At the 2018 New York Fash­ion Week, PJ Pas­cual ob­serves that “in­di­vid­u­al­ism” is the op­er­a­tive word for the new fall col­lec­tions. Whether it works or not, only the con­sumers will tell The runway was adorned with dried au­tumn leaves and en­hanced by the how

Philippine Tatler - - CONTENTS -

In­ter­na­tional stylist PJ Pas­cual heads to the Big Ap­ple for an in­side look at New York Fash­ion Week for fall/win­ter 2018

The re­tail fash­ion in­dus­try is hav­ing a rough time. Th­ese days, depart­ment stores and bou­tiques are com­pet­ing with a grow­ing num­ber of on­line mer­chants for the pub­lic’s at­ten­tion. De­sign­ers to­day are chal­lenged by the need to be­come more cre­ative when it comes to their work. For fall 2018, de­sign­ers are putting an em­pha­sis on in­di­vid­u­al­ism. Along with clothes that can be mixed and matched to suit one’s tastes, con­sumers can also take their pick of must-have ac­ces­sories this sea­son, in­clud­ing unique key­chains and bags.


Deb­o­rah Lloyd has been the cre­ative force be­hind Kate Spade for 10 years. For her fi­nal col­lec­tion with the la­bel, she took in­spi­ra­tion from Nash­ville, Ten­nessee when she trans­formed New York’s Ma­sonic Hall into a grand coun­try mu­sic fes­ti­val stage. In tune with the theme, tons of em­broi­deries, fringes, tas­sels, stripes, and polka dots adorned her pieces.

Among all the sep­a­rates and prairie looks that were show­cased, a peas­ant dress in dif­fer­ent shades of blue was the stand­out.

What was miss­ing in the col­lec­tion? The whim­si­cal ac­ces­sories that made Kate Spade mod­ern and fun. Yel­low cabs and other

New York ref­er­ences were cu­ri­ously ab­sent. I wish she fin­ished her term on a high note, but I think this col­lec­tion was just fine.


As the cre­ative di­rec­tor of Coach, Stu­art Vev­ers re­vived the house and led it to in­stant suc­cess. His fas­ci­na­tion for Amer­i­can pop cul­ture was ev­i­dent, and one can see the de­signer’s im­pec­ca­ble tai­lor­ing in his de­signs. His love for fringes, trin­kets, and tas­sels add edge to his cre­ations.

For fall 2018, he led his army into the dark for­est. Like Lit­tle Red Rid­ing Hood or Hansel

and Gre­tel, his men and women jour­ney into the deep ends of the woods to find refuge. The runway was adorned with dried au­tumn leaves and en­hanced by the howl­ing sounds of the an­i­mals.

Vev­ers is a master of mix­ing materials. He used leather, suede, chains, grom­mets, and charms to make his gothic army come to life. Prints come in dif­fer­ent colours of the au­tumn. Shades of black, rust, pa­prika, pur­ple, camel, and turquoise were the dom­i­nant colours used to make the col­lec­tion come to life.

Vev­ers is do­ing the right thing for Coach. As his fol­low­ers in­crease, his col­lec­tion from sea­son to sea­son be­comes stronger.

Burch adorned the runway with pink car­na­tions...For knits, she used ar­gyle as the main print


With over US$1 bil­lion, Tory Burch’s brand has def­i­nitely gone global.

For fall 2018, she ex­per­i­mented on lay­er­ing and mix­ing prints, preva­lent in her Bo­hemian Folk­loric col­lec­tion, which is bound to be a sure hit with her loyal fans.

With the help of her dear friend Mi­randa Brooks, Burch adorned the runway with pink car­na­tions. There were a lot of ’60s printed dresses paired with shear­ling util­i­tar­ian jack­ets. The clothes are loose and have an ease to them. For knits, she used ar­gyle as the main print.

Her woman is about easy dress­ing. She can slip on her day dress and put on a warm coat and cow­boy boots.

Shades of white, black, greys, jewel tones, and neu­trals were used for this col­lec­tion. It is one of Burch’s best col­lec­tions yet.


Ev­ery sea­son, Michael Kors knows how to sur­prise his au­di­ence: for fall 2018, he pre­sented a col­lec­tion ded­i­cated to in­di­vid­u­al­ism. His run of show says it all in a form of a play­bill. Through­out the runway show, pop hits of the past cen­tury played. From Bey­oncé hits to Sex and the City’s theme song, the crowd en­joyed it all.

This is also the sea­son when K ors de­nounced his use of fur. There were a lot of mixed prints that make up the whole en­sem­ble: leop­ard, ze­bras, plaids, ar­gyles, and flo­rals.

Kors is a master at com­bin­ing mul­ti­ple themes while stay­ing co­he­sive. In the evening seg­ment, one can the see the in­tri­cate crafts­man­ship of tai­lor­ing and bead­work. On top of that, he col­lab­o­rated with artist David Down­ton to do il­lus­tra­tions of women on shirts, dresses, and bags. Ge­nius!

Aside from Zen­daya en­joy­ing the show, Kors’ Up­per East Side New York clients are choos­ing the clothes they want to wear. In the end, ev­ery­one left with a smile on their faces.

A piece of his­tory Pho­tographed at New York’s Ma­sonic Hall, which has been home to many prom­i­nent Ma­sons and in­flu­en­tial lead­ers since the 19th cen­tury

COACH (Above) Caramel leather jacket, bur­gundy wool shirt, blue wool pants, and back­pack; (left) Aubergine and camel leather shear­ling jacket, printed dress, and over­sized black and camel back­pack

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TORY BURCH (Right) Neck­tie shirt and skirt; (be­low) Bias-cut black and knit stripe sweater and mul­ti­coloured chevron stripe skirt

MICHAEL KORS (Above) Plaid pants, wool sweater, and yel­low wool coat; (right) Black and grey faux fur jacket with grey polka dot chif­fon skirt

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