It's that time again: New York Fashion Week has returned to the city for more than a week of runway shows, presentations and beyond.
The twice-annual fashion event runs through Sept. 14.
We review the spring/summer collections, from your favorite iconic designers to those making their NYFW debuts.
Keep checking back for real-time updates from New York Fashion Week.
With awards season upon us (in fact, the Emmys are this weekend), actresses all over are doing a fist pump after seeing the stunning line up from designers Georgina Chapman and Keren Craig, whose Marchesa brand has long been a red carpet staple.
The collection was inspired by Aimee Crocker (1864-1941), an explorer known for her somewhat eccentric passions that included pearls, snakes, lovers, tattoos and Buddhism (yeah, we had to look her up) and for her extravagant parties. To that end, the duo delivered some of the dreamiest party dresses and gowns around. Ethereal confections ran from enormous floor sweeping showstoppers with kimono sleeves to slimmer looks adorned with massive ropes of pearls, 3-D flower embroidery and bugle beading. Amid the froth, a single lace tuxedo that was positively timeless.
See you at the Oscars, Marchesa. (Anne Bratskeir)
Consider this a thank you note, Michael Kors. You started off the last day of New York Fashion Week on a fabulous note. From Sarah Bareilles walking down your runway singing "Sittin' on the Dock of the Bay," and performing greatest hits, to your front row that included Nicole Kidman, Naomi Watts and Catherine Zeta-Jones ... well, what could be better? How about fuller figured models Ashley Graham and Sabina Karlsson walking on your runway with Bella Hadid and Kendall Jenner (in a killer black matte stretch jersey sarong dress - sequin with a cutout on the tummy). Then there was Vogue honcho Anna Wintour wearing the exact same print that your models were wearing. How did she get that vivid blue and white palm print so fast? (We wonder.)
Aside from all that, there were the clothes: relaxed, pretty with a nonchalant sexiness. Sophisticated enough for urban dwellers, plenty of looks evoked the feel and ease of summer. Models wore leis around their necks to enhance the vibe that Kors' categorized as "from Manhattan to Malibu ... Beverly Hill to Bora Bora." Draped sarongs, kimonos and pajamas were smartly reigned in by way of oversized menswear pieces. Among the many covetable looks: a carnation pink tie-dye sweatshirt (cashmere of course); Wintour's palm print on anything in black, wisteria or blue; any trench coat (but how about lavender?); a poet's blouse with long sleeves both in watery blue silk chiffon; surf blue sequin ombre pants and any number of evening looks in black with sequin embroidery. And lest we forget - many of the models wore flip flops. But not just any flip flops. These were crocodile. (Anne Bratskeir)
Trained as an architect, designer Josep Font is known for creating couture cocoons that surround the body like your own personal stratosphere -- bubble coats, Liberty Bell-size dresses and skirts that offer volume and plenty of it. So, it was interesting to see the models of his spring show, held in a sunny gallery at Pier 59, descend the runway in a new, softer and decidedly deflated look, as if all (or most -- there were still a few sizable numbers) had finally taken a moment to exhale.
A 10-piece band called Helado Negro (aka "black ice cream") set the tone, playing Latin standards as the Carmen Mirandas strolled by, the models in vivid print dresses with pops of neon and large bow-like hats reminiscent of the Golden Age Hollywood starlet. For those looking to dip a toe in these waters -- or, in this case, finger -- slip your hand around one of the petite neon yellow clutches with a wide strap that wraps around your hand in a bow. And start streaming some bossa nova tunes -- you'll be transported to a sultry other world. (Joseph V. Amodio)
Alice + Olivia
Now that the famed Chelsea Hotel is going condo -- sheesh, there's nothing more un-Sid Vicious than that -- designer Stacey Bendet decided it was time for a reimagining. So for her spring A+O line, she got together with some artist pals and had them each recreate a room, and then she designed some clothes and accessories that fit the mood.
"It was really a give and take, and this great burst of creative optimism, which I really think we need these days," said Bendet at the presentation Tuesday.
There was a bedroom, complete with a gal sprawled on the bed, a studio and dinette created by the Willis sisters, Scout and Tallulah, and in each models louche and lovely in vivid, print-crazy dresses and heels.
But our fave was the kitchen dreamed up by artist Lucy Sparrow, with felt snack boxes lining shelves) and models bearing junk food clutches. Yes, glittery handbags a la Sugar Babies and Hostess Twinkies -- brilliant and sure to sell FAST. (Bendet says her young girls don't care about the bags -- they just want the set for their playroom.) Meanwhile, another model wears a tee with sequins spelling out "The world needs more sparkle." We won't argue. (Joseph V. Amodio)
The boys at Badgley Mischka are heading off on vacation real soon and their easy, breezy runway lineup on Tuesday morning underscored that point. "It's an American girl going to Capri for the first time," said Marc Badgley backstage before the show. "It's from breakfast to the ball. James [Mischka] and I are going for the first time in 10 days and it's sort of how we imagine and hope it's going to be." In a word? "Happy."
Standout sportswear was crisp and clean: cropped pants worn with short, blingy caftans; killer bathing suits embellished with ruffles and flowers; easy cotton shifts and skirts in fruity shades of orange, lemon, raspberry, some trimmed with tassels; floral swingy jacket with belled sleeves. Night moves included a gossamer goddess gown in blush, a high-low chiffon cocktail of embroidered gauze with a floral bodice and a sparkling series of sequin columns ... outstanding in gold. (Anne Bratskeir)
Definitely the most exuberant audience at New York Fashion Week that we've seen to date, Torrid, the fashion brand for women who wear sizes 10-30, rocked its runway with 45 looks, many bordering on edgy.
The models looked beautiful in a series of leather jackets, some with back cross-stitching and one with a graffiti print that read, "Dangerous Curves." There were jeans galore, some paired with military jackets (one in velvet), and airy kimonos with floral embroidery fluttered gracefully over pants and dresses.
Styles ran the gamut - a little something for everybody, from a black sequin mini to a strappy maroon maxi. At the end, the top 10 finalists from Torrid's third annual Model Search walked the runway to encouraging cheers from the audience. (Anne Bratskeir)
Prize for the best fashion show location -- maybe ever in NYC -- goes to Carolina Herrera -- who held her Monday night runway show in the Museum of Modern Art's sculpture garden. It is the first time the museum has allowed a runway presentation to be held in the breathtaking space, and it was a glorious eyeful for the media, friends and Herrera clients. The show was particularly poignant coming on the anniversary of 9/11, which Herrera mentioned in her program notes and honored by making a donation to the FDNY Foundation.
Happily, Herrera lifted spirits on this solemn day, with her optimistic, upbeat show that she dubbed "a celebration of color." And there were mega-blasts of it: red, iris and electric yellow turned out in silhouettes that featured dramatic shoulders and sleeves, nipped waists cinched with wide belts and sashes; archival prints and swishing skirts. It was such a color riot that the one black pantsuit in the lineup looked out of place, though, beautifully tailored, it could be a wardrobe go-to. There was sweetness: a gingham frock; a midi daytime denim dress with rainbow buttons, vivid striped affairs and wispy chiffon jobs that a seatmate remarked reminded him of a cupcake, and when embroidered versions appeared, he said, "with sprinkles."
Cocktails and ball gowns for drama queens abounded. Swoon-worthy ombre dresses featured formfitting strapless tops that seemed to melt into sparkling skirts; a couple of gowns boasting h-u-g-e skirts were emblazoned with Herrera's graphic zebra print, one version in cornflower blue and red. In all, a feast for the eye. (Anne Bratskeir)
Anna Sui is ready for her be-in. The designer who never shies from a hippie-happy '60s-'70s mash-up played true to form at her runway show on Monday at Skylight Clarkson Sq, rolling out an array of peasant dresses, lace and crocheted cardis, and all-around granny chic ensembles. The cover of the program was collaged with phrases like "counter culture" and "stardust." And fans will likely snap up the Sgt. Pepper embroidered denim cape or the vintage tie-dyed Levi's shorts.
But is Anna okay? The show began with all the models taking a turn round the runway en masse, in near darkness, a somber start that may have been an acknowledgment that this is, after all Sept. 11. Or is it her comment on today's divisive and economically precarious world? The show was decidedly smaller (smaller venue, smaller crowd) than her usual giganto blowouts, which makes us worry for her checkbook, in an era when so many stalwart brands are feeling the pinch. But then there were everyone's fave "It" sisters, Gigi and Bella Hadid, walking arm in arm at the end of the show, all smiles, and it seemed Sui's signature optimism was once again restored, if for a moment. (Joseph V. Amodio)
Oscar de la Renta
In their second season at the helm of the fabled house of Oscar de la Renta, designers Laura Kim and Fernando Garcia have begun to seriously flex their design muscles. The duo - who also head Monse, the brand worn by celebs such as Kendall Jenner, Sarah Jessica Parker, Selena Gomez and Lady Gaga, to name a few - has done what appears to be a major renovation of the brand's original DNA.
There wasn't a hint of tweed, royal jeweled embellishment or ladies-who-lunch suits at their show held late Monday afternoon at Sotheby's on the Upper East Side. In their place: denim - white and indigo - embellished with kooky embroidery; modern cropped and colorful palazzo pants, and easy jackets; logos everywhere, these replicas of Oscar de la Renta's actual signature - carved into slim furs, scribbled on dresses and sweaters, and even worked into a twisted metal belt that spelled it out and wrapped around a model's waist.
There were paint-splattered pieces (yes, really) - a slim white gown with a black shoulder strap looked like it had a run-in with a Benjamin Moore store but, yet very distinctive. Dress and gown silos overall were mostly closer to the body, many boasting wild abstract collages comprised of material strips and massive patches of sequins (some in heart shapes). There were glitzy, all over sequin slithers for party girls, a frilly black tulle number was dappled with gold paint, and boring, but true, here was the perfect black cocktail dress with asymmetrical straps.
Ahhh, but what's an Oscar de la Renta fashion show without a blown out ballgown? This runway closed with a series of them, all mountainous tulle numbers, dip-dyed, ombre - in pacific blue and blushing pink - one worn with a ruby dip-dyed mink coat.
In all, the new luxe, perhaps directed at the new client: Paris Hilton, Nicky Hilton Rothschild and Nicki Minaj all in the front row. (Anne Bratskeir)
Fenty x Puma by Rihanna
In the galaxy of designers who are really just celebrities who call themselves designers, Rihanna's star burns especially bright -- partly because her own persona is so winning. And also because, well ... dang, the girl's got an eye for what looks right. And as she proves with this collection (her fourth season of collaborating with Puma), she's so good at this, she's really in a galaxy all her own.
This spring is going to be hot -- global warming notwithstanding -- given the sultry-meets-sporty gear that RihRih rolled out, much of it with a motocross theme. Baggy moto pants and jackets were offset by skimpy tops and flashes -- make that long gazes -- of skin in between. Like the white mesh short shorts labeled "Wet" on the waistband and worn over a white bikini bottom with an oversize midriff hoodie. Or a new high-low silo that may go viral -- high-cut maillots worn with low-slung moto-pants, shorts or skirts, baring hips on the side. And then there's footwear, always at the heart of this line, with lots to choose from, whether you snap up those tangerine creepers, platform boots reminiscent of Timberlands or the high-heeled flip-flop sandals. The latter aren't the most practical for a walk on the beach, perhaps, but perfect for a stroll past Rih's pink sand dunes, which served as her set.
As if the collection wasn't energized enough, daredevil motorcyclists performed gravity-defying stunts ... and Rihanna rode in on the back of a motorcycle to take her bow. Nice touch. (Joseph V. Amodio)
Prabal Gurung has been playing politics on his runway for a few seasons, the last one, dramatically closing with a lineup of models wearing slogan tees, and the designer himself donning one that read, "This Is What A Feminist Looks Like." On Sunday night at the Skylight Clarkson studio, he seemed to be expanding his message of inclusivity. Guests in his front row underscored the point: Gloria Steinem on one side, EJ Johnson, Magic Johnson's gender-flouting son, on another.
On the runway, huge hanging oval mirrors and a diverse model pool ranging from supermodel sister act Gigi and Bella Hadid, to curvy Ashley Graham to transgender model Andreja Pejic. As for the clothes, they were a study in opposites, feminine and tough: fluttery chiffons paired with slick, laminated, sometimes corseted, fabrics; airy long skirts and dresses slashed to reveal skin; preppy cabled and net sweaters ripped at the hem; ethereal dresses of twisted, clashing plaid fabrics. Wide belted ruffled and asymmetrical dresses, though less assertive, were just plain knockout. The color story was bold, playful and luscious: brilliant blue, hot pink, sunny yellow, deep red along with some joyous florals. Of the collection, Gurung said in notes, "It is recalling the fearlessness and strength of a woman despite a hyper-feminine appearance. Here, the tradition codes of femininity are ...powerful." He took his bow in a tee that read: "Resist with [heart]." (Anne Bratskeir)
At Tracy Reese's afternoon show at Pier 59, there was a soft murmur in the room as dozens of models of different races, sizes and ages spoke out loud en masse about their hopes and dreams. Reese, a longtime advocate of body diversity, said "Models are these silent statues. I'm really about the person. It's what the women bring to the clothing that makes it magical." They did look divine. Styles were as varied as the models, who were accessorized with gigantic, ropy earrings. There were lacy frocks that hugged the model's curves, oversize robe dresses, airy pants, smart jackets and graphic flower and leaf prints. Reese went for a luscious color palette -- joyful shades of marigold, grassy green, and fuchsia along with some iridescent sparkle. Whoopi Goldberg, in the house, was impressed. "Just look at the bodies on that stage. Women of every shape and size all over the world can wear her clothes." (Anne Bratskeir)
In honor of Tibi's 20th anniversary, founder Amy Smilovic left a handwritten note on each seat at her fashion show on Saturday, expressing gratitude to her colleagues, customers and her parents -- to her dad, who encouraged her to sketch designs, and her mom, "who shipped our first delivery from our family living room," she wrote. The brand has certainly come a long way, now a must-have in the closets of urban gals who like their fashion sensible (that's not a bad word here), yet with the sharp, tailored details that get you noticed. Like those wide, clear-plastic belts that wrapped around smart suits in menswear plaids (don't worry -- the belts are detachable if that's not your thing). Or the high-waisted, elastic-waist joggers and parachute pants (so comfy looking). Or the column of tiny Fortuny pleats in a long, dramatic lilac dress. Shoe lovers will feel a hit of gratitude, too, for those newfangled mules (they look like pumps in front but are cut open in back), or the pairs with a swirl of color ribboning around on one shoe of the pair. There's an unabashed joy to this collection. Happy 20th, Amy. Can't wait for the next 20. (Joseph V. Amodio)
"This season, I'm celebrating everything about being a woman," said Victoria Beckham in notes at her swanky show at Cipriani on Sunday morning. The polished and carefully edited lineup included an array of soft colors -- lavender, blush, pearl, silver, mint and a muted clay with an occasional blast of black and fiery red. The silos were airy, surprisingly loose in silky fabrics that fluttered gracefully around the models' bodies. Several fluttery dresses read like trench coats and featured deep, décolleté-baring plunges. A tricked-out checkered topper featured short and long sleeves. Vests were long, over equally long slim pants (but not too slim) that nearly covered the adorable sparkly, bowed slides Beckham used throughout the show. Boxy jackets with square shoulders were a perfect foil atop some of the chiffony looks, including ruffle necked blouses that billowed at the sleeves. Beckham dubbed her collection "light, refreshing, bold, confident," and it was. (Anne Bratskeir)
"This show is about celebrating beauty, and you can tell by who sits in my front row that I want everyone to know they can look beautiful in their own way in one of my dresses," Christian Siriano said backstage at his show at Pier 59 on Saturday afternoon. And indeed that marvelous front row was varied ... and interesting. There sat Leslie Jones, ensconced in a fuchsia Siriano cape; Vanessa Williams, glittering in a coppery slither of a cocktail dress; Gina Gershon, red-hot in a killer bodycon job; and Patricia Clarkson, downright regal in a burgundy number with pleated sleeves and a high slit. (And many more.) This entire runway lineup, opened and closed by supermodel Coco Rocha, underscored the point. "We have all shapes, sizes, boys, trans, I want to celebrate everyone," said Siriano, who sure lived up to his mission. Dubbed the "psychedelic greenhouse," the runway featured mountainous ruffled poufs in sunflower yellow and bright pink, wild floral and gold pants and evening dresses, airy lime green palazzo pants along with some more sedate (yet standout) sculptural navy gowns -- one with brilliantly colored trailing scarves. No one loved it more than Leslie Jones, the actress who couldn't find a dress for her "Ghostbusters" premiere until Siriano stepped in. "He was my savior," she told us. Beyond enthusiastic, she couldn't contain herself cheering and hooting all the way through the show, at one point shrieking, "Ohhh, I want that!" over a canary yellow suit. The whole shebang was a total gas and we tip our hat to Siriano, who truly is a pioneer of diversity on the runway. Show-goer Adam Glassman, Oprah Magazine's creative director, summed it up: "Christian Siriano is the most democratic designer there is." (Anne Bratskeir)
Jill Stuart celebrated her 25th anniversary in the biz with a lineup that punctuated her eponymous brand's particular cool-girl DNA -- a little bit vintage, a little bit modern with an overlay of rock and roll (hence the live band). Stuart is famous for her ethereal and romantic frocks, and she showed plenty: some lacy, others barely-there-sheer, and the best of them, charming florals on dark chiffon. There were loads of pinstripes and polka dots, and in fact, Chloe Sevigny donned one of Stuart's dotty, little numbers in the front row. And patent leather pieces -- a white trench and A-line skirt -- read equal parts retro and new. Though Stuart definitely trotted out some of her greatest hits, she tweaked them with fresh accessories such as a body chain bra and wide, clear acrylic belts. In all, a sweet and spicy celebration ... congrats. (Anne Bratskeir)
Last season, designer Michelle Smith's Milly collection was called "Fractured" and featured a series of ensembles that were ripped, shredded, oddly (but not unpleasantly) proportioned, many with a tough veneer. "I've evolved," said Smith at the show held in her brand new pop-up shop on Mercer Street. Here, the presentation, dubbed "Wild Flower" was "a metaphor for our inner strength as women, our sexuality, our freedom and independence. I've learned to create from an emotional place. In my past collection I was feeling hurt, "(notably this was after the election), "now it's about embracing our inner beauty and understanding what's so amazing about being a woman." Smith's sparkling shop decorated with "geodesic domes" (think arbors) laden with flowers served as an excellent backdrop for models posing in some body conscious -- and all architectural -- looks that swirled around the female forms. Some had flesh-revealing asymmetrical cuts, others boasted unexpected ties, sunburst pleating and laid back draping. As a whole, the collection was clean, feminine and strong. The pop up will remain there for about a month. And do feel free to visit. "I've always wanted to have a downtown store," said Smith, whose NYC boutique is on ritzy Madison Avenue. What a great way to test-market. (Anne Bratskeir)
Some years back when Nicole Miller was in Rwanda, she was busy working -- helping to support women's coop groups -- and never got to go on a safari. "So I guess I decided to make one for myself," she said, smiling, just before her presentation on the roof terrace of the Gramercy Park Hotel.
But her tropical safari has a twist. "I envisioned a city girl who goes on [a] safari but she's got it all wrong -- wearing her light georgette dress with hiking boots or something."
Of course, in Miller's world, getting it "wrong" is getting it very right, and all part of the fun. Her "Botswana-be" gals have a reckless attitude, throwing on a traditional safari jacket but cinching it down past the shoulders, or crafting another out of white lace. Other standouts -- a delicate lace cross-cross dress (unexpectedly dotted with nailheads), a palm jacquard bomber (surprisingly elegant) and those leather jackets embroidered on back and down the sleeves (yesssss). If you can't get to the safari, let it come to you. (Joseph V. Amodio)
Pity the poor diners who were hoping to get into the Oyster Bar at Grand Central Station for an early lunch on Friday. It was a total Kate Spade takeover in celebration of the brand's 25th anniversary. And the company's president and CEO, Deborah Lloyd, went all-out at this massive blast with a distinctive New Orleans flavor. (When we say flavor, we mean flavor ... they served beignets and oysters for breakfast.)
The show opened with the fabulous, jazzy sounds of Preservation Brass, a traditional New Orleans brass band, imported for the day, which marched into the cavernous space ahead of the models ... what a spectacle. Tarot card readers added to the mystery of the moment. As for the clothes, plenty of flora and fauna - butterflies and magnolia prints - inspired by the garden districts turned out on sweet frocks and want-it-now coats, vintage looking lacy pieces, along with a smattering of gingham including some shirred off-the-shoulder looks. Even sturdier pieces maintained the brand's playfulness - tailored jackets with ruffle peplums, high-necked blouses emblazoned with graphic embroidery, a clever trench ... in, natch, oyster. Along with the neutrals came shots of dusty pink, strawberry, blue and mossy green. Added to the mix, the reintroduction of Sam, the Kate Spade original handbag from 1993 re-imagined, in one case, with flowers.
In all, a major NYFW happening, and why not celebrate? In May, Coach agreed to buy Kate Spade for $2.4 billion. (Anne Bratskeir)
If anyone knows how to throw a garden party, it's Tory Burch, whose palatial Georgian home in Southampton boasts 15,000 square feet and seven acres of stately gardens. The closest thing to that here on the Upper East Side, is the haute-hedged lawn outside the Cooper Hewitt Smithsonian Design Museum, where models strolled in breezy hooded caftans and tunics, generous palazzo pants, and bags, bags, bags.
Condé Nast's Anna Wintour was seated in one of the few rows placed in the shade on this bright morning -- #shesnofool -- but that glinting sun seemed custom-designed by Tory, amping up the saturated shades and helping the metallic-adorned bags and necklaces glisten in the light. As for the towel terry shorts, sweatshirt and vest -- perfect for the beach or boardwalk. Shall we helicopter there, or hop on the Hampton Jitney? (Joseph V. Amodio)
Adam Selman -- who earned street cred with the Hollywood set after serving as Rihanna's costume designer -- lined his runway with tall, stylized irises, offering a true-blue array of high-waisted denim, plus gingham rompers, dresses and dramatic floor-length "shirts." And talk about throwing shade -- his big-brim denim sun hats hung down the back like a cape, perfect for fashionistas with a mordant fear of the sun. (Joseph V. Amodio)
It was a packed-to-the-rafters show for Tadashi Shoji, which is traditionally a serene scene ... this one, not so much. Inspired by the Malibu sun and an airy cruise down the Pacific Coast highway, the breezy lineup was all about Cali cool.
An embroidered white sheath trimmed in tassels was the Bohemian version of Shoji's vision. This gave way to a slew of floaty florals - many off-the-shoulder numbers with ruffled details. Crisp and airy awning stripes in soft shades of rose and yellow were statement makers and while most of the looks were long, a few minis - one adorable number in sunny yellow lace - were a nod to youthfulness and spirit.
Even models' hair - loose, beachy waves - matched up with the moment. The finale gown - a sky blue and silver embroidered floor sweeper conjured Glinda, the good witch.
And speaking of witches, stunning Danielle Campbell, who sat front row and plays Davina, the most powerful witch of all on The CW show "The Originals," said the collection cast a spell on her. "I loved it." (Anne Bratskeir)
Cinq à Sept
It was a far cry from your typical fashion presentation or runway show atop The Beekman, the chic downtown hotel, where ballerinas, jugglers and contortionists were interspersed amid languid rows of models in designer Jane Siskin's whimsical line up for next spring.
Here, romance (think frothy tulle) coexisted with tailoring (yes, pinstripes) in an array that was a tad daring -- out there even -- yet covetable. An airy, high-low chiffon tiered dress was topped by a nipped-at-the-waist jacket; a sheer black frock got its mojo from a giant pink feather boa; sci-fi oversized pants matched with (sounds basic) white tees that featured sheer floral overlays. Eccentric, eclectic, fun even, and in all, a delight, though the Cirque du Soleil-like performances were a bit of a distraction. (Anne Bratskeir)
What a way to kick off New York Fashion Week. It wasn't the first show of the week, but it felt like the first of the century -- a new way of reinvigorating the (increasingly tired) runway show for an industry desperate for an uplift. The Desigual models didn't just walk or strut the runway -- they attacked it, dancing, jerking, parkour-ing their way through a show that was equal parts tribal, street, flamenco and bad-ass ballet.
This Spanish brand is known for its affordable sportswear blinged out with color and raucous prints, and the show was a living embodiment of that. For a new generation of shoppers (and fashion show-goers) that demand everything be an EXPERIENCE (yes, in all caps), this was it.
Granted, with so much action, it was a little hard to focus on, well, the clothes, but there were some winners we hope they produce -- like those yellow tartan knickers, silky bat-wing kimono-ish tops and the cropped varsity jackets with net sleeves. As for fashion shows -- if this kind of innovation signals the future? Fantástico. (Joseph V. Amodio)
Sachin & Babi
French fashion muse met Middle Eastern market at Sachin & Babi's a.m. show at the New York Bar Association near Bryant Park. The delectable lineup featured blasts of color along with prerequisite black in both billowy and streamlined silos. Graphic Ottoman textiles, sequins and lip-shaped appliqué added interest to the joyous mix. (Anne Bratskeir)