One would guess that the models at Zac Posen's Fall/Winter 2013 Plaza Hotel show had been briefed à la one of Dior's Haute Couture shows circa 1985.
Zac Posen's glamazon Plaza ballroom affair in New York was probably one of the most carefully cast shows I've seen to date. Most designers' creative teams will gravitate towards the Models.com top 50, with the motivation of generating some excitement in photographers and press backstage and post-show. Zac, you and I all know that his ten foot train extravagances require no
As I mention in my collection review on Harper's Bazaar, Zac Posen has always held a very different esteem to his evening wear counterparts in the American industry. But, where Marchesa needs a gown fashioned completely from pastel silk butterflies, Posen can sustain just as much drama in one wine red silk and modest embellishment. While I didn't wholly agree with the colour palette of his Fall/Winter 2013 that walked at The Plaza Hotel during New York Fashion Week (think brown, green and orange - thus the black and white photos), his return to symmetrical origami and draping with a very clean cut, Grace Kelly cross Tilda Swinton face and updo forced even the most conservative of women present to entertain the possibility of gliding across polished floors sporting the longest train in the room.
You can see my full write-up here (and some beauty and backstage snaps here), but let's finish with this:
One would guess that the models had been briefed à la one of Dior's Haute Couture shows circa 1985. Just a handful managed the laissez faire sashay down several flights of stairs (Australian faces Catherine McNeill and Jemma Baines included), but the overall message was quite clear: Zac Posen was reviving the grandeur and old world finesse in a tiredly commercial gold and silver screen industry. Only this time, the dresses have pockets.
And now to bring back elbow-length gloves.