Vlada Roslyakova

>> The third time was the charm for Costello Tagliapietra yesterday — after starting and stopping the runway music two times, the second of which included dimming the lights, the show finally got under way for the third and final time an hour after its scheduled start. Lucky for Jeffrey Costello and Robert Tagliapietra, their designs made it worth the wait.

Their tailored lady got some edge, courtesy of Philip Crangi's black leather accessories and an airbrushed-on tattoo . Each girl sported a blue anchor with her initials under it, Miu Miu Fall 2008-style, to match the designers' own anchor and initial tattoos, and Christina Kruse got to show off the big cobra tattooed on her arm. An unconventional fabric choice — ultrasuede — gave a matte contrast to all the shiny charmeuse, and unexpected color combinations gave a real zing to the lineup. The only major problem came from the shoes, made by Giuseppe Zanotti for the show — a lot of girls had trouble navigating them, and Georgina Stojilkovic came close to falling.

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>> It's hard to imagine being pregnant and designing hot little minidresses for other women to wear, but when you're Thea Bregazzi, one half of design duo Preen, and those hot little minidresses happen to be what your label is known for, that's just what you do.

The heavily expectant Thea stayed across the pond in London while her partner in design and life, Justin Thornton, carried on with the label's show today. He carried it well — everything went smoothly, save a slight wardrobe malfunction for Anja Rubik and the confusion that ensued at the end of the show, when Justin didn't appear at the end of the runway and no one knew when to start the final applause.

As for the clothes, the dresses with intricate paneled cutouts and peekaboo zipper slats, the piquante shots of tomato red, and the sexily laced up pleated skinny pants came together for a more refined collection than we have seen from Preen in the last couple of seasons. Maybe Thea should be pregnant more often . . .
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>> Designers spend an awful lot of time projecting their fantasies onto others, so the good people at Harper's Bazaar decided it was time to turn the tables for their September 2008 issue by asking ten designers to dress up as a fantasy character.  How else would you know that Karl Lagerfeld loves rap, Alber Elbaz wants to produce a James Bond spinoff movie called "Jane Bomb," and Donatella Versace wants to wake up as a princess?  Well, you might have guessed about that last one . . .
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>> This month, Vogue Russia September 2008 celebrates the top Russian models in "10 Years Later" by pitting childhood photos taken ten years ago against recent photos taken by Terry Tsiolis.  Sasha Pivovarova, Natasha Poly, Snejana Onopka, Vlada Roslyakova . . . they're all there — and if you're looking for a model who went through an awkward phase, you'll be severely disappointed.
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>> Two things are for sure: Karl Lagerfeld is still loving black and white photography and those bobs — he's used them for his Fall 2008 Chanel couture show, the Fall 2008 Fendi ads, the Fall 2008 Chanel ads, and now he's put Karmen Pedaru in one alongside Heidi Mount and Vlada Roslyakova. The three girls feature in "La Couture," a film noir-inspired couture editorial he photographed for Numero #96.  Don't worry, it's not all Chanel couture, but those three must be his go-to couture girls — they seem like Karl's types, and they were all in Chanel's most recent couture show.
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>> Amongst significantly less hubbub — no Net-a-Porter selling his clothes right off the runway this time — Roland Mouret debuted his second collection yesterday under his new RM by Roland Mouret moniker.  The new set of dresses are definitely cut from the Mouret cloth — sheaths tailored with precision, oragami shapes — but for a man who's been using the same silhouettes since 2005, it's time to grow the aesthetic, not stand still in time.

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>> Alessandra Facchinetti's first couture collection at Valentino represents a nerve-racking, generational hand-off, but Giorgio Armani was there in the front row to lend support and represent the old guard. 

The collection had the palpable feel of a different designer, as it should — more structure and pared-down tailoring, with most of the detail left to the back of the garments, and more subdued colors than the pastels Valentino had been playing with. However, Alessandra did stay true to the three most guiding parts of the Valentino aesthetic: femininity, ruffles, and of course, Valentino red.  In fact, that same Valentino red painted the final look of the collection — a stunning chiffon number.

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>> Usually Christian Lacroix's designs are a little too overwrought to speak to me, but something about this set sits just right. 

Maybe the scarlet backdrop is to blame, setting off all the intricate detailing with its vivid hue: the peekaboo lace sleeves, the bell-shaped cocktail dresses, the gossamer tufts; or maybe I've just gone buggy for Lacroix's insect-inspired fantasy world. If so, I'm not the only one: the attendees showered the designer with carnations at the end of the show.

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>> Seeing a Chanel couture collection is a thrill, but the clothes are always rivaled by what new, huge installation Karl Lagerfeld has plopped in the center of le Grand Palais for the models to stream out of.  In recent seasons, there's been a giant tweed jacket and a larger-than-life carousel; This time around, it was a gigantic set of organ pipes. 

The show started with a fugue of ominous organ music, and together with the central pipe installation and the tube-like detailing on many of the intricate dresses, reflected the inspiration which had come to Karl during a concert. 

Enjoy the big production while it lasts, folks — word is Karl is talking about reducing the Chanel shows to be more intimate experiences in the future.
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