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.

Giorgio Armani, 1984

“The Armani look of studied simplicity has such strength it tends to make conventionally designed women’s clothes look overdone.”

- BERNADINE MORRIS, 1983

A Softer Side of Siki

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Siki Im Spring/Summer 2014. Styled by Jeremy Lewis, photographed by Daniel McMahon. All rights reserved.

Calvin Klein, 1991

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“Calvin Klein has put a new spin on minimalism. Everything that could possibly be distracting is pared away. Makeup is natural. So are the coiffures. So are the clothes.

‘I feel so good about the collection,’ the designer said yesterday after his spring show. ‘I feel it’s for the modern woman. It’s all about softness.’

It is also about restraint. Those who feel clothes have to be elaborately decorated and vividly colored will not find much here to admire. This is probably the coolest, most understated collection of the season.

Since it is for warm weather, the coolness is not inappropriate.

Consider the colors: parchment, platinum, celadon and, of course, white. In this company, aqua stands out as a vivid hue.

Consider the shapes: a gently cut dress, with a high round neckline, camisole straps or no straps at all, is the key to everything.

The fabrics are equally self-effacing: washed silk, silk or wool crepe, linen and cashmere.

The clothes are the kind that show off a great figure and make one not so great look better than it is. The models skim along on flat beige T-strap shoes, looking totally at ease.

While those shapely dresses are the main event, they receive support from softly tailored jackets (often the same mid-thigh length as the dresses they accompany), skinny pants and shorts. Wrapped effects maintain the soft treatment in blouses.

There are just a few variations to the dominant look: a trench coat or two to cover everything up; a shot of navy as a change from all the pale tones; some all-over beads.

But the collection has a cohesion and a directness that is rarely achieved. All the ideas have passed through the designer’s sensibility, and he has worked over them until he got them just right. If it’s flash you’re looking for, this may not be the right stop. But if it’s elegance and style, it’s a real treat.”

- BERNADINE MORRIS, 1990

Koos at MAD

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Koos Van Den Akker chats with Garmento‘s Jeremy Lewis at MAD. Photography by Bruno Grizzo.

 

Tonight at MAD!

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Join MAD and Garmento editor Jeremy Lewis for an evening with Koos Van Den Akker, the first in a new series of fashion talks. The talk begins at 7 and is located in the downstairs theater. The event is free with museum admission. The Museum of Arts and Design is located at 2 Columbus Circle

An American fashion legend, Dutch-born and French-trained Koos Van Den Akker has been designing couture-caliber clothes over the last 40 years. Emerging at a time when folk traditions and home crafts were a huge influence in fashion, he made a name for himself as the master of couture collage. A rich panoply of color and pattern painstakingly pieced together, his designs have provided inspiration for fashion tastemakers like Nicolas Ghesquière, though they are known more popularly as worn by actor and comedian Bill Cosby on the hit sitcom The Cosby Show. Representing one of the highest level of clothes-making possible in New York City, Koos Van Den Akker’s operation is a true couture atelier, endless in its technical feats and creativity.


http://madmuseum.org/events/koos-van-den-akker

Nicolas Ghesquière Hearts Koos

Tim Blanks reports on Nicolas Ghesquière’s Koos Van Den Akker inspired Spring/Summer 2002 collection for Balenciaga.