while some pieces' sole moment of drama came from shots of eyelet tulle that exposed the wearer's back. These were wear-forever looks whose clean-lined charm, like Miss Golightly's, won't date anytime soon.
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while some pieces' sole moment of drama came from shots of eyelet tulle that exposed the wearer's back. These were wear-forever looks whose clean-lined charm, like Miss Golightly's, won't date anytime soon.
Audrey Hepburn in Breakfast at Tiffany's ("the quintessential movie about New York chic," Douglas Hannant called it, backstage) was this uptown designer's rather unsurprising muse for Fall. Well-trod ground, surely, but he paid homage with a light touch. Several simple daytime dresses looked like two pieces instead of one; the camel and gray-herringbone shift that opened the show was so subtly constructed it almost fooled the eye. "If it's going to be elegant, it can't scream," Hannant pronounced, and so he kept embellishments few and well judged. A slinky jersey sheath in black had just a dusting of sparkle at the neck, while some pieces' sole moment of drama came from shots of eyelet tulle that exposed the wearer's back. These were wear-forever looks whose clean-lined charm, like Miss Golightly's, won't date anytime soon. A smart investment, in other words, despite the Fifth Avenue price tag.