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cindy crawford tracey ullman

Cindy Crawford plays dress-up with comedian Tracey Ullman at The Plaza Hotel in New York City in 1990.
Photo: MTV

Season: 2 Episode: 5
Title: Fall '90
Original Airdate: 8/18/90
Appearances: Tracey Ullman, Lucie de la Falaise


Does everybody know who Tracey Ullman is? It really helps to be completely smitten with her before you watch this segment, because it’s a lovefest. OK, quick sidebar for those who aren't up on her: Tracey Ullman is a British comedian best known for her Fox variety show, The Tracey Ullman Show, which ran from 1987-1990 and was hysterical. Most notably, it’s where The Simpsons were born (they ran over 40 one-minute shorts), which is why a lot of the characters are voiced by “Ullman” actors like Dan Castellaneta playing Homer and Krusty. Paula Abdul was the choreographer for the show. Speaking of music and random facts, Tracey was also a singer signed to the punk label Stiff Records (which also reps Elvis Costello). In 2000, Tracey would launch a fashion shopping site (now defunct), and host a show about style for Oxygen in 2001.

Back to the segment.

This is one of my favorite moments with Cindy Crawford as host. Cindy and Tracey are at the Plaza Hotel, because the suites had just been redecorated by Ivana Trump (could that sentence BE more '90s??!!). It’s such a classic Eloise situation: Cindy and Tracey are clowning around, dancing on table tops and jumping on chaises with their shoes on. It’s the first time you get a real appreciation for Cindy’s versatility and intuition for improv--she just goes for it. At one point they Vogue. Poorly. It's fantastic.

The ladies take turns modeling Versace, Jean Paul Gaultier, Todd Oldham, Ronaldus Shamask and Moschino. It’s such a good universe crossover moment to see two women, successful in different industries, enjoying each other’s company. Plus, the dynamic is awesome since Tracey and Cindy play off each other beautifully. Cindy even does a quick impression of Ivana Trump in front of the Emmy award-winning actress, which is admirably ballsy. It’s so likable and cute. Cindy plays a solid straight man since Tracey’s doing this massive, hammy, room-filling schtick. And even though Cindy gets her hair done (in a French twist obviously, this is the ’90s) and struts like an expert, this is the moment she really comes into her own as a TV host. By the end they’re just pitching fake tantrums about the clothes and laughing at each other. A decade later, Cindy appeared on Tracey’s style show, massively pregnant, and they had a ball there, too.


Cindy and Tracey Ullman | 'House Of Style' Collection On MTV Style


lucie de la falaise yves saint laurent

Model Lucie de la Falaise in 1990.
Photo: MTV

Lucie de la Falaise might not be as immediately recognizable as a Naomi Campbell, but she was the face of Yves Saint Laurent cosmetics and is worth knowing for a slew of fashion trivia reasons. First of all, her aunt, the late Loulou de la Falaise, was a muse and collaborator for Saint Laurent, the brilliant bespectacled French couture designer, a generation before. Loulou’s mother Maxime was also a model and a food writer. Lucie, who was discovered by Andre Leon Talley, was one of the last brides (for those who don’t know, a wedding dress was often the finale for couture shows) for YSL in F/W 1998 right before the designer retired.

Lucie’s wide-set eyes and small, regal features made for an aloof countenance that was the perfect sort of posh for Chloé and Davidoff campaigns in the early '90s; she has also worked with Steven Meisel and Bruce Weber. Her brother, Daniel de la Falaise, was also a model, and appeared in Madonna’s book Sex. (Daniel is smoking hot. Seriously, go Google his name alongside Madonna immediately.) Funnily enough, in this interview Lucie mentions that she’d just seen the Rolling Stones in concert and is “quite keen on them at the moment,” which is gloriously portentous, considering that she’d go on to marry Keith Richards' son, Marlon Richards, after meeting him on a blind date. Marlon and Lucie have three kids; their daughter was a bridesmaid at Kate Moss’s 2011 wedding. In 2011, Lucie briefly returned to modeling for Giambattista Valli for Moncler, and in a Vanity Fair editorial, with Stefano Pilati, for YSL. Full circle, people.


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cindy crawford richard gere

Cindy Crawford interviews actor and boyfriend Richard Gere at the Gianni Versace AIDS Benefit in 1991.
Photo: MTV

Season: 3 Episode: 7
Title: Spring Edition
Original Airdate: 3/6/91
Appearances: Naomi Campbell, Claudia Schiffer, Christy Turlington, Richard Gere, Gianni Versace, Sylvester Stallone, Betsey Johnson, Andre Leon Talley


This clip is a jewel, not only for its peek into the Versace archive at a time when the clothes were at the apex of mixed-print, bold-hued richesse, but because you get to hear Gianni talk (albeit briefly) about a cause that was important to him. For the Friends of AIDS benefit, Cindy and the supermodels descend upon Chateau Marmont for a Versace fashion show attended by the most A-list Hollywood types. Cindy does double-duty for the evening, shooting a segment (with a “Cindy Cam” while she’s backstage) for House of Style, and walking in the show. Maybe it’s because Gianni Versace was a personal favorite of mine, or perhaps because he died so tragically, but the footage is notably bittersweet. Seeing how much the supermodels loved him and witnessing again how active he was, at the peak of his career, in the fight against AIDS is poignant — especially since this was at a time when the disease was swiftly destroying whole communities, and those who were HIV-positive were stigmatized by ignorance and hysteria. “For the problem of AIDS,” says Versace, “for the problem that touches many friends. I did this with the heart.”

Naomi serves formidable hair flip as she bounds down the runway. Claudia says she always feels pretty in Versace’s clothes. And in an odd transformative note, ever notice how Gianni Versace's Italian-ness rubs off on Christy Turlington? Her Versace billboards in the opening shot are a vision of sun-kissed, smoky-eyed, Sophia Loren-esque goodness.

Everyone backstage is calm, and the show runs smoothly. We’ve been seeing a lot of early ’90s Versace lately: Lady Gaga had a field day with the archive for a media blitz earlier this year, there isn’t a tony vintage store worth its salt that doesn’t carry a couple of pieces, Drake wore a printed Versace button-up to his birthday, and the ornate-bordered shirt has been knocked off countless times, but the differences are palpable when you’re seeing the clothes in this context—on the backs of these models—when Gianni Versace was alive.

The magic lies in the movement. Versace mixed polka dots and houndstooth, filigree and floral, with everything in electric, hyper-saturated tones, all on the finest fabrics. Watching the silk suits glide down the runway is unreal because the prints undulate and billow. Gianni Versace knew how to cut: The precision and structural integrity of what would otherwise be too-whimsical in its cavalier opulence make his clothes compulsively wearable. I never thought I’d type these words, but Sylvester Stallone says it best: “Versace has his feet firmly planted in traditionalism. But every now and then, he brings about an air of theatricality. So if you feel like being a bit bold, his clothes kinda bridge that gap.” The fact that Stallone is wearing a silk lapel, wing-collar shirt and has his nails buffed to a high sheen makes this pop culture nugget that much more satisfying. Another quotable tidbit comes from Sandra Bernhard: “I think the war has gotten Bush off the hook for a while, but AIDS is an ongoing war and battle that really hasn’t been properly fought.” And, of course, there’s Naomi Campbell, who displays startling honesty about the “most embarrassing thing in [her] closet." Let's just say, she talks about something of a deeply... um... penetratively... personal nature.

We also see Andre Leon Talley snap photos of our host, and for Cindy superfans, this is the first moment where Richard Gere (Cindy's first husband) has ever seen her in this role. He’s gobsmacked. You can tell he thinks himself the luckiest bastard in the world for having landed this woman (in super-sexy, head-to-toe Versace, having just MODELED it) holding an MTV mic cube and interviewing him like a real-life journalist.

“This is amazing because we’ve known each other for two and a half years and I’ve never seen you do this before,” Gere stammers. “This is incredible. I’m just kind of floored.” From Steven Seagal in a band collar with Kelly LeBrock (dressed like a sad clown) in tow, to a photo of Michael Landon and Rod Stewart and Rachel Hunter in matching teased coifs, this was a wonderful collision of worlds, and we’re lucky that MTV was there to capture it.



betsey johnson

Designer Betsey Johnson in 1991.
Photo: MTV

The term “babydoll dress” may have not been coined by Betsey Johnson, but she can certainly lay claim to popularizing the '60s silhouette in the '90s. (The thing I love most about her floral versions is that they had pockets!) “This shape… à la maternity/pregnancy, I’ve been calling the babydoll,” she says. “It’s very naive, very sweet, very young, very innocent look. It’s a mystery after the bust. And that’s what’s interesting, because it’s got a very sexy little top part, and then after that it’s like, who knows? Is she hippy? Is she skinny? What is she under there?”

In this segment, we explore “warm weather dresses” and it’s a romp through Central Park with models in different versions of the summer staple, intercut with designers in their work rooms. There is a beautiful version by New York designer Carmelo Pomodoro, whose promising career would be cut short the following year when he died of AIDS-related pneumonia at just 37 years old. He calls this his “princess dress”: it features a demure, boxy, clavicle-skimming neckline (“I have a personal relationship with the clavicle. I think it’s the sexiest part of the body”) and a plunging back.

There is also a flowy, versatile, tank, A-line dress from Stacey Pecor at Hendris. The designer would go on to become a retail success story, founding the popular New York chain Olive and Bette's.

The final “picnic in the park” scene, with daisies and a somewhat slapdash “peace” flag, calls to mind an article entitled “Fashion: Baby Dolls, Naughty and Nice” by Anne-Marie Schiro, in an October 1990 issue of the New York Times. Schiro interviewed Kalman Ruttenstein, a senior VP for fashion direction at Bloomingdale’s, and Terry Melville, a VP and Fashion Director of the Junior/Contemporary category at Macy’s. The executives parsed the general silhouette of a baby doll (“high waist, high yoke, more fabric”; the textiles used: “chiffon, challis, stretch velvet and stretch lace”; and the predominant print: “florals… next in importance are dots, then geometrics and solid-color lace’). Melville and Ruttenstein also situated the dress as a revival of the “symbol of the 1960s youthquake.” I remember these dresses. We would wear them over tights with combat boots and a choker and your hair up in a French twist, or we’d wear them over a long-sleeved bodysuit; but I did not then or now consider them to be anything but very ’90s.

Even in 2012 with the high-waisted, floral print/lace ’90s dress enjoying a resurgence and the rising popularity of the choker on people born too recently to remember the decade—like Chloe Moretz and Sky Ferreira—I can’t help but wonder whether they know that the ’90s dresses are an homage to an earlier era. I certainly didn’t. If you show me a pair of silver clogs, I won’t think '1960s' I’ll always think '1991' because of the color and the execution. It’s the fingerprint that a decade leaves on a borrowed trend as it’s repeatedly revived in the future and I wonder what the effects will be as we look back on '80s trends from 2012 in 2032. Especially since these cycles shrink as technological innovations get faster and we become more peripatetic in pulling temporal inspiration. Colors change, mills introduce things like stretch lace, 3D printing becomes a reality and the price points for trends dip and democratize. Fashion is getting crazy accessible and it's fascinating. It's also interesting to see what’s picked up again with fondness and what’s left alone on each go 'round. We haven't yet seen the sleeveless white turtleneck bodysuit and the macramé flared-sleeve, calf-length duster but I’d bet money that they'll return. And I can't wait to see how they've changed.



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cindy crawford richard gere

Cindy Crawford interviews actor and boyfriend Richard Gere at the Gianni Versace AIDS Benefit in 1991.
Photo: MTV

Season: 3 Episode: 11
Title: Best Of Edition
Original Airdate: 11/28/91
Includes segments from:

  • Cindy Hangs Out With Will Smith On The Set Of Fresh Prince (Episode 6)

  • Gianni Versace AIDS Fundraiser (Episode 7)

  • Cindy Crawford's 1991 Calendar Shoot (Episode 8 )

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Rapper Puff Daddy picks out an outfit for the 1997 MTV Video Music Awards.
Photo: MTV

Season: 9 Episode: 62
Title: 1997 VMA Special: "Let Me Just Slip Into Something Incredibly Uncomfortable..."
Original Airdate: 9/5/97
Appearances: Puff Daddy


When Puff Daddy was still called Puff Daddy, back in 1997, long before his clothing line Sean John won a CFDA, he was infinitely more ostentatious. To prep for the VMAs, we pick him up at his yacht, where he’s soaking in a hot tub with his son Justin and stepson Quincy. If you’re a fan of My Super Sweet 16, you can gauge how long ago this was by how little and adorable the two are. We squire the three men off in a black stretch limousine to hit the boutiques in search for multiple outfits for Puff, since the rap mogul is feeling himself in a “male Diana Ross” mode: He needs a rehearsal outfit, a red carpet outfit, a performance outfit and a “sitting down in my seat oufit.”

First, we go to Prada, where a collegiate look (slacks, sweater, white shirt and a thick, cumbersome necktie) is deemed too preppy. Puff opts for a brown leather car coat instead. At Gucci, he picks up some logo hardware loafers and mentions that he likes an element of Elton John and Liberace in his style. He enjoys logos on his clothes, despite the tackiness. A dark blue, shiny shirt is also copped because it looks good against the moon man. A jet-black suit, double-breasted but with a concealed placket, is also purchased.

At Versace, Puff swoons over a suede suit with a long jacket, and notes how beautifully the Italian house’s garments always fit.

It’s interesting that this was the heyday of conspicuous consumption in rap, as lyrics shifted to include Italian and Parisian fashion brand names. It was also the beginning of the "Shiny Suit" era, which Puff, Ma$e and Hype Williams set off with the “Mo Money Mo Problems” video, styled by June Ambrose. Originally, the director wanted leather suits, but June won, and the ensembles that spawned a thousand glinting replicas were born. “With the metallic suit, it was [convincing] Puffy, this hip-hop artist, that this was going to be impactful,” she says. “I showed him the red metallic and he says, ‘I am not wearing that. I was like, ‘Please trust me.’ I had to make one red leather outfit and one metallic leather outfit and… I won!”

Blessedly, Diddy has since grown partial to classic tuxedos, narrow lapel suits, cashmere sweaters, black tees, and varsity jackets, with only the occasional sparks of flamboyance in his flashy outerwear — no more reflective clothing or oversized dyed leather jackets.



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alek wek

Photographer David LaChapelle shoots model Alek Wek for French 'Vogue.'
Photo: MTV

Season: 9 Episode: 63
Title: The Year in Fashion
Original Airdate: 12/16/97
Appearances: Alek Wek, David LaChapelle, Tyra Banks, Cindy Crawford


Alek Wek was a huge deal when she arrived on the scene because this Sudanese model broke the mold. She was bald, with a round face, slightly squinty eyes and beautiful skin that was so black she appeared to glow. Alek’s claim to fame was her inclusion in Tina Turner’s “GoldenEye” video for the James Bond movie of the same name. Ms. Turner wears this incredible skin-tight white satin dress with a high slit; Alek lounges on a chaise, skin gleaming as she fondles a giant jewel.

We’re on set with Alek and the incomparable photographer David LaChapelle. Alek is wearing a fuchsia formal gown in this tidy little neighborhood in Queens, and the bright sun and pedestrian backdrop creates a dreamy feeling with this beautiful, statuesque model who’s incongruous to everything around her. Alek has this easy, loping walk and looks great on the runway, but where she gets really exciting is in dramatic editorials. David calls her a “monumental beauty”; I don’t want to sound fetishistic, but she does have a look so striking that you either love her or hate her. She is definitely a part of the New Wave of models, and looks so unique that it makes total sense that she continues to work today. She appeared as a judge on America’s Next Top Model.



rebecca romijn tyra banks

Rebecca Romijn and model Tyra Banks talk about the year in fashion in 1997.
Photo: MTV

New host Rebecca Romijn drives around L.A. in a convertible and talks style with Tyra Banks. They wear matching blue sweaters and discuss trends and what it’s like to shop for clothes. Tyra is obviously a media mogul now, and Rebecca has gone onto a successful acting career (a transition attempted by many and achieved by few), but it’s interesting that they cut unorthodox figures in the industry because they skew a little mainstream for hardcore fashion fans. They talk about how asymmetrical silhouettes and sheer clothes don’t work on girls with big boobs, and they talk about how relieved they are that glamour has returned to upstage the waif. It's a good time in media since curvier, more commercially sexy models like Trya and Rebecca could get exposure on a new genre of magazine: The ’90s were the boom time for the “lad mag,” like Maxim, Stuff and FHM. Models had options outside women’s fashion magazines, and were no longer relegated to other extremes like Playboy, or to themed editions like Sports Illustrated’s swimsuit issue.



gianni versace

Cindy Crawford tributes designer Gianni Versace after his death in 1997.
Photo: MTV

At the 1997 VMAs, we commemorated a great many untimely deaths: In the same year, we lost Biggie Smalls, Tupac Shakur and Princess Diana. In fashion, the death of Gianni Versace was devastating. The designer was at the peak of his career. He was showing 10 different collections annually and had just released his AW 1997 Couture collection, a triumphant culmination of the motifs and technique he had mastered over the previous eight years. He was a significant figure in marrying music and fashion, enlisting famous friends like Madonna and Elton John in print campaigns. He designed performance costumes for Elton John’s world tour, and was the first to invite celebrities to sit front row amongst the buyers, editors and other fashion-industry insiders at his shows.

Gianni’s muse and sister, Donatella Versace, didn’t skip a beat despite her tragic loss, designing for the house beginning in SS 1998; she has since grown the company into a global empire during a challenging economic climate. Gianni’s final collection is a marvel. It’s incredible because watching it now confirms just how brilliant, influential and prescient the designer was. This NY Times article by Amy M. Spindler charts the designer’s arc and breaks down how the Versace aesthetic evolved from garish “happy hooker” excess, and how time has transformed elements — like bondage, brash patterns and hardware — that had seemed lurid and lewd at the time into classic themes.

It’s definitely a more severe collection. There are solid color stories in black and gold. At first glance, it looks pared down, but it’s not. Instead of relying on creating the illusion of movement with the interplay of prints, the designer builds outward, and the topography is revelatory: graceful sculpted shoulders, stuffed tubular straps and heavy, fluid fabric draped and gathered into precise ripples. The models are goddesses. There is no flounce — just delicate mesh chain mail, stark leather panels, floor-skimming hems and the sumptuous heft of very expensive fabric.

It’s been fifteen years since Gianni passed, and it seems that Donatella has finally come to some peace. For AW 2012, the designer returned to her brother’s final collection, and used crosses and mesh in the new season as a tribute. She is also showing the couture collection at the Ritz Hotel in Paris for the first time since Gianni died.

The designer’s legacy lives on in popular culture: We recently saw pieces from his final collection in Lady Gaga’s “Edge of Glory” music video, proof that Versace continues to inspire new generations of musicians.



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christina aguilera

Singer Christina Aguilera tries on fall coats in 1999.
Photo: MTV

Season: 11 Episode: 69
Title: Dress Code
Original Airdate: 8/30/99
Appearances: Christina Aguilera, Anna Sui


Whoa. Christina pre-Xtina footage! Pre-everything footage, I guess. This is RIGHT when Christina Aguilera’s album first came out, like, the literal week afterward, and she’s so tiny and innocent and unsullied that it’s amazing. She’s wearing a short-sleeved cardigan that reveals her tummy, and she’s so articulate in that completely engaged, shiny-eyed way that ex-Mouseketeers have about them. She is “partial to the ballads” on her album, and asserts that the lyrics to “Genie In A Bottle” are way less pervy and far more lady-evolved than the hook suggests.

This is a fall segment, so we’ve got a rack of coats for Rebecca and Christina to try on. It seems full-length and ¾ length are in as far as hems go, and the outerwear runs the gamut from a Versace dyed python with a zebra-print pony belt to a giant, sherbet-colored fur number with a satin lining that’s painted with Chinese calligraphy. There is a tufted poncho, a striped cape and a lovely classic from Prada’s Robin Hood-ish collection (I always called it that because the shoes were so pointy that season) that features carefully cut-out leather and appliquéd patent leather leaves. Speaking of embellishment, there’s a bonkers yellow plastic coat from Dolce & Gabbana embroidered in hot pink that Christina loves. It’s such a refreshing rediscovery of what the performer was like when she started out. Speaking of which, she mentions that she’s accustomed to dressing for warmth because she’s from Pittsburgh. Did ANY of you remember that? How weird is that? I totally misplaced that factoid over the years, which is just one way in which time and aging mess with you. Dyed python is still gauche, though!



anna sui

Designer Anna Sui gives student Jame Darrow a dorm room makeover in 1999.
Photo: MTV

I love that this segment contains a exterior shot with Anna Sui marching down the street to do over a bedroom. She’s so purposeful, with her bag and her braided pigtails. It’s this Mary Poppins-ish moment that makes you believe she is absolutely capable of magic. Anna was one of those people we always relied on to add a touch of style expertise, and here she takes over what is traditionally a Todd role to re-do a tiny bedroom because the owner is going crazy, overwhelmed by its fugliness.

The room has dope bones — there’s a whole wall of exposed brick, decent windows and it’s small but large enough for a bed, desk and dresser (basically, KING SIZED for New York standards) — and the first order of business is creating a theme based on the ingredients the occupant already owns. There’s a beaded, Aztec-themed curtain: From there, Anna picks out a blue wall color typical of homes in Mexico. Red is the accent color for the radiator and exposed pipe. A corkboard is added, with crisscrossed ribbon (which is a DIY trick I definitely remember as being a whole thing in my college days). An embroidered bedspread complements the animal-print sheets and shams for mix and match goodness; another matching spread is hoisted up for a window panel. A tooled silver mirror transforms the chest of drawers into a vanity and from there, it’s a short step to get to an introduction of Anna’s new makeup line.

I don’t remember a time when Anna Sui’s fragrance and cosmetics line didn’t exist. Sometimes I feel like right when I hit the age where I was ready to experiment with makeup, Anna’s dreamy, sexy, black lacquer, rose embossed goodies hit the market, and I wanted everything. It was sort of the antithesis to the marbled green Clinique stuff (I mean, who didn’t have the toner and face soap? Not to mention the makeup bags) and embodied everything about Anna Sui’s sartorial aesthetic. I actually remember seeing this segment and wondering if the girl whose room she made over got to keep everything. Can you imagine? Anna Sui comes over, and not only does she revamp your entire sleeping area but then she blesses you with a passel of makeup? Ridiculous. Also awesome. The envy still smarts!



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calvin klein

Dolores O'Riordan of the Cranberries in designer Calvin Klein's "Musicians in Dirty Denim" campaign.
Photo: MTV

Season: 11 Episode: 70
Title: 10 Year Anniversary Special
Original Airdate: 11/23/99
Appearances: Moby, Dolores O'Riordan (the Cranberries), Marc Jacobs, Anna Sui, Michael Kors, Donatella Versace, Oscar de la Renta, Helmut Lang


Calvin Klein’s a master when it comes to branding. He just is. In another canny marketing move, the designer enlists musicians ranging from Left Eye (R.I.P.) to Shakira and Moby to David Silveria of Korn to be his models for an upcoming denim campaign shot by Steven Klein. In this segment, we go on set with Moby, David and Dolores O’Riordan (from the Cranberries) for their shoots. The denim is dirtied up this season, and to complement the look, the backdrop is dark, with the lighting creating a bluish cocoon of shadows.

Creating portraits that capture the mood of the collection without compromising each artist’s image is tricky. Styling, makeup and hair are all considered with special care so as to not alienate their fans.



marc jacobs

Designer Marc Jacobs in 1999.
Photo: MTV

Remember Y2K? The hoopla surrounding the turn of the millennium was all anything anyone talked about at the time, and here we look to the runways for the first collections of 2000 to see if anything’s changed. It's sort of like staring into the mirror on your birthday to check if you’ve grown or gotten more good-looking overnight. We look to Marc Jacobs for a new take on cotton. “I sort of felt going into the year 2000,” he says. “It was a sure thing [to] play with the notion of what it feels like to wear jeans and a T-shirt. That just always seems contemporary.” The denim is offered in a slightly shiny, trouser-cut silhouette that dominated the early part of the aughts, as well as knee-length, flat-front shorts. The tees are offered in silhouettes ranging from stylized embroidered white peasant blouses to sequined tube tops.

Anna Sui takes the peasant look further, maintaining a tight thematic focus to keep it from devolving into role-playing. “I’ve really been celebrating handicrafts,” she says. “I was trying to make it casual enough that you could walk down the street without people thinking you came out of a costume epic.” Her ensembles feature embroidery, intricate lace and beadwork. A romantic flourish is preserved in soft, flowing silhouettes and relaxed, tissue-thin ruffles.

Oscar de la Renta is as glamorous this season as you’d expect. He offers massive, reflective paillettes in soft colors. Embroidery is featured here too, but the interesting thing is that even he opted for some casual notes, like the evening two-piece that was widely beloved by starlets. You’ll recall the shiny balloon skirts (some going so far as to feature pockets) that were paired with scoop-neck tees and tanks, for an unfussy but pulled-together look. (Sharon Stone famously wore a full skirt with a GAP tee, as you may recall.) He also flips the script on denim, to show blue twill as a luxury item.

At John Bartlett, it’s all about the “Guerilla Ballerina”: the interplay between a militaristic palette, utilitarian trousers and sheer, pale, blouses and shells. And, of course, there’s also summerweight leather. Helmut Lang’s signature erogenous zone has to be the sternum, and this season we see plunging, asymmetrical necklines in elegant fabrics. It’s crispness galore, with delicate knits and a fascinating retooling of eveningwear by way of a sweatshirt and sweatpant combo rendered in the most ethereal fabric. With Yeohlee, it’s all about the absence of black, and a thorough study of sheen, with pearlescent textiles creating texture in thick strapped tanks and cropped jackets. A fresh-faced Michael Kors did then what he’s always done best: a collection featuring wrap skirts, bold color and a motif he dubs “Palm Bitch.” It’s classic Kors all the way: resort wear that looks unmistakably American.

Colors fly at Versace. Donatella hyper-saturates trousers, bandeaus and crop tops while masterfully injecting refreshing jolts of white. Declaring white the new black, she says it's the color (or lack of color) for the new rock 'n roll class.



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MTV Style follows how people express themselves through fashion and beauty, from our favorite pop culture icons to you, the reader. We cover the fun, loud side of the industry with news, trends, interviews, videos, and more — MTV Style is fashion at full volume.

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Featured Comment

I love these two as a couple. What a festive way to celebrate two important events in their life. Mariah looks like a dream.

Posted by Journey on Mariah Carey And Nick Cannon Shut Down Disneyland To Renew Vows In Cinderella-Themed Ensembles
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