Zang Toi-Mercedez Benz Fashion Week (last but not least)

*I meant to post this last week but was waiting for Allison Joyce's photos...so last, but not least....Zang Toi!

The last show I attended at Mercedez Benz Fashion Week was that of Zang Toi. I wondered when I recieved my invitation why the time for the show was listed ast 3.57. I later learned that the designer, Zang Toi, was born and raised in Malaysia, and thinks the number "four" is a bad omen that sounds like the word for "death" in Cantonese. Apparently, Zang Toi won't use the number "4" for anything, so when he was given the time slot of 4pm on Friday, February 9th to mount his show, he requested that people assemble at 3"47 instead of having to list 4pm.

Apparently, the time slot was popular with fashionistas, many of whom arrived early, invitations in hand, only to be given standing room slots. I was one of the members of the press that was invited, but received a standing room ticket. I was close to the front of the standing room line and I really wanted to see the show, but it was not only delayed (nothing special about that--many of the shows are delayed) but the standing room line was so long it was doubtful that many of us would get in.

Finally, someone walked down the standing room line asking if there were any writers or photographers in the line and called us out to walk in first. Allison Joyce, an up-and-coming young photographer taking photos for The Advice Sisters for this show, and I, found places to see the show. Me, from the third row (behind some tall people whose heads appear in too many of my Zang Toi photos), Allison, from the side of the photographer's pit.


Photo by Alison Blackman


photo by Allison Joyce


This settled into a director's chair (behind two very tall people with big hair, alas), I checked out the runway. At the front there was a large black and white poster with Zang Toi's logo, surrounded by deep, red, roses. This was the backdrop for day and evening clothes that exluded elegance and extravagance, but were still quite wearable.

The theme of the show was "The Iconic Catherine Denueve." I didn't quite "get" that from the 43 looks that went down the runway (quite a lot of clothes, I thought). But it was quite a show! Lush brocade, lots of fur, jewelled pins, and collars of beads that make additional jewelry totally redundant, sashayed down the runway on models with large halo poufs of romantic, ruffed curls by Eiji Salon. The makeup was done by NARS, and I'll try to get you more information so you can "do the look" for Fall. Manicures, which I didn't get close enough to see, were by J. Sisters.

These styles are extravagant, a bit bohemian, and expensive looking. There were deep, jewel-toned colors...red, green, rust, beige, and more! Although I'm not familiar with Zang Toi's past collections, this one said "fun" and "youthful" to me. The clothes were a also a bit irreverant--just the kind of thing I can image Patty Hearst wearing to a cotillion, during her days before she was kidnapped! (photo by Allison Joyce)

If you don't want to see your clothes on every other woman out there, and you've got the "means," Zang Toi might be just the prescription!

Bill Blass --Bravo! Fall Fashion Week 2007

Most (if not all) of the models in the Bill Blass show were too young to recognize their struttin' music--a fantastic song from the 1940's: "Sing Sing Sing" by Benny Goodman. This vintage swing song with a driving drum beat, was made undeniably modern in a remix by Johnny Dynell featuring an even heavier drum beat that continued throughout the entire show: "Boom! Boom! Boom-Boom da-boom!" The sound added burlesque irreverence to the feminine Fall 2007 fashions.

As we'd see when the lights came up and a "curtain" featuring the iconic Bill Blass logo parted, Michael Vollbracht's homage to the past and view of Fall 2007 was also a mix of vintage-made-modern, but with a touch of rebellion. A large curtain (with the iconic Bill Blass Logo) parted, and models brashly strode right down the middle of the runway: "Boom! Boom! Boom-Boom da-boom!"

The beat may have been largely"stripper," but these were not trashy clothes. This label is attracting younger women as well as loyal followers who are (now a bit older than when they first fell in love with Bill Blass. We saw beautifully tailored day clothes, elegant, red-carpet-worthy evening gowns, in colors (yes, colors)! Deep green, moss green, gold, cinnamon, olive green, cocoa, indigo blue, champagne, coral...! Of course there was plenty of classic black, too. "Boom! Boom! Boom-Boom da-boom!"




In this photo I took at the end of the show, when the models did their final walks down the runway, pausing to form little groups and then becoming animated (a rarity on runways) and walking backstage together. The clothes are so ladylike, but if you look closer, there's an edge to them. This is not your mother's Bill Blass, but it's still recognizable. There was something very delicate and feminine about the collection--any modern woman would look beautiful in classic basic black cocktail and evening dresses and nicely tailored separates for daytime. There were a few interesting departures from classic, such as a white feathered embroidered cocktail dress that reminded me of a flapper's dress from the 1920's. Another great note: the 50's-style hair, parted on one side and piled up in huge buns by Jimmy Paul for Bumble & Bumble that immediately felt modern 50's to me--a nod to Tippi Hedren in Hitchcock's "The Birds" re-mixed for 2007. I couldn't see the makeup because I wasn't backstage or up close, but the program notes tell me the MAC Cosmetics pro team created this look, so I will get more information for a feature, later on. "Boom! Boom! Boom-Boom da-boom!"

Although there has been a lot of attention paid to furs--whether to wear them or not, furs were in this show and there have been more than ever on the runways (and no PETA protestors in sight). Blass also followed the trend of adding heavy tights (everywhere on the runways).

Furs were from Global Fur Group, Handbags from Carlos Falchi. Shoes, by Bill Blass.

Here is the designer with some of his models at the end of the show. I thought it was interesting that in a few places the notes say "Halston-like" and "Norrell-like. Michael Vollbracht apparently wanted to take inspiration from the past (although he had plenty that was uniquely his) and, as it says in the program notes that he was inspired by Halston and Norrell because: "I fell in love (Norrell's) sequined mermaids years and years ago when I was a very young designer and about Halston: "'because his simple philosophy looks so good in this era of over-designing. " And of Bill Blass: "it is my job to knock him off."

"Boom! Boom! Boom-Boom da-boom!!!!!"

Mini goodie-bags held Bill Blass Eau de Parfum (*watch the Advice Sisters upcoming What Works column for more on this simply divine scent)!

my Day of Beauty at Warren Tricomi Salon

When I was born, my hair was a bright orange that turned light blonde. As a child, it was strawberry blonde, with coppery strands that glinted like fire in the sun. It was so unusual that my mother sometimes asked me if I "did something" to it to make it that color. I didn't. My hair might be frizzy, curly and sometimes, uncooperative, but it always was a beautiful color.

Nothing lasts forever. When a few strands of silver started to clash with the copper, I freaked! I ran to a swanky (and expensive) salon, thinking I'd whisk away the greys with a few highlights. Alas, the colorist and I were apparently speaking different languages, and when I left, I had dark red hair! I had to admit it was a change (and change is good), but not that good--I hated it! Worse, I quickly learned that you get a "skunk line" down the middle of your head the minute the color starts to fade and your hair starts to grow. I couldn't afford the time, money and effort to keep touching it up and I longed for my own, nautural color back.

A friend (whose blonde hair I always thought was completely natural) came to the rescue with another salon that was the direct opposite of swanky (you change in the bathroom and put your things on a hook along with the stylist's lunch and shopping), but the colorist was personable, and she listened to what my needs were instead of imposing her vision. Best of all, the neighborhood was fun to visit--almost like being in another city entirely. She managed to get my hair somewhat back to "normal" between blonde, and red.

But nothing lasts forever. Too much hair dye over too long a period of time made my hair dry and brassy. Worse, it was splotchy. I waited as long as I could stand it, and when it was not only brassy, but faded, I'd had enough....and that's how I ended up at the Warren Tricomi salon on 57th Street in Manhattan.

I admit I was nervous. The salon is pricey and in the high-rent district off 5th avenye, a far cry from the low-key operation I'd been visiting. But my hair was really a mess, and Fashion Week is coming. I figured I wouldn't look any worse, and with luck, I'd look a lot better.

I felt a bit better being greeted at the door by an outgoing, stylish man named Paul who called me by name (nice touch). He directed to change (not in a bathroom but in a dressing room with beautiful, silk, maroon drapes) and to take a seat. I wasn't seated more than just a couple of minutes when colorist Simone's Assistant greeted me and brought me a glass of ice water (there is a complete "bar" at Warren Tricomi which is a nice touch if you are going to be there a while). Simone introduced herself and was very businesslike. I know that the salon is frequented by socialites, celebrities, and high-profile regulars. The thought was a bit intimidating, so I let it drop that we were both in the "beauty biz" but in different part of it. "Well, then I'd better do a good job," Simone gently joked.

I won't bore you with all the conversation, but Simone (very gently) informed me of something I already knew but didn't want to face: that as you age your hair color and perhaps, even the tone of your skin, changes. Some people go grey, some get darker. In my case, I didn't have much grey, but my strawberry blonde hair was not the same color anymore (is there anything really good about aging?). In any case, Simone suggested that I make my hair lighter without any red.

Red has always been my trademark....I wondered whether I should trust this virtual stranger. But Warren Tricomi is known for amazing makeovers (I've seen them do their magic on tv shows) and of course, they work their magic on models for designers at Fashion Week. The salon uses Redken and Wella products, and also has it's own line of signature products as well (I will be reviewing some of them in the next couple of What Works Beauty, Cosmetics & Fashion review columns). Looking around the large salon with it's slightly "Moroccan" and very chic vibe, and assessing the other patrons (who were not at all strange-looking), mostly expensively dressed and attractive, I decided to go with Simone's professional opinion. After, all, I am someone who writes abuot beauty and fashion, who is a certified image consultant, and who is known for giving advice about life and career to others--but when it comes to myself...well, let's just say I can be as myopic as the next person.

In a flash, Simone foiled, mixed, brushed on, and applied color to fix the blotches and turn my straw back into gold. A treatment that I think is one of the new, Warren Tricomi product lines made it soft and shiny. My hair was transformed into a beautiful shade of something that might have been closer to the way it was when I was a child...not blonde, not red...unique..and I got the few, subtle highlights I longed for when I first started this hair-color journey! Before I knew it I also had an amazing cut by Emiliano (adorable to look at and talented as well) that made my hair straight, swingy and stylish.

I walked down the street with attitude...and the salespeople at Bergdorf's were very attentive (they usually totally ignore me). Even the check-out lady at the market seemed a bit friendlier! They say money can't buy happiness...but it CAN buy great hair!

It has been a while since I've looked in the mirror and loved what I see. Now, I do.