By Katia Ostapets

Photography by Alex Mouganis

FAJO Magazine was once again providing full coverage of the Nolcha Fashion Week: New York this season.

As one of Nolcha’s official sponsors, FAJO Magazine spotted the runway trends, chatted with designers backstage and prepared a full report, documenting all the fabulous things that happened during the shows on Feb.9, 2012! Here is the full story.

Nolcha Fashion Week: New York, fall/winter 2012.

Part 1 – 12:30 p.m.

The day opened with the Jetset collective by Farasha. The theme was a twist on the Mad Men aesthetic, showcasing classic shapes with unexpected accents, such as white fur and silk. Most pieces were made of gray wool or the neutral black and white, with the occasional pops of orange, teal and burgundy. Jackets were either in the 1960s style in a variety of prints, or structured with metal and tribal detailing on the sleeves.

Megla M, who followed, experimented with the mixture of futuristic geometric shapes and romantic Victorian detailing. Most dresses and floor-length jackets incorporated a full bustle in the back. Those with tight cylindrical skirts were made of black quilted fabric, and the ones with fuller skirts were white lace. Other pieces came in architectural shapes, such as a circular top or a sheath dress with a multitude of appliquéd squares.

Carlos Luna’s collection was a breath of fresh air, with his beautifully cut pieces that can make any girl feel like an elegant but sexy woman. Pants, jackets and skirts were structured and came in leather or iridescent gray. The dresses flowed beautifully, and the red and teal colours of the silk made them memorable. A variety of fur accents and the often asymmetric placement of black belts kept the collection current.

The Teresa Rosati line showcased a variety of cocktail dresses and evening gowns. The signature accents for the show were lace appliqué and the illusion that the dress magically stayed on, which was achieved through the resourceful use of flesh coloured fabric. Colours ranged from orange to turquoise and iridescent metallic, and one gown`s fabric depicted a collage of black-and-white photographs.

The Vassilis Zoulias show was accompanied by slow classical music and presented a vision of an elegant woman in his version of the 1950s high society. The use of fur shrugs, long gloves and elaborate hats completed the looks. Bows, peplums and feather accents were often used. Most garments were chic black dresses and jackets in 1960s silhouettes. The final gown was bridal, with an open back and covered in clear tinsel that shimmered as the model walked down the runway.

Part 2 – 3:30 p.m.

Black lace was the focus of Antonia‘s collection. It was incorporated in many dresses, often on top of white or black fabric. Hot pink and pumpkin orange jackets brought colour to the show.

Castro-Rojas was the only designer to incorporate male models. They walked the runway in plaid teal and brown shirts, styled with loose brown scarves and gray tweed pants. The women`s looks began in a similar feel until a chartreuse gown with sheer brown overlay. The rest of the dresses came in a variety of flesh tones in jersey, satin and lace.

One dress shape dominated the Riza Manalo collection – a sleeveless fitted bodice that gathered at the neck, paired with a short, but full, structural skirt. The dress was shown in several fabrics and with a variety of detailing. Other gowns came in metallic fabrics and wraps that appeared to float away from the body, with the aid of built-in wires.

Rebeca Tiago made everyone fall in love with lace. It came in nude or black, and its use for both full and body-hugging dresses proved it to be a versatile textile. Every piece in the collection incorporated the colour red, lace or polka dots, and mixed feminine retro shapes with splashes of Spanish flair. Peplums, ruffles and plunging necklines completed the looks, and the necklaces and earrings in the shape of red stars incorporated a whimsical element.

The Baruni collection strived to mix simple western shapes and Moroccan style. Red, teal and silver looks were paired with colourful turbans and the models walked to Eastern music. Many pieces were made of jersey or wool, and the dresses incorporated bright colour blocking. Clever use of waist-defining belts and flowing silk tops, paired with structured bottoms, completed the line.

Part 3 – 6:30 p.m.

The Danilo Gabrielli show opened with an electric violin performance by Daisy Jopling. A sea of gray wool, the collection proved the creativity of the designer, as he transformed this simple fabric into an infinite number of beautifully cut and distinctive pieces. Mustard, burgundy and metallics were used sparingly. Blouses were made memorable with chiffon ruffle accents at the shoulders or a bow at the neck; sometimes both. Trousers and pencil skirts fit perfectly and hugged every curve. The luxurious styling of 40s hair, fur, black pumps and red lips complemented the professional looks.

Part 4 – 9:00 p.m.

Bridal gowns and evening wear were presented by Seckin Ilker at the fashion week’s finale. The party dresses came in blue, pink, red and green. They were made of silk, satin and sequins. From short dresses that one can dance all night in, to long gowns – there was something for everyone. An event greater variety was showcased in wedding dresses. From mermaid bottoms to ball gown skirts, and with every possible combination of lace, ruffles and bling, it was impossible not to find one (or many) to fall in love with. The sea of beautiful gowns reminded every girl in the room just how much she wished she was Kate Middleton!

Guests, after parties and more