlined wedge sandal.
Photo: Marcus Tondo/GoRunway.com11/126What Tomas Maier at Bottega Veneta does season after season is the most incredible exultation of femininity but executed in a quiet, powerful, and incredibly artisanal way. He can take typical notions of womanly dressing—florals, pencil skirts, and the forties—and make them completely relevant to the twenty-first century.
12/126The sixties have been a mine of inspiration for Miuccia Prada many times before, but her meld for spring of naïf daisies with cherry blossoms woven into a kimono’s folds was a quiet, thoughtful take on the house codes and her delightfully unconventional vision.
Photo: Yannis Vlamos/GoRunway.com13/126**Jil Sander’**s return to the house that bears her name was marked by purist pieces—white shirts, inventive-but-accessible tailoring, coats—in the right proportions and colors. In other words, these were clothes that do not display the body in any way that will compromise the woman wearing them.
Photo: Yannis Vlamos/GoRunway.com14/126Dries Van Noten has a deeply personalized idea of spring: plaid by way of Scotland or Seattle (depending on your own frame of reference) done in weightless chiffons and layered with belted pajama tops and dressing gowns, metallic sweaters, and loose blazers. It’s rebellious, romantic, and positively Dries.
15/126Balenciaga’s Nicolas Ghesquière, the reigning king of conceptualism, surprised everyone this season with the shock of a pantsuit, but, of course, it wasn’t that simple: His tailoring was incredibly smart, in both senses of the word. From there he showed skirts with sculptural Spanish ruffles and, for evening, the most incredibly worked, graphic patchworked dresses. And because this is Balenciaga, the lace trim looked like barbed wire.
16/126With raw edges, fluidity, and draped knots, the more conceptual approach from Phoebe Philo this season continues to advance the way women want to dress now—and that includes walking steadily through their days in Philo's unexpectedly appealing flat fur sandal.
Photo: Monica Feudi/Feudiguaineri.com17/126Now that 9 to 5 is more 24/7, it’s not uncommon to feel like a worker bee. Come spring, we should be so lucky to dress in **Sarah Burton’**s wasp-waisted corseted jackets made of honeycombs-patterned jacquard jackets and exaggerated prom dresses, studded with flowers that expressed a sensual lightness.
Photo: Marcus Tondo/GoRunway.com18/126**Marco Zanini’**s emphasis on classically feminine silhouettes in a soft palette—pencil skirts in stretch satin, shirts cropped to the midriff, structured bra tops and girdles, and full-skirted frocks—paired with classic polo shirts and clinging knits resulted in a giddily upbeat collectsion.
19/126**Riccardo Tisci’**s transcendently chic and controlled Givenchy collectsion fused the geometry and lightness of Italian architect Carlo Mollino with the sobriety of a nun’s habit—all filtered through his own contemporary sensibility. The result was clothes that exemplified a modern approach to the old-fashioned notion of elegance.
Photo: Yannis Vlamos/GoRunway.com20/126**Raf Simons’**s standout debut Dior Haute Couture collectsion was followed by a resplendent, transcendent showing of ready to wear: Bar jackets reworked as flouncy coatdresses; ethereal, Op-art evening dresses in modern synthetics, and ball skirts in hand-painted rose prints sobered up with fitted, thin black turtlenecks.
Photo: Yannis Vlamos/GoRunway.com21/126**Marc Jacobs’**s strong, graphic vision of the sixties evolved from stripes (his namesake collectsion) to checks (his collectsion for Louis Vuitton). But this being Marc, the boxy pattern on the clothes—shown two-by-two, in a spectacular fashion involving dual escalators—had a deeper meaning. It was also a clever play on the house’s signature Damier check.
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Photo: Yannis Vlamos/GoRunway.com23/126Joseph Altuzarra gave us an endless array of fabulous jackets with slickly chic skirts, all executed with an increasingly confident hand. There was an element of playfulness and a young idea of tailored chic that came from a very hopeful place.
Photo: Filippo Fior/GoRunway.com24/126David Neville and Marcus Wainwright took everything from diatom lace to railroad stripes and fused it with a North Africa–meets–hipster-New York vibe. And in doing so, they nailed a lot of the season’s key ideas—the multidimensional skirt, the touch of sportiness, graphic shapes, and prints, and a romanticism that is far from sweet.
Photo: Marcus Tondo/GoRunway.com25/126Suno’s Max Osterweis and Erin Beatty, one of the 2012 CFDA/Vogue Fashion Fund finalists, applied their sure hand with print to a much more sophisticated idea about shapes. They still caught this notion of airy summer dressing that suits their aesthetic, but with a grown-up and mature approach to tailoring.
Photo: Marcus Tondo/GoRunway.com26/126Thakoon Panichgul got his groove back for spring with embroidered trapeze dresses, couture-inspired silhouettes, and exceptional tailoring, reminding us why his vision of intelligent femininity resonates.
Photo: Monica Feudi/Feudiguaineri.com27/126Creatures of the Wind’s Chicago-based duo, Christopher Peters and Shane Gabier, maintained their signature quirkiness while focusing more on making grown-up, wearable clothes.
Photo: Filippo Fior/GoRunway.com28/126Paris’s young prince of sexy dressing upped his game by showing a more sophisticated and mature idea of the woman he wants to dress. Yes, he still has the body-con, short, slashed looks but amongst them this season were great blazers, soft tapering pants, and a cool take on the new knee-length short.
Photo: Kevin Tachman29/126Whether interpreted via stripes rooted in the sixties, Bauhaus, or railroad engineers or clothes covered in bold boxes and checks, the season’s new graphic look works for day or night.
Pictured: Louis Vuitton
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Photo: Evan Sung39/126With the day-to-night wardrobe becoming increasingly interchangeable, designers used satin—traditionally reserved for evening—for semi-structured suits, fluid skirts, and easy pajama pants all intended to be worn during business hours.
Pictured: Rochas
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Photo: Kevin Tachman49/126Everything from mod stripes with a low-slung skirt at Marc Jacobs to patchworked, perforated leather at Proenza Schouler, to Balenciaga’s crop-top exec chic to architectural shapes at Calvin Klein, spring is all about the suit.
Pictured: Calvin Klein Collection
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Photo: Kevin Tachman59/126The new patchwork isn’t the arts-and-crafts projects of seasons past. Different materials are fused or very loosely stitched together in a sharper, more graphic, and geometric way, often to a color-blocking effect.
Pictured: Proenza Schouler
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Photo: Evan Sung68/126No longer hyper-feminine or romantically soft, the ruffle of spring 2013 is sculpted, purposeful, clean, and often Spanish-influenced.
Pictured: Gucci
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Photo: Evan Sung77/126What was once a workaday fabric and then a status symbol of designer luxury, is now an even balance of the two—elegant and refined denim done in casual, utilitarian shapes.
Pictured: Balmain
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Photo: Evan Sung84/126Sharp latticework and open weaves, whether fabric within themselves or operating more as connective tissue, was a means of fusing the graphic and transparent trends of the season.
Pictured: Gucci
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Photo: Gianni Pucci/GoRunway.com92/126With mod well covered, the counterculture aesthetic of the sixties showed up in collectsions like **Vera Wang’**s, who infused her bohemia with a global feel, and Dries Van Noten, whose sheer plaids and easy layering also referenced nineties-era grunge—without any grunginess.
Pictured: Saint Laurent
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Photo: Kevin Tachman101/126Dresses, skirts, and tops came in python, worked as a skin or simply used as a print. Sometimes it was mixed with other materials and was done in mostly modern hues like the rich coral at Gucci and metallic silver at Reed Krakoff (though natural versions at Erdem looked just as modern).
Pictured: Valentino
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Photo: Kevin Tachman108/126Lace was used all over clothes—on top or bottom for sheer, romantic effect (especially nice at Vera Wang) or inserted as panels to soften geometric shapes as at Erdem and Proenza Schouler.
Pictured: Valentino
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Photo: Kevin Tachman119/126With suits in the spotlight, the iconic smoking silhouette—long, lean and super luxe—took center stage but in fuller volumes at Stella McCartney and Lanvin and in striking crimson at Ralph Lauren and The Row.
Pictured: Lanvin
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