Seersucker & Stilettos

• Getty Images

In the program notes to Monique Lhulilier’s Spring 2011 presentation, the designer revealed that she was inspired by a dream she had of “a beautiful girl running through a lush garden.” The resulting collection, entitled "Garden of Eden," was tempting to say the least.

The show opened with a series of upscale day and cocktail looks in which faintly blush-tinted organza was skillfully manipulated into petal pleats, fans, and paillettes, which adorned bodices. An irresistible apple-red nicely counterpointed the whispered pink hue, and complemented caramel and toffee-colored separates, including a particularly lovely red silk bustier with a Carmel laminated raffia pencil skirt and draped vest.

Wide-leg, Katherine-Hepburn-esque trousers were kept feminine by structured sweetheart tops, and pleated A-line dresses were reminiscent of the '50s ladylike silhouettes. Understated reptile print chiffon was draped into chic gowns, subtly belted at the natural waist.

As the run of show transitioned into eveningwear, the daytime palette acquired a luster which Lhulilier explained was to create “shimmer from the glistening sun on dewy surfaces.” The formerly matte blush of a fitted, strapless dress was now sequined and subtly ombred. Browns were metallicized and beaded in floor-sweeping column gowns. The final pass of gowns was dazzling, each more breathtaking than the last. Floral prints were exaggerated in bustled and tufted skirts, and chiffon was knotted to take on the appearance of blossoms enrapturing a skirt or bodice. A stardust-gold, off-the-shoulder gown disappeared into a nude floor sweeping skirt, imbuing the model with an other-worldy quality. By the time the final look, a shimmering floral brocade trumpet ball gown, took to the runway, the audience was — as intended — worked up to a state of dream-like euphoria.

• Getty Images

• Getty Images

As the saying goes, if it isn’t broken, don’t fix it, and Carolina Herrera’s muted glamour has been a winning formula for decades (as proven by the presence Vogue's editor-in-chief Anna Wintour in the front row). In her latest collection, presented in the Theater on Sept. 13, Herrera’s classic aesthetic was infused with l'esprit du printemps through floral appliqués, which the program notes explained were taken from by 18th century botanical plates, and inspired by the cut and details of traditional Korean garments. The run of show played out like a “who’s who” of top models with each of the 50 two looks worn on different girls, including Chanel Iman, Lily Donaldson, and Karlie Kloss.

Herrera opened with a white oxford twill wrap jacket and matching double pleated pant — simple and chic, the look was the perfect Eastern take on her signature crisp, white button-down, and continued in a subdued and mature manner, seemingly designed with her Upper East Side clientele in mind. Hemlines hit below the knee, elegant bateau necklines were prominent, and sleeved options, like a canvas cocoon coat, were ready to conceal arms.

Black, white, metallic beige, and hibiscus red made for a sophisticated palette. Waists were cinched with a traditional Korean bow belts in organza and cord, and many looks were accessorized with a tall, straw Korean men’s hat, which Herrera felt helped to “complete the silhouette” and featured prominently throughout the show. Continuing on, ginger, melon, and lime hues created pristine backdrops for the lady-like botanicals which were translated directly onto garments. A soft yellow tansy appliqué fell from the shoulder of an olive cotton wrap dress and an embroidered forget-me-not filled the front of a fitted pencil skirt. Bright colors plucked directly from the garden, like hibiscus orange and aster pink, were introduced on increasingly youthful and formal looks, like a short Korean cocoon dress with a diagonal neckline falling just past one shoulder.

Herrera did not back away from botanicals on red carpet looks, which were made of colorful metallic satins and floral impressionist prints. A stunning floor length gown featured a fitted bodice of swirling metallic olive and ginger with sheer black organza encasing the shoulders and cinching the waist. The Korean influence was ubiquitous in single-loop obi knots which appeared around necklines, waists, and even the bustle of full skirts. The show concluded with a series of supremely elegant ball gowns featuring full, aikido skirts comprised of yards of porcelain embroidered floral jacquard. Not wanting for bells and whistles, the show — straightforward and first-class in every respect — was in a stratosphere all its own.

• Getty Images

• Getty Images

British wunderkind William Tempest voyaged across the pond to present his spring 2011 collection at New York Fashion Week, picking up some aquatic inspiration along the way. The collection was shown in the Box early Monday morning, and Tempest himself — petite in stature and boyish in appearance (he’s only 24 and looks even younger) — earnestly ambled the space, eager to share his exotically beautifully “Sirens’ Song” collection.

Among his inspirations, Tempest cited the mystical creatures of the sea and the dreamy paintings of Pre-Raphaelite artists Herbert James Draper and John William Waterhouse. Models were perched like statues on individual pedestals and recalled birds of paradise in exotic shades of coral, raspberry, and lemon. Short, asymmetrical hemlines fluttered beguilingly, like the leaves of an underwater plant, and the draping on an orange silk crepe jumpsuit mimicked rippling water down a thigh. Conch and clam shells were translated into rigid, architectural skirts and origami-folded necklines made of sandy pink and soft gray silk organdy. Defined silhouettes were frequently juxtaposed with frothy, flowing fabrics.

A covetable series of floor-sweeping gowns featured romantic Grecian draping that fell diagonally from shoulder to just below the opposite breast, revealing the structured bustier beneath, and a nude corset dress was sheathed in a translucent ruffle that spiraled down the body. The young Tempest conjured up a collection as captivating as sirens, as enchanted as mermaids — and as likely to be seen on the red carpet as that of the most seasoned designers’.

• Getty Images

• Getty Images

Elise Øverland impressed Sunday afternoon at Exit Art in Hell’s Kitchen with a Spring 2011 collection that moved beyond her signature skin-tight black leather, demonstrating an expanded breadth of style. The collection was a needed maturation for the four-year-old label by the Norwegian platinum blonde who got her start styling rock ‘n' roll musicians for the stage. Socialites and rock 'n' roll royalty — like Nicki Hilton, Amanda Hearst, and Kelly Osborne — were seated front row.

The show began with a series of black and cream looks that were kept more town than country by unexpected leather accents, like a prominent black leather stripe down the center of a mod shift dress and a demure cropped pant paired with a sleek leather shell. It wasn’t until the eighth look that we saw spring’s incarnation of the after-party-ready, black leather mini dress Øverland is renowned for — and this season’s version is as sexy as ever, with a deep V down the front and cream canvas capped sleeves and collar.

Staying close to her musical roots, Øverland thrilled audiences with a surprise walk down the runway by acclaimed violinist (and gender ambiguous) Hahn-Bin in a black leather skirt. The palette expanded to include electric blue, turquoise, and olive. A color-blocked silk dress was easy-to-wear (not a term typically associated with Elise Øverland), and sleeveless blue top paired with a tiered and wide-slit black skirt exuded modern elegance.

A series of transparent black and white lace looks were simultaneously delicate and edgy. The lace was ideal for juxtaposing with leather, which Øverland did to perfection in a black leather jumpsuit paired with a bell-sleeved white lace top. Tiering was a prominent trend and was artfully executed on mini dresses and skirts in a variety of fabrics. The final pass of neon chartreuse gowns were brilliantly tiered in alternating rows of lace, iridescent edging, and peek-a-boo paneling — proving you can lose the leather but keep the edge.

• Getty Images