DKNY (Q1322)
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New York-based fashion house
- Donna Karan New York
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | DKNY |
New York-based fashion house |
|
Statements
worked at
1984
founder
Donna Karan
Inevitably, the talk leading up to tonight’sDKNYshow on the High Line had to do with the brand’s sale earlier this summer by LVMH to G-III Apparel Group, the company that owns Andrew Marc, Vilebrequin, and Bass, and currently controls the licenses for labels such as Ivanka Trump and Calvin Klein. What would this mean for recently appointed DKNY creative directors Maxwell Osborne and Dao-Yi Chow? Would the honchos at G-III have a say in this collection? Would the vision for DKNY be meaningfully different?The collection Osborne and Chow showed was effectively completed before the sale was announced, but by coincidence, its futuristic theme was fitting, given that the DKNY future is now unwritten. The fact that the design duo’s take on futurism had a, let’s say, dystopian mien was not, they made clear, anything to be read deeply into. Rather, the idea was merely to advance the DKNY signatures—the pinstripe tailoring, the activewear elements, the modular separates, the streetwise attitude – and project it some years hence, into aBlade Runner–ish Big Apple.There was an interesting idea humming below the surface here. When Chow and Osborne hit their stride in this show, it was in their variations on certain looks—notably, the hoodie and the anorak—that augured a hunger for uniformity. It’s funny to think thatStar Trekmay have had it right all along: Perhaps the glut of consumer choice and the pressure to create a niche personal brand will eventually curdle, and backlash into a yearning to blend in, and be one of many. This DKNY show hinted at an aesthetics of collectivity, and its potential made you sit up a little straighter in your seat and pay attention. Perhaps Chow and Osborne will be permitted to continue to pursue that theme.
13 September 2016
Maxwell OsborneandDao-Yi Choware settling into the DKNY groove. Chow and Osborne used the interstitial pre-collection outing to double down on a few of the ideas they’ve been exploring on the runway since they came on board. What that meant, in practice, was that some of the fundamentals of their approach to DKNY came across much more clearly than they have up to now.This outing riffed on a number of key themes. There was a plethora of DKNY-signature pinstripes, evolved into smudgy prints and contrast stitching. There were layerable, oh-so-’90s slip dresses of various kinds—knee length, floor skimming, deconstructed, reversible, color-blocked, printed lace. If the slips were the feminine melody here, the bass came courtesy of the oversize outerwear and chunky shoes; as Osborne and Chow have it, the new DKNY girl is a slip dress–wearing free spirit who is (don’t be fooled) under no circumstances to be messed with. The duo’s slouchy, silky trousers had a likewise tough mien, while tailored versions of the pants, with a wrap-belted high waist, upped the tone a bit at the same time as they maintained the streetwise aura.This collection made a strong case for slowing down the pace of fashion—if not in terms of retail deliveries, at least in terms of the churn of trends. Speaking at an appointment, Chow and Osborne were explicit about their intention to see their strong ideas through, over several seasons, rather than refresh the label with novelty for novelty’s sake. That strategy has already borne fruit: The clothes looked fully considered, and the collection as a whole had a coherent, unambiguous point of view. Evolution, not revolution.
2 June 2016
If you’ve been on the New York City subway recently, you may have noticed advertisements posted by the MTA, exhorting gents to avoid the sin of “manspreading,” i.e., taking up excessive space. Come the delivery of the latestDKNYcollection to stores, the MTA may have to add an advertisement cautioning against “womenspreading.” For their second outing at the brand, DKNY designersDao-Yi ChowandMaxwell Osbornedecided to inject steroids into their streetwise silhouettes, putting some muscle onto shirtsleeves and jacket shoulders, amplifying a crisp lace-and-cotton shirtdress to XXXXXL proportions, and sending out slick, nigh on sleeping bag–size puffer coats, a challenging look that they executed with impressive self-assurance.Not everything was super-size. This riff on New York street style of the nineties also featured some silky, body-skimming slipdresses, the best of which came punctuated by utilitarian lacing. Continuing the high/low theme, there were baggy dungarees in DKNY-signature wool pinstripe, a velvet blazer with a sweatshirt-style ribbed hem, and a cropped baseball tee with black lace sleeves. The collection was a brash one, in some ways, with lots of slashing and raw hems, but it boasted more than a few low-volume looks that ought to catch fire at retail—to wit, the sweatpants in boiled wool, and the denim and dissolved plaid anoraks. One of the collection’s most clever themes, meanwhile, was its meta take on nineties-era logomania, a trend DKNY helped to launch. Chow and Osborne showed tees in silk and bonded denim that read “INSERT LOGO HERE.” Nice one.
17 February 2016
WhenDonna KarandebutedDKNYin 1989, she specifically declined to categorize the looks she produced as “fashion.” Fashion has seasons. It changes over time. What DKNY was about, Karan told reporters, was “clothes.” In other words, durable staple pieces that suited the on-the-go lifestyle of the brand’s target clientele. DKNY launched casual and took on a more formal tone as time went on; the brand’s most iconic look, perhaps, is the early-’90s-era pinstriped power suit. That was the primary point of reference forDao-Yi ChowandMaxwell Osborne, the popular pair behind the brand Public School, as they took the DKNY reins. To focus on the pinstriped suit was a canny choice on their part. Where they faltered, though, was on emphasizing “fashion” over “clothes.”Times have changed since DKNY first came on the scene. Chow and Osborne are perfectly aware of that, and their riff on the power suit included exactly zero actual power suits. Rather, what they offered to the present-day DKNY woman was a handful of broad-shouldered, wide-lapel pinstripe blazers, and a dazzling variety of de- and reconstructed power suit looks—to wit, a sarong-style pinstriped skirt, a pinstriped tunic dress with an attached cotton skirt with shirttail hems, and broken pinstripe silk prints. There were sheer windowpane-striped fabrics, worn layered, and vertically ribbed knits that extended the pinstripe theme, as well as shirtdresses and papery white tailored pieces that toyed with other key elements of the power suit look. Some of these adaptations came off better than others—menswear experts that they are, Chow and Osborne cut a very mean blazer, and their layered tank dresses with shirttail hems and sheer T-shirt dresses with knit underpinnings successfully updated the relaxed attitude of the original DKNY for a modern audience.The curious thing about this collection was that it simultaneously betrayed Chow and Osborne’s deep respect for the aesthetic codes of the house they’ve taken over, and their reluctance to embrace what those codes once meant. One of the ways times have changed since 1989 is that DKNY is a giant brand now, and so, to some degree, commercial imperatives may be at work. Staple pieces don’t have much novelty factor on the sales floor. But it would have been nice to feel that Chow and Osborne had thought a little harder about the lifestyle, today, of the DKNY woman, and what kinds of essentials she might need.
To their credit, Chow and Osborne approached this show with a healthy dose of humility. As they explained backstage, the “missing piece” motif, witnessed in the broken pinstripe prints and the pleated half-skirts, among other looks, was meant to express their sense that they’re still learning about the DKNY woman. She’s coming together, they said. But she’s not all there yet.
16 September 2015
What a difference a season makes. Where Fall at DKNY found Donna Karan flirting with bold color combos, techy fabrics, and some puzzling styling, for Resort she made an about-face, and the mood at her secondary label was one of pared-back, easy polish. Working in a palette of almost expressly black and white, Karan and her team planted their pieces squarely at the intersection of so many of the things that have defined her clothes for years: day and night, matte and shine, tough and soft, coquette and sophisticate, stark and luxe. The result was a sharp, contemporary collection with plenty of want-it-now appeal, strong and modern in all the ways DKNY on paper should be. The styling was certainly savvy here; winning combos of midi dresses and pants, as well as a faux-fur cocoon coat shot through with wisps of ostrich feather and teamed with slouchy pants and white sneakers, spoke to a street-style modishness. Strong, 21st-century tailoring (ascending DKNY designers Dao-Yi Chow and Maxwell Osborne would surely approve) stood out, like a tuxedo cape worn over a slinky sheer top. DKNY isn't at base a brand that's lacking in accessibility, but this outing had a new relevance and commercial appeal to it that—teamed with those incoming wunderkinds—could translate to only good things for the label.
29 May 2015
Donna Karan loves the nightlife. Donna Karan loves New York. These are things we know to be unequivocally true, gospel. And so they informed her Fall outing, a story of the city and Karan's ambitious girl-on-the-go muse.The show notes referred to today's look as "the New York uniform" (though if that were the case, we'd be living in a very different city indeed). The designer reined in last season's kinetic patterns and devoted her biggest extravagances to embellishment and pops of high-impact color, like the electric blue V-neck, which peeked out from opener Maartje Verhoef's long gray topper, and some great, almost fluorescent red trousers (smashing with a turquoise turtleneck). The heavy menswear story got the Karan treatment, courtesy of the stones and sequins that worked as particularly glam patches; a standout camel coat came sporting a lone glittering silver lapel. Less appealing were the pieces in bonded navy and heather gray jersey, funnel-necked sweatshirts, and sleeveless maxidresses that bore huge abstract blooms, which somehow felt neither urbane nor playful. But all told, there was plenty of strong tailoring here, and a lot of pieces a girl might find some fun in.
15 February 2015
Athleisure is still in the air. (And if you're resisting the coinage, give up, it's futile.) It's nothing new—Prada Sport was launched almost 15 years ago—but right now it's more pervasive than ever. At DKNY's Fall '15 presentation, no garment was safe from designer Garry Martin's infusion of gym-ready fabrics and details. Peacoats, blazers, and bombers all stretched enough to accommodate an all-out sprint—or perhaps a quick set of burpees—and came stuffed with down or with bonded mesh linings. "Guys don't want to keep buying the same staples," Martin said. "They've done it." Instead, he offered them those same staples with the comfort and versatility of activewear. Trousers in jersey or stretch wool were all cropped or styled with exaggerated turn-ups—perfect for showing off Huf's Thrasher socks. T-shirts were laser cut and bonded to be seamless, styled over turtlenecks, under blazers. Graphics came in three-dimensional form—either as bonded strips or fabric or heat-pressed forms in neoprene reminiscent of diamond plate steel. Layering is key to the DKNY look, and it helps to have fabrics that you can pile on without losing any mobility. Mastering the art of mixing activewear with street and formal clothes is an essential skill for guys who wish to be considered stylish. Martin proposed that we skip the mix and combine both sides so there's no distinction. The danger of this approach is, it's the intermingling, not the hybridization, that works best. Otherwise, you risk ending up with a tricky sartorial conundrum: functionality with no purpose.
13 February 2015
Capturing the feel of New York's streets is the crux of DKNY. This season, Donna Karan and co. celebrated the city as a global melting pot with what the program called a "multicolored, multicultural, multitasking" collection entitled New York Nation. The theme made for a high-energy show that opened with a series of vibrant looks combining kaleidoscopic prints and rugby stripes. Binx Walton kicked things off in a geometric intarsia sweater paired with a slinky knit tube skirt—which came creatively layered underneath a kicky pleated style—and flatform sneakers. Mixing couture-like silhouettes with sporty fabrications, the lineup featured voluminous tea-length dresses and calf-grazing trumpet skirts cut from a spongy double-faced mesh, which were accessorized with playful extras including ribbed chokers, crisp white high-tops (a new collaboration with Pony), and bright clutches covered in metal pop-tops. Elsewhere, a mix of eye-catching embellishments like mirrored paillettes and wooden beads lent an artisanal edge to festive tunics and minis.While native New Yorkers with a penchant for black may have a difficult time embracing all the tribal-inspired graphics and high-octane hues ("blazing" red, "supersonic" blue, "paradise" green), Karan also offered some more straightforward items with real sidewalk appeal, such as bonded bomber jackets, functional parkas, and a sculpted white trench similar to the one the designer took her bow in. While there weren't any particularly new fashion propositions here, DKNY is ultimately about attitude, and street-cast models, including May Kwok, Lee Bullitt, and Vashtie Kola, had that in spades.
7 September 2014
First, let's acknowledge the counterintuitive reality that DKNY—a label whose acronym is weighted toward New York—now shows in London. To further reinforce the disconnect, today's presentation opened with a short black-and-white film about Manhattan upholding its status as the pulsing heart of individualism and cool. Designers might be based in one city and show in another, but this mega-brand is as much the product of its geographic attitude as the vision of its founder. If the Yankees palette was a subtle hint that the label still recognizes its roots, the shirts cut and trimmed like baseball jerseys rammed home the message. For design director Garry Martin, these functioned as the collection's base layer, allowing him to spotlight an array of other options. With activewear driving form and advanced fabrics (smoked rubber, techno jersey) driving function, Martin delivered a largely streamlined grouping that, unlike the typical New Yorker, did not reveal its full personality until closer inspection of the details.There were original logo sweatshirts; the tone-on-tone white neoprene lettering had either been embroidered, bonded, or heat-pressed. Magnetic closures seemed designed for busy individuals. In parachute cotton, the front-pleated, slightly cropped trousers conveyed how easy it can be to update classics. Unlined jackets—most with white seaming like street markings—offered a level of hidden detailing inside unlined suiting that men tend to appreciate first and show off later. "Commuter" coats with removable zip panels met the need for day-to-night outerwear.All in all, it was the type of collection that does not change much runway to retail. But how to account for the overall lack of energy? Not even Jude Law's son Rafferty, nor any of the other "real" models (ahem, artists) provided a boost in character. Martin insisted that the line expresses a way of dressing for all cities, not just Manhattan. And while this may be true, DKNY seemed homesick to some degree. Baseball doesn't translate as well across the pond.
14 June 2014
It's been a jubilant year for DKNY, which has been celebrating its 25th anniversary since last September. Keeping the momentum going, the label's new Resort collection wrapped up the milestone in festive fashion. Who doesn't want to stay 25 forever? Sticking to a minimalist color palette of black and white with pops of pink, the design team went all-out with fanciful accents like feathers, sequins, pearl embellishments, and fringe. The opening outfit—a fur-trimmed nylon bomber paired with a crisp button-up, biker jacket, and plume-trimmed skirt—exemplified the balance of femininity and city grit at play. Technical mesh fabrications gave the effect of sporty tulle on tiered LBDs, flared skirts, flirty crop tops, and bombers. Elsewhere, delicate lace assumed a tomboyish attitude when layered with slouchy tuxedo-inspired separates, and a flirty, flame-hued party frock looked fresh topped with a cozy oversize cardigan. Other winning moments included pleated metallic midi skirts, languid trenches, and a trendy fringed tank teamed with casual track pants. Styled with black New York Yankees baseball caps and platform sneakers tagged with ’89 (the brand's birth year), the collection nicely captured DKNY's urban ethos while introducing a bit more frivolity into the mix.
1 June 2014
The first thing you noticed about DKNY's Fall show was its eclectic cast. Nearly half of the 55 total looks were modeled by real New Yorkers, including familiar faces—among them, rapper Angel Haze and It girl DJs Hannah Bronfman and Chelsea Leyland—and more unrecognizable characters scouted on the streets, including contemporary artists, pro skateboarders, nightlife hosts, and more. They lent a certain credibility to urban staples like functional black parkas with fur hoods, puffer coats, and bomber jackets made for conquering the city's sidewalks. Karan touched on a variety of salable themes for Fall. Graphic houndstooth was featured on both a needle-punched tweed car coat as well as a printed tank dress paneled with lace. That menswear-inspired group gave way to a series of cool, striped shearlings like the one worn by Eliza Cummings, whose swaggering runway walk added appeal to her statement fur styled with a black vinyl midi skirt and flat-form sneakers. The lineup dipped into tiger stripes and blanket dressing, then transitioned into slouchy suiting separates and classic outerwear items, including the navy duffle coat worn by Bronfman. Meanwhile, sequins jazzed up the sleeves of a bordeaux-colored sweatshirt, which came paired with a matching fur stole and wool trumpet skirt. Things ended on a high note with a long slip gown that combined gray silk with a matching flannel skirt. At the end of the day, there was nothing particularly new about these wearable, contemporary clothes, but the eye-catching street casting made it all the more persuasive.
8 February 2014
The idea of "day-to-night" dressing conjures up images of a woman throwing on some loud costume jewelry to render her work outfit cocktail-hour-appropriate. But when it comes to guys, the concept is a bit of a head-scratcher. Is there a man you know who's going to pin a bit of flair to his lapel to make his outfit "evening-worthy"?Be that as it may, the DKNY men's team started with the day-to-night concept for Fall, imagining its guy moving around the city: uptown to downtown, east to west, crack-of-dawn to sunset. "We imagined him going to work, but also out to play," said designer Garry Martin. To achieve that "wear anywhere, anytime" feeling, Martin and co. worked mainly in a palette of blues and browns and created pieces that could easily be mixed and matched. A double-breasted jacket in a Prince of Wales check, for instance, was styled with copper-colored, cropped trousers instead of its matching pant. Other blazers were quilted just enough to add warmth but not enough to add bulk. These were great stand-alone pieces that will serve the DKNY customer well but might also attract some new ones. The printed shirts—a painterly dot, a photographic cityscape—on the other hand, were a bit too busy for an urban dweller. Peeking out from under a sweater, they could add some humor. But worn alone with a trouser—or even a tie and blazer—the only place they belonged was in a nightclub.As always with DKNY, there were techy elements as well, built to both impress and perform. A nanotech slate-blue wool topper was water- and stain-resistant, yet dressy enough to wear over a suit. And the clear-plastic iPhone pocket in a few of the blazers has truly useful touch-screen capabilities. Those things are only fun when they actually work.
4 February 2014
DKNY celebrated its 25th anniversary in September, and the brand is still in party mode. The design team latched onto the logomania trend for Spring and continued to flirt with the idea for Pre-Fall. A sporty jersey emblazoned with "25" looked current teamed with an iridescent organza bomber. Novelty tees featured slogans regularly tossed around the company headquarters; to those in the know, "Pizza or Caviar?" represents the choice between contemporary-priced DKNY or designer label Donna Karan. Other pieces that echoed the Spring runway included self-tying chiffon shirtdresses and kicky neoprene skirts laser-cut with an eyelet pattern. Keeping in mind the early summer delivery time, creative director Jane Chung worked a subtle surfer vibe through the lineup, splashing track pants and matching button-ups with a graphic tropical motif, and showing bold, striped tank dresses that alternated bands of soft jersey and matte, rubberized cotton. Per usual, there was an emphasis on convertibility and system dressing best exemplified by crepe jackets and sheaths with zip-off sleeves, as well as a standout black trench with a detachable sheer skirt that was stylish and smart.
18 November 2013
There was a celebratory energy in the air at the DKNY Spring runway show, which officially marked the label's 25th anniversary, a.k.a. #DKNY25. Donna Karan and company took the occasion to revisit some of the line's greatest hits, ranging from streetwear staples (a focal point since the beginning) like sporty parkas, bodysuits, and track pants—all plastered with bold DKNY logos—to the slinky, low-backed "naked dress" made infamous by Carrie Bradshaw. Joan Smalls kicked things off in a pair of baggy, tapered denim overalls, paired with a crisp button-up and a menswear-inspired blazer, then topped with a swingy trench and baseball cap. The collection swiftly transitioned through a dozen or so distinct moments, including a series of cool bandanna-printed looks, pastel-colored tailoring, and fit-and-flare neoprene frocks. Then Karlie Kloss took the final turn in a fiery red bias-cut satin-backed crepe gown and a pair of wedge sneakers. Rita Ora, the current face of DKNY, ended things on a high note by dancing down the runway to "(You Gotta) Fight for Your Right (To Party)."
7 September 2013
Primary school in primary colors. That was the feeling at DKNY's men's presentation, where models wore playground favorites updated for a modern city guy. "What we don't like is for anything to be too basic," said Umberto Leoni, the line's head of design.For this collection, not too basic meant gray suede detailing on a sporty red anorak, or stretch lining on a cropped leather peacoat in the sunniest of yellows. A varsity jacket—the silhouette of choice for hip city guys over the past few seasons—was given a techy upgrade with the addition of an iPhone-specific pocket in the interior. And a blazer made of bonded neoprene attempted to bring innovation to a classic silhouette, although, much like the "sweatshirt" blazers that were popular a few years ago, something about that fabric in that shape feels wrong.A T-shirt illustrated with robots best encapsulated the collection's "I can still dress like a kid if I want to" vibe. Dudes whose careers require that they look like a real adult day to day should try the cornflower blue topper—jaunty, but not too jaunty—and a classic two-button suit in a lightweight wool.
3 September 2013
Flashy metallic sequins and vampy black lace are typically reserved for a night out on the town, but the new DKNY Resort collection translated those glam materials into everyday looks by incorporating them into sporty silhouettes. Bomber jackets, for example, came in gold leather or encrusted with allover sequins, while updated track pants done in silver-foiled French terry were backed in lightweight crepe. Styled with tailored jackets or capes and pointy heels—as they were in the lookbook—many of those elevated athletic pieces could easily transition to evening. Other standouts that achieved this high-low mix included flouncy day dresses cut from a spongy technical mesh, as well as an embellished sweatshirt shown with a black crocheted maxi skirt. All in all, a successful, modern balancing act.
21 May 2013
DKNY recently collaborated with Opening Ceremony on a capsule of reissued classics from the label's nineties heyday, which effectively reminded fans why they fell for the label in the first place. The DKNY Fall collection also conjured up several of the label's iconic items, including an oversize quilted bomber similar to the one Donna Karan wore for her bow shot. It represented "street style" back when the term actually implied a little grit. Per usual, urban outfitting was the focus this season. Sweatshirts juxtaposing neoprene with herringbone were sporty yet sophisticated, while head-to-toe pixelated leopard looks offered a wild, sidewalk-ready alternative to camouflage—and yes, that pullover was chenille.
9 February 2013
The most important letters in DKNY may be the last two. It's a city brand, whose halcyon days were in the early nineties, when Karan's Houston Street billboard both captured, and became a part of, the New York skyline. Now that it's the latest label to be tapped by the nineties revivalists at Opening Ceremony (they've already worked their magic on Betsey Johnson), a whole new generation is encountering that image. That could conceivably send fresh eyes to the brand. What will they see there? "It's always been DKNY," said the label's menswear designer, Garry Martin—emphasis "NY"—at its presentation. He was careful to note that the look transcends New York; it's for all cities now. But, he said, "we're not going to bring in loads of tweeds and plaids to the collection. A city guy's not going to wear it." He pointed out a trenchcoat reimagined in nylon and padded with duck down. "That's the city attitude," he said, "more than having a big tweed cashmere trenchcoat, that country feel." (That, he added, "I'm sure Tommy Hilfiger is going to be doing all day.")The collection was based, as always, on sidewalk gray and navy. To say it had elements of sartorial and sport—tailoring in tropical flannel as well as nylon and technical wool, blazers quilted like puffers, a moto jacket in boiled wool—tells somewhat less about its point of difference than it once might have. Truth is, there are plenty of lines working in this vein now—most of them, admittedly, of more recent vintage than DKNY. Smart details distinguished many of the pieces—from the subtle (like the suede buttonholes on jackets) to the not so subtle (the jagged, blocky reworking of a camo print). And if it doesn't stand far ahead of the madding crowd, that's by design. "Everything you see is recognizable," Martin said. "You don't have to put on fifty pockets to make it fashion. It's a real city collection. The guy doesn't go home from the office, he doesn't get changed. We have to style a wardrobe for him." That's a very pragmatic start for fashion week, but there's a market for it.
5 February 2013
DKNY served up stripes in spades for pre-fall. Whether horizontal on a casual jersey tank dress or zigzagging up and down in a chevron pattern on a flared skirt, the graphic lines tapped into the collection's "beach to street" theme. From a fashion standpoint, the most exciting bands here were on the models' shins. Each look was styled with leather gladiator sandals that buckled all the way up to the knee. That shoe hit on arguably the hottest footwear trend from the Spring runways, echoing styles seen at Altuzarra, Versace, and Tom Ford, to name a few. The sandal boot idea may not be new, but DKNY's contemporary customer probably won't mind waiting a few extra months to get the current look for a fraction of the price.Moving back to the clothes, silk separates in saturated hues like punch pink and cerulean had a pajamalike ease, but felt a little predictable after enjoying several seasons in the spotlight. A slinky sleeveless dress in an abstract animal print reminiscent of camouflage had more of the city grit that is key to DKNY's DNA.
11 December 2012
From the opening riffs of Biggie's "Hypnotize" to the taxi-cab-yellow windbreaker Donna Karan took a bow in, it was clear that this season—more so than any in recent memory—the DKNY designer was in an Empire state of mind. For the first time, pieces from the label's commercial sub-lines, DKNY Jeans and pureDKNY, were thrown into the runway mix, and the results were successful more often than not. You could picture models Alana Zimmer and Cara Delevingne sauntering down the city sidewalks in looks five and six, respectively: a rolled-down chambray jumpsuit tied around the waist styled with a silk button-up, and a coated-cotton blazer paired with distressed denim Bermuda shorts. On the other hand, there's a reason why you don't usually see cotton logo T-shirts at fashion shows. It's better to leave those to tourists. More directional items made an impact, too. Leather-trim circle skirts cut from spongy coated mesh, oversize color-blocked car coats, and neoprene-jersey racerback gowns nicely balanced femininity with urban athleticism. Meanwhile, accessories including baseball caps, leather knapsacks, fanny packs, and wedge sneakers played a key role in putting the NY back in DKNY.
8 September 2012
The Fall DKNY collection was full of tough, croc-stamped leather, but the new Resort lineup took a softer approach to the skin, courtesy of motorcycle jackets and pencil skirts in pastel shades of lemon and ballet pink. With its monochromatic color scheme, a cropped bomber, tunic, and tapered pants combo looked particularly on trend. As is expected of Donna Karan's younger line, there was plenty of flirtatiousness going on here. A sheer black party frock, for example, had tiers of feathers and lace and a bedazzled neckline—no jewelry required. A chiffon shirtdress with accordion pleats at the skirt came in a sweet trompe l'oeil lace print. And a fun zebra trumpet skirt was shown paired with a matching silk color-blocked button-up. You can imagine dancing until the early hours in those numbers, but the savvy design team is careful always to include looks that customers can wear to the office, too. Case in point: a clever pair of high-waisted trousers with a satin, cummerbundlike roll-down detail. They recalled the latest Donna Karan runway, which was entirely menswear-inspired, all the way up to those jaunty Stephen Jones mini fedoras.
21 May 2012
The basic divide in the house that Donna Karan built has traditionally been main collection for work, and secondary for play. Today's show notes promised Poetic Rebellion, inspired by the Beat Generation, but there was something quite efficient and polished here that read more office-bound thanOn the Road.It was partly the effect of all that black—a perennial Karan favorite and quintessential New York hue. But it was also several smart looks like a little leather skirtsuit or a boxy wool jacket with leather sleeves over narrow, creased trousers, not to mention the equally smart accessories like glossy leather portfolios with shiny gold hardware. The models' barely-there makeup and sleek, side-parted ponytails completed the picture.It was by no meansallbusiness in the vein of one of the many labels out there with the purpose of outfitting young professionals. There was a hard-edged frisson of sex—more Paris than New York—in the animal prints, flippy skirts, wide pointy-edge belts, and loads of leather trim. Though for a creative job, you could do worse than a simple long mohair navy sweater over a leather trumpet-hem skirt. But then all work and no play… A floral grouping, which included the now ubiquitous head-to-toe print suit, took care of that.Perhaps in a quest for grown-up polish, Karan attempted to lay on the luxury quite thick in beastly shearlings with croc-stamped leather. But it pushed the quest for sophistication just a notch too far, like a little girl playing dress-up. By comparison, an unadorned but nicely tailored fuchsia wool coat felt miles more confident.
11 February 2012
At today's DKNY menswear presentation, creative director Garry Martin was very clear about form following function when it comes to the label's customer. "He's not about to walk around toting a sweater in his bag just in case," Martin said. "If he's going to wear a chunky knit, it should be able to function as a coat as well." Each piece had that kind of streetwise versatility. A worn-in-looking barn jacket came with a detachable faux shearling lining for adjusting to fickle weather patterns, and slim blazers were layered any which way with puffer vests and shawl-collar sweaters. The theme of the collection was "urban rhythm," and at the presentation, New York Rangers goalie Henrik Lundqvist, who was moonlighting as a model, sang along with buzzy Brooklyn band Holy Ghost, the members of which were all dressed in identical suits. Like the live music, the clothes here were mix and match, as befits the rugged yet refined DKNY dude.
7 February 2012
DKNY customers have come to expect flirty, fashion-forward clothes each season, but the label really pulled out all its girly stops for pre-fall. The new collection is full of crocheted eyelet, buoyant floral and cherry prints, and sarong-style tie-waist skirts and dresses. A few of those elements mixed together nicely on one of the standout looks: a party frock with a teal collar, black lace sleeves, and a swingy A-line cut. Lace was a big story here. A short slipdress with a low back and a peplum pencil skirt were two of the notable pieces made from the stuff. On the subject of the peplum, it added charm to an otherwise simple T-shirt in cognac-colored leather. All in all? Nothing groundbreaking, but plenty of items for the contemporary label's fun-loving customer to add to her closet.
28 November 2011
Though DKNY sells globally in cities and suburbs alike, the best part of Donna Karan's Spring collection seemed to address the perennial conundrum of what to wear for summer in this city. It's tough to strike a balance on those dog days: Go for comfort and you look as if you'd rather be poolside, yet an attempt at polish can yield a sweaty mess.Karan's answer is smart, unadorned silks cut loose and breezy, like dolman-sleeved shirts with drawstring shorts and mullet-hemmed slipdresses—both on-trend and practical, since there's nothing to impede a city strut. The adorable, white-soled, matchy-matchy wedges also had pavement-pounding appeal. And to cover up: a sporty anorak, a classic brass-buttoned blazer, or just a chic, wide-brimmed sun hat.The black and white group that opened the show felt like a fresh idea for Spring, and the silhouettes cycled through various colors including a patriotic and peppy red-and-blue and a Marimekko-esque floral. Though for prints, the cooler option was a smudgy floral that could almost masquerade as an animal print.No designer fetishizes New York like Karan. With her show falling on the tenth anniversary of 9/11, her usual upbeat paean to the city was, depending on your viewpoint, either poignant or slightly jarring, as models streamed in off the street against the backdrop of a yellow cab topped by a DKNY advert. But life and fashion must go on.
10 September 2011
DKNY presented its latest menswear collection at the glass-walled Nasdaq MarketSite building, the first men's brand to do so. Donna Karan listed her company on the New York Stock Exchange back in 1996, which made you wonder: Why this venue now? DKNY's collections, which consist of tweaked classics brought ably up to date by the line's creative director, Garry Martin, include plenty of tailored options—this season, a whole passage of city-block-gray two-button suits—but they're far more casual than you're likely to see on Wall Street bankers. (Here, the suits were shown with platform-heel Doc Martens; other looks had Superga sneakers and still others, Tevas.)But that's a strength, not a weakness. DKNY's mandate is clothes—working weekday and casual weekend—for the young and the urbane. Martin interpreted that dictum to demand versatility, not only office to evening and back, but all-weather and idiot-proof, too. Blazers and suit pants got nanotech finishes for water- and stain-resistance. Every jacket now has an iPhone pocket hidden in its bonded lining.Outside, overlooking Times Square, coordinated Jumbotrons blasted DKNY's Fall campaign. With that, the venue clicked. Karan's secondary collection may not be for bankers, but it's always been about going big in New York. Remember the famous city-skyline billboard on Houston Street? The MarketSite's glass panes were the perfect way to take in the view.
7 September 2011
The sharply tailored cape that wears like a coat draped over the shoulders—a favorite way of dressing among fashion editors—was major for Fall at DKNY. And the silhouette has come back strong for Resort, showing up on a fun sequined blouse, a long-haired shearling topper, and, most notably, on a flattering black crepe dress with structured shoulders. Scarf dressing, another well-trodden but resilient theme, was revisited here as well. The design team combined a silk scarf in a vintage nineties print with the label's signature, wear-it-any-which-way cozy sweater for a new twist on an old design. For nights out, flirty miniskirts came with either shredded chiffon ruffles or iridescent pink paillettes. A crimson-colored shearling coat hit on one of the runways' biggest trends; like the rest of the collection, it was no envelope-pusher, but still modern and accessible to the label's broad customer base.
26 May 2011
If the model in look no. 11 at today's DKNY show had taken a detour from the runway choreography and strolled out onto West 26th Street, she probably would have set the phalanx of street-style photographers stationed there a-snapping. That was a good sign. There are times when DKNY strays from its raison d'être of relevant, cool clothes for young women, but here Donna Karan and her team squarely hit the mark.The collection, dubbed New York Mods, began on a tough menswear note of sharp, color-blocked tailoring mixing it up with motorcycle jackets. But there was a definite vein of luxury here, too. Those cape-coats looked rather well-made, as did another coat with leather sleeves, a leopard-print fur, and a glossy black shearling. But Karan maintained a whiff of Carnaby Street cool with stripey angora sweaters, cute Peter Pan-collared dresses, and porkpie hats.There was more kick to the look as Karan amped up the color to reds and pinks, and introduced an oversize houndstooth plaid. At times that manic, bright combination was tempered with jackets and cardigans in a golden ocher, a nice alternative to bone-tired camel. For the most part these are familiar clothes, but one great new idea was the puffer jacket redone in a thick ribbed knit. Aside from the slightly lackluster tuxedo redux that closed the show, there was lots to love here for all girls, aspiring street-style stars and beyond.
12 February 2011
DKNY opted to present its latest men's collection on a brigade of models at a pawn-shop-cum-restaurant on the Lower East Side. The setting was baroque, but the clothing was, for the most part, streamlined and austere. The palette didn't stray far from cityscape colors—concrete grays and silver, dusky slate blues—that lent focus but left the whole a little light on spark. "Modern military" was the theme of the season, expressed by the panels of nylon trimming polos and sweaters and the polyurethane coatings that lent outerwear an all-weather sheen.
7 February 2011
Is Donna Karan foreseeing inclement conditions? Her DKNY collection for Spring was heavy on the bad-weather tech. There were windbreakers and raincoats aplenty, waxed and resin-coated numbers to keep you dry, even blazers with drawstring details and zippered pockets. But dreary this wasn't. The designer dubbed the collection Spring Clean and took inspiration from the streamlined looks of the sixties. (That über-sixties piece, the Harrington jacket, appeared in reversible form.)Karan is an agitator for the buy-now, wear-now ethos routinely ignored by the fashion world, and her first Spring deliveries—which will hit stores in the dead of winter—come in sober, dark blues and blacks, styled buttoned up tight against the cold. Maybe that made the subsequent tiptoe into Spring all the more refreshing: Washed leather jackets, macs, and cotton suiting (in three cuts of varying slimness) arrived in an appealing palette of slates, ice blues, khakis, and tans. And lest the point get lost, a few key pieces were brightened up with shots of Popsicle orange. Here comes the sun, after all.
7 October 2010
The backdrop was pure Times Square. Bright, shifting blocks of color on the walls spelled out big, graphic New York-centric puns: All Hail the Cab. Long Live the Queens. Big Apple of My Eye. But the first look out—khaki trench and cropped trousers finished off by a nonchalantly looped silk scarf—told us we'd be touring the city in the company of an exchange student from Paris. Donna Karan called the silken square the DKNY Heritage scarf and showed it as a dress, a top, and naturally, as a scarf knotted into a neat band around the neck, its ends trailing down the back.There was more of that gamine sensibility in the gently ruffled blouses that cycled from white to rose to turquoise, and the lengths of grosgrain ribbon used as belts tied into perfect bows. But as we all know, the fashion world is flat. There may be no sure things in retail anymore, but these smart khaki pieces, pretty yet simple blouses, and bang-on-trend midi-length dresses should be a commercial hit on any continent.
11 September 2010
Barely a trace of DKNY's slightly retro, sixties-schoolgirl Fall collection could be found in Resort; the latest effort is designed to appeal unfiltered to the contemporary twentysomething. A pale blue cropped sweatshirt with silk sleeves, worn with a tailored cargo pant, hit the right note between casual and polished. Strapless peplum dresses seemed a bit too sweet for today's city slicker, but slightly oversize silk blouses looked fresh, particularly when paired with a sleek cropped trouser or clean A-line miniskirt. For nighttime—or anytime, if you're the uninhibited type—there were sheer black lace T-shirts layered over black bras. The only schoolgirl they called to mind was the naughty variety.
25 May 2010
As much as Donna Karan has an issue with fashion's seasonal system and off-kilter deliveries, she's definitely not one for the "seasonless" route some designers take. As much as last Spring's collection was clean and breezy, today's show spilled over with layers and layers of cold-weather-appropriate wares.The overall look here was sixties schoolgirl. Nearly every skirt on these side-ponytailed lasses was mini and pleated, some in wool and others in a thick leather that pushed the vibe out of decades past (tasseled loafers, now transformed into aggressive platforms, did the same). Those kicky skirts were worn with long, oversize wool coats—a notch more outsize than the boyfriend blazer—little tailored jackets, or cardigans and turtlenecks. To finish off, there were long scarves, astrakhan newsboys, and ankle socks or woolen tights. The outerwear was especially strong. Highlights: a gray hooded toggle coat and boyfriend-tailored vest coats that kept the layering polished and cool.Karan added a twist to the proceedings by going from grammar to art school, citing Bauhaus as the source for her color-blocked sweaters in moody autumn hues. As day turned to evening, those Mondrian-esque motifs were collaged in with various panels of beading. A couple overdid it, but they could be forgiven. Not worthy of mercy, however, was the splashy floral—a print not fit for news.
13 February 2010
Style.com did not review the Fall 2010 menswear collections. Please enjoy the photos, and stay tuned for our complete coverage of the Spring 2011 collections, including reviews of each show by Tim Blanks.
8 February 2010
DKNY's tightly focused pre-fall collection is heavy on classic American staples. In the lineup: a great khaki trench, ultra-soft unlined twill blazers, and a lightweight silk bomber jacket. "Less is more," said the label's senior vice president of design, Andrew Comley. That doesn't mean he played it safe, though. "I wanted a balance between timeless sportswear and a bit of novelty," he explained. Because the DKNY girl loves a good print, he created a graphic take on argyle for a georgette drop-waist frock; a more subtle version of the pattern livened up a jacquard coat. Even more playful were the navy and red nautical stripes and anchor motifs. The contemporary brand is about to come of age—yes, it'll turn 21 next year—but its MO remains the same: wearable basics with a hint of fun.
13 December 2009
Style.com did not review the Spring 2010 menswear collections. Please enjoy the photos, and stay tuned for our complete coverage of the Spring 2011 collections, including reviews of each show by Tim Blanks.
18 October 2009
When Donna Karan launched DKNY in 1989, its streetwise, fast-fashion ideas were a welcome innovation. Now, going on the ripe old age of 21, it's the grand ma'am of a slew of secondary and contemporary collections. Yet DKNY's raison d'être remains a youthful New York state of mind. There's evidence of that in the way the collection has been shown in the past: in breezy presentation format, cleverly bopping around the city from Pastis to Lever House to the Karan-owned Stephan Weiss Studio. Today we were back at the latter, but this time the designer had opted for a proper seated runway show, and that inevitably raised the question of whether the pomp befits these clothes. Named City in Bloom, Karan's collection played neutrals off a host of florals, including charming little peonies and splashy floral-camo and -graffiti prints that were decidedly less so. There were endless propositions of the suit: boyfriend jackets paired with little cuffed shorts or slouchy pegged pants—even a silk bomber with matching sweatpants. Biker shorts, strangely named Smoothies, were worn under every dress and short. Runway worthy? Perhaps not, but it was certainly filled with items that might make great additions to any girl's rotation. You could easily envision a model nicking a fab little sage silk romper to hit her go-sees. Here's one idea: Why not ask those model fans to style their own outfits? It's an approach that would be more in line with the DKNY spirit.
12 September 2009
As tiresome as it's become to view everything through recession-colored glasses, with a smart-priced commercial collection like DKNY, that really is the only appropriate lens. In addition to investing in that one special luxury item this season, the designer customer will want to stretch her dollar like a pair of sample-sale Louboutins.With that in mind, Karan and company built Fall on wearable looks pulled together from top to toe—or, more specifically, from funny little felt hat to lace-up spectator bootie, with sleek gloves and a rainbow of oversize envelope clutches and cavernous carryalls in between. Modern, grown-up polish was the name of the game. Pencil skirts ended mid-calf; waists were neatly belted; and trim, boxy coats had bracelet sleeves. Clashing patterns—houndstooths, stripes, a blown-up plaid—kept things from looking too mature or too vintage (though I did find myself idly wondering when the next season ofMad Menis going to begin). Ultimately, this was a true autumn collection, with loads of merch from outerwear to scarves to knits to pants, not all of it skewed to a more soigné lady. Moms and daughters shopping together should take a look: They might finally agree on something.
14 February 2009
To mark DKNY's 20th anniversary, Donna Karan switched from her usual standing-room-only venue, the Stephan Weiss Studio, to Bryant Park, where bottles of sparkling wine (a custom DKNY and Chandon Twenty Year Cuvée awaited each showgoer). The proceedings began with a short film—not a navel-gazing look at clothes past, but more of a love letter to New York: jump-cutting footage of taxis, the Empire State Building, and subway signs, as well as, naturally, DKNY's gigantic building-side advertisement on Houston Street. Fittingly, the clothes that followed were more connected to streetwear than they have been in several seasons. Karan offered her take on the cool girl's uniform: an inevitably layered amalgam of boyfriend jackets, sporty parachute dresses in black pieced with neon, anoraks in nylon and denim, striped tees, and little skirts. Everything was topped off with tangles of subversive chains, skinny scarves, and high-heeled sneakers.But all the mix-and-match soon became fashion mayhem, with too many ideas on display. Pulled apart, though, there are certainly clothes that DKNY's ever-growing customer base will flock to. Karan has every reason to smile beamingly, as she did while receiving well-wishers afterward on the runway: Though she didn't invent the concept of fast fashion, she unflinchingly embraced it 20 years ago when it was still an untested infant of an idea.
6 September 2008
"Eclectic Glamour," trumpeted the notes at DKNY, where the first showing was so shoulder-to-shoulder packed that you wondered if everyone but you knew that Madonna or Justin Timberlake was giving an impromptu concert. Nope, people were there for the clothes, and there was a lot to see—a colorful, tactile, thrown-together riot of tweed, brocade, Lurex jacquard, printed silk, corduroy, and a sheep farm's worth of knits: patterned intarsias, cozy hand-knits, and fringed dresses. You did just read the word "eclectic," remember? The sixties were in full swing in the proliferation of baby-doll silhouettes, but it's a shape from seasons past that doesn't seem ready for revival just yet. Karan and her team tapped into the bohemian glamour of Biba in sweet peasant dresses, which, when removed from the busy whole, will be a sure hit—as will other pieces like a bouclé bomber jacket and several chunky sweaters. But in the end, the goal of eclecticism seemed to get the best of the situation, creating a cacophonous mix for a collection that usually rings clear with fresh energy.
2 February 2008
The initials were huge in red across the back of the catwalk, which was red as well. But the 14 men's outfits that were sprinkled amid the show Donna Karan staged for her second line could've used a bit more heat. That already signposted red provided a welcome accent in a sweater or a tie or a scarf, but otherwise, jackets and jeans said it all, really. The jacket was anything from a classic blazer to a leather blouson to a damped-down combat to a chunky cardigan—all dark and uniformly paired with the indigo jeans that were the sole trouser option.Layering is an emerging story for fall '08. Wool over nylon, for instance. This show also offered a cardigan over a jacket—and its reverse. There was a hint of technical expertise at work in the way a major cardie could fit under a wool blazer. And a few seasons back, Donna declared her intent to get the DKNY man in a tie. That's clearly a battle she's won: All the young gents in this show sported a collar and tie to make their mothers proud. But still, one burning question went unanswered—what would the DKNY girl in her flouncy Biba-influenced finery make of the screwed-up-tight DKNY boy?
2 February 2008
Donna Karan has perfected her presentation format for DKNY. It was, again, a casual, standing-room-only affair with the show repeating a few times on a loop so viewers could meander in and out. The wide-open doorway of the Stephan Weiss Studio let the crowd filter onto the corner of Charles and Greenwich streets, essentially connecting runway to sidewalk. "It's about the modernity of New York—all the new buildings and the freshness of the city," Karan said with characteristic enthusiasm.With floppy Jodie Foster-in-Taxi Driverhats and Feist's cover of the Bee Gees'Inside and Outas the soundtrack, the show was right in step with the 1970's resurgence that was in early infancy last season and is now learning to walk. Much was long and lean: color-block jersey gowns with a hint of Halston about them, skinny shirts tucked into wide-legged pants or dark jeans, and a retake of the Bianca Jagger white three-piece suit. Everything was quite polished, from boxy coats to sash-belted silk dresses.As a secondary line, DKNY, almost by definition, needs to project a young, upbeat energy, and the proceedings—with the exception of a few overly splashy prints that dragged back the pace—had plenty of bounce. The cherry on top of this seventies sundae was, naturally, the jumpsuit. It's a trend Karan hopes will have legs. "My life is in a jumpsuit," she said. "So I'm glad it's back. To me, it's an icon."
8 September 2007
A few seasons ago, Donna Karan was expressing her conviction that young men were craving a collar and tie. It's young men her DKNY collection is aimed at, and this season it's ties she's given them. The collection's theme was "New York Art & Design," which was most obvious in the graphic blocking of the silk ties, especially when an orange hue (called "Popsicle") was set against black or gray for a vaguely constructivist effect. Given the concept, it seemed reasonably safe to assume the DKNY man has gone through his college phase, his hint-o'-grunge phase, and his vintage phase. He's now graduated to a "proper" job with a gallery or an architect, and he's dressing more smartly. Tailoring dominated the collection, in urban shades of gray: stone, cement, and newsprint. Cottons and poplins had a tech stretch factor, a tip of the cap to the casual/formal hybrid that is now ingrained in American menswear's vocabulary. Alongside the vibrant multi-options of the women's range, the men's clothes looked a little like an afterthought this season. Perhaps that's Karan's way of slyly suggesting that it's a woman's world—and men just live in it. Or maybe it's simply a case of men's DKNY in transition.
8 September 2007
The steely chic of DKNY's man this season spoke volumes about life for Donna's young' uns in New York City—they now want to look like they mean business. Hence, the parade of charcoal-toned twills, tweeds, and flannels that defined her menswear for fall. Mind you, there were allowances made for the fact that the modern Wall Streeter isn't as buttoned-up-tight as his predecessors. Though trousers were slim, the tailoring wasn't strict: Jackets were shorter, slightly boxy in their construction, and easy-shouldered. Everything was worn with boots. And the narrow silk ties that invariably accompanied the collection's shirts had a muted flash, which complemented the paillettes and Lurex of the womenswear. Even the more casual items felt dressy, like the nylon taffeta blouson, the cabled cardigan jacket, and the steel-gray snorkel parka. Clearly, there is no excuse to look sloppy on the new frontiers of finance.
3 February 2007
It¿s a given that no matter which way the trend winds blow, DKNY will offer up a paean to the city that is such an innate part of its DNA. This season, Donna Karan set the stage with shifting projections of New York¿s twinkling skyline and a two-story neon sign that transported a bit of Times Square down to Greenwich Street. The standing-room-only setup, with the runway striped down the center like a street, had editors jockeying for prime viewing spots like a crowd gathered to watch the Macy¿s Thanksgiving Day Parade.Appearances were deceiving, though, because when the first look appeared—a salt-and-pepper tweed jacket over a printed-chiffon bow blouse topped with a beret—it was another fashion capital that popped into mind: the City of Light. The whole show had a Gallic inflection, with, for example, a wide-legged suit and heart-print blouse that tipped its hat to Yves Saint Laurent; or the charming, flippy little skirts with matching jackets in tweeds and jacquards (a wonderfully fresh way for a twentysomething to sport a suit). Though there was a hint of mean streets in a black shearling jacket and cargo pants, this was mostly a sweet affair. There were a few low points—like the baffling overly bright satin-and-jersey "scuba" dresses that closed the show—but overall, it was highly successful. As for the Paris-on-the-Hudson mood of ¿Le DKNY,¿ it was yet another affirmation that New York style is indeed international.
3 February 2007
Shifting back-projections of city life wrapped the room, setting the scene for a presentation that shifted the focus from the college boys of DKNY's fall to their urban brothers. Like the women's half of the collection, the clothes combined classic and sport details—a navy windbreaker paired with baggy linen shorts, for instance, or a black silk hoodie worn under a pinstriped suit—but the menswear was much quieter in mood. Think tone on tone, rather than the pinks, oranges, and yellows that brightened up the womenswear (okay, there wasonehoodie in purple silk). But just as in the women's offering, it was a coat that was the star, this one long, sleek, and hooded.
9 September 2006
DKNY's sport-in-the-city shtick broke wide open this season to embrace the numerous girl tribes of New York at work and at play, from the Kate Hepburn-ish rigor of a white poplin shirt and full pleated trousers to the Latina flair of a floor-sweeping tiered dress in hot pink. Those trousers came in dark denim, an example of the blend of athletic ease and urban polish DKNY aims for. The same mix was visible in a parka dress, sunray-pleated minis topped with layered tanks, and shoes that looked like a cross between sneakers and platform espadrilles. Excitement was provided by DKNY's new silhouettes: a cropped, zipped linen jacket flared out over short shorts; another dress in hot pink kicked out from its Empire-line bodice. The sheer variety of styles made for some confusing staging at times, but things came into focus with the coats. A black-trimmed balmacaan and a red taffeta trench both achieved the DKNY ideal: city dressing with a twist of indisputable chic.
9 September 2006
The college constituency is clearly a prime target for a designer's second line—as borne out by the menswear aesthetic of Marc by Marc or Star USA by John Varvatos. Now DKNY has moved in the same direction, with a collection that would be a gift to anyone costuming a movie about campus life. It was easy to imagine a gamut of students—from preppies to beats—garbed in these clothes, especially given the way they were layered for the show. There was something about the pinstripes worn over a denim vest, the washed-cotton suit jacket topping another in green leather, or the cabled cardigan tossed over a suit, that embodied a youthfully considered approach to dressing.Knitwear, slouchy and striped or cabled, was also appealing. Leather jeans looked like they'd fitted originally, but had bagged out with continued wearing. A satin-lapelled jacket in dark-green washed velvet suggested a broken-down formality. These were clothes with a tale to tell—the very thing that drew college kids to vintage dressing in the first place.
6 February 2006
After several seasons showing DKNY in the restaurant du jour—Pastis, Lever House—Donna Karan brought her secondary line back to the runway for fall, specifically to her late husband Stephan Weiss' Greenwich Street studio, the location of her signature-collection shows. She didn't give in to convention entirely, because there was no assigned seating, which caused more than a few gripes. Most people, though, were delighted with the change in venue. "It's brilliant to see the clothes moving on a body," concluded one editor. Karan, who watched the show from the bleachers, demurred: "Brilliant, I don't know. But a runway show is what everyone's been asking for."Of course, DKNY is about giving the people what they want, and Karan has paid close attention to the young urban woman's current uniform. Hence, the presence of such cool accessories as wide, waist-cinching belts, opaque tights, engineer caps, and silk ribbons to tie around the neck. From there, she explored masculine/feminine juxtapositions like peacoats and boyfriend sweaters paired with flippy bubble minis or a puff-sleeve blouse teamed with a man's vest and gauchos. When the looks weren't monochromatic in deep shades of navy, chocolate, and black, colors were thrown together with schoolgirl naiveté. Those "spontaneous" combinations seemed like a concession to the catwalk, not something that would necessarily fly in real life. That's where Karan's crinkle-silk dresses, some tissue-padded for extra volume, came in. Layer one over a little tank or top it with a shrunken cardigan and you're out the door.
4 February 2006
Donna Karan switched gears for spring. The tiered peasant skirts are gone, the beading, too, has disappeared. Yes, there was some embellishment in the form of bows, but her DKNY collection—like her signature line—was mostly about volume and proportion play. What a fitting location, then, the large glass lobby of the Lever House turned out to be.Skirts came tulip shaped, while Empire-line dresses—in wallpaper florals or the season's requisite eyelet, in silver here—flared out from high waists. Pleating, too, was a recurring motif; it looked especially sweet on a lemon-yellow chiffon frock, but white and black belted shirt versions will surely become a wardrobe staple. Speaking of which, a classic trench looked sturdy in a dark khaki, but decidedly not standard issue.
11 September 2005
The choice of venue often provides a quiet subtext to the main event. DKNY's latest collection was presented in Manhattan's Classic Car Club, where models reclined amid streamlined roadsters in trim clothes that wouldn't have been too out of place in those autos first time around. Claiming inspiration from "the underground music of the sixties," the designer offered a lean silhouette, with the shrunken proportions and washed, worn, slightly vintage look that has overwhelmed the menswear market. Karan declared her challenge to have been "getting men into a jacket who may never have worn a jacket"—which presumably explains the age group of the models she used. "Just a tie would be a lot for these guys," she opined as she sprawled on the hood of a car.So the key was a marriage of reassuring familiarity (a gray marl T-shirt, say, and a pair of jeans) and something dressier (slip a glen plaid waistcoat over that T-shirt and top the lot with a two-button jacket, also in glen plaid). Karan emphasized eclecticism as the core of dressing for the city, so there were hardier elements—such as jackets in indigo denim or washed leather—amid modern classics like the trench, the modishly cropped peacoat, and the peaked-lapel blazer. Nighttime called for a pin-tucked tuxedo shirt and distressed white denims.
9 September 2005
Last season, Donna Karan abandoned the runway and showed her DKNY collection on mannequins during Sunday brunch at Pastis, in Manhattan's fashionably overrun Meatpacking District. For fall, the mannequins were back (styled by Patricia Field), with the venue and time changed to 5 o'clock cocktails at the Dorothy Parker-haunted Algonquin. But if an air of Round Table exclusivity was the goal, it was not achieved. Dozens of people attempted to circle the room, tripping over photographers and prone forms in an attempt to get a halfway-decent look at some pretty clothes.On view were the season's requisite tiered peasant skirts, paired with fitted jackets, some ruffled, almost all belted tight at the waist. Long dresses had Empire lines. A wool cape topped a blazer and cropped pants. Rabbit fur and shearling coats promised warmth, which was also evoked by the autumnal palette.
6 February 2005
Though nursing an injured knee from a recent fall on the ski slopes, Donna Karan was in good spirits as she joined the likes of Patricia Field, Hal Rubenstein, and Thom Bishop for the presentation of her Fall '05 men's collection at the Stephan Weiss gallery. Karan's edgier diffusion line featured molded pinstriped jackets and boot-cut pants in evergreen and aubergine palettes, plus soft-washed tailored shirts and long-sleeve tees. Inspired by the technology used by the urban dweller that makes up DKNY's target audience, the collection also featured a series of rubberized anoraks, peacoats with waterproof zippers, and nylon jackets that could easily snap in and out of overcoats—perfect for fall in the line's namesake city. Also of note: the collection's layered looks, ambassador hats, and scarves coupled with knit racing-striped sweaters.
3 February 2005
"This is the way people should see clothes," said Donna Karan, as she surveyed the happy crowd milling on a sunny Sunday morning through Pastis. Karan took over the Meatpacking District hot spot to showcase her DKNY spring collection in situ, as it were; the perennially trendy bistro is precisely where her customer would want to flaunt these urban-hipster looks.Instead of looking to reinvent the wheel with DKNY, Karan is more interested in playing with street trends like vintage, layering, and rule breaking (sequins for day, khaki for night, stilettos at noon, and so on). So the refurbished vintage mannequins installed around the restaurant wore silk georgette dresses with sequin belts, embroidered linen coats with tank tops and cropped jeans, snug little jackets over long jersey camisoles and knee-length linen skirts, and slouchy silk off-the-shoulder blouses over narrow cotton shorts. It all had the kind of throw-it-on cool a fashion stylist might achieve after much patient digging through thrift store bins and racks; Karan's talent is that she makes it accessible to those who are style-ambitious but time-starved. Or, as she puts it, "It's friendly. It's the way New Yorkers dress today. Everything goes with a pair of jeans."
11 September 2004
Secondary collections sometimes suffer from neglected-sibling treatment, making do with hand-me-down rejects from their bigger sisters. Thankfully, Donna Karan avoids that approach with DKNY, giving the label a personality (smart, snappy, a little bit trendy) all its own.Fall's collection was one of DKNY's best yet, full of right-on colors, fabrics and proportions. The palette was classic fall—greens, browns and plums in tones that ranged from acid bright to muted—all the better to back up the collegiate-bohemian vibe. The show opened with a generously cut tweedy overcoat worn over a body-skimming kneelength jersey dress, and followed up with lots of examples of the new trouser shape—narrow, cropped just above the ankle and worn with bulky boots or chunky heeled pumps. There were cozy, bulky sweaters that sat on the hips, A-line skirts made from bias-cut strips of fabric or sunburst-pleated for a swingy flare, crisp boxy jackets and fragile chiffon dresses, pintucked and pleated to a fare-thee-well. The only points of crossover with Karan's signature line were the soft, wrinkly leathers she used in her spring collection, but they were welcome additions to the party.She may cherish her own identity, but the DKNY girl is happy to raid mom's jewelry box for a big glittery brooch, or grandma's closet for a swinging, three-quarter sleeve coat that she'll wear over tweed trousers or a silky jersey dress. When it comes to nighttime, however, she's strictly modern, heading out the door in a a skin-baring, jewel-toned satin slipdress. Don't ask what time she'll be home.
8 February 2004
Road trip! For her spring collection, Donna Karan sent the DKNY woman on a little cross-country jaunt from her New York home all the way to Malibu, armed with a suitcase full of easy, versatile, sexy looks to get her there and back again in style.Ms. DKNY has a practical bent, so she packs light: neutral tones of khaki, gray, and navy, in easy fabrics like washed silk and cotton, jersey, and lightweight wool. Since traveling beyond the 212 area code counts as exotic in her book, she might grab a safari jacket or perhaps the loose silk trench that doubles as a dress. A few pairs of soft, low-slung pants, a slim skirt worn with a tiny yellow chiffon hoodie, or a snug silk tank (cinched with the thinnest snakeskin belt) will take her at least as far as the first rest stop.For exploring the nightlife options across America, our heroine will throw in a couple of colorful little silk dresses, or shock the natives in a hot-hued chiffon dress or poncho—which, conveniently, becomes a beach cover-up when she finally stops to admire the sunset over the Pacific.
14 September 2003
Schoolgirls and career women, preppies and punks, party girls and artsy types—they all converged on the runway at DKNY, where Donna Karan aimed to reflect the sidewalk society of her beloved New York City.Of course, Karan’s sidewalks are undeniably better-dressed than most. Her schoolgirl uniform, for example, is a neat fitted navy jacket over a crisp white shirt and flirty grey flannel skirt short enough to shock a nun. And the world would be a prettier place if more 9-to-5 types wore some of Karan's lovely, colorful outerwear, like the scarlet wool zipped coat or the soft, honey-colored mohair version. Even the downtown crowd that calls its own style shots could benefit from a pair of skinny black pants with just enough zippers to be hip (but not enough to be scary), or her black sweater with its chain-mail sleeves. There were plenty of other easily approachable items, like skinny Glen-plaid pants, black tuxedo jackets, fuzzy mohair sweaters and silky little skirts. Part of the delight came from the pretty, atypical fall colors—mint green, hot pink, gold, lavender, red—that made the collection distinct and different.Karan uses the DKNY line almost as a sketch pad, a place where she dashes off ideas and trends that, for whatever reason, catch her eye. This season, that approach gave the collection an easy, casual charm that was hard to resist.
9 February 2003
Donna Karan's DKNY shows are like flash dispatches from the trend trenches. Flippy pleated minis! Retro-tinged dresses! Cargo capri pants! Short shorts and pencil skirts! Mixed and matched by Karan's inimitable hand, they zing by in her high-energy shows.Karan laid out the basic components of her spring vision with her opening group, done in giddy bubblegum pink: a balmacaan raincoat over a polka-dot top; a soft sweater worn with a full skirt; and a lightweight jacket worn over short shorts. From there, she added in a few retro-spirited dresses, like a loose-cut navy polka-dot chiffon shift worn over cropped trousers, in the style of the new mod girls. Skirts are Karan’s new favorite item, and she showed plenty: knee-length pleated versions, mood-altering minis with pep to spare, slim pencils that sat low on the hip. And since jackets are always important to Karan's stylish working customer, she threw in a few variations on that theme: curvy fitted styles, boxy denim versions and cropped bombers.
17 September 2002
Donna Karan's secondary DKNY line is where the designer takes a walk on the wilder side. She romps through pop culture, digesting current trends and reworking them into a collection of snappy items. In a blindingly fast-paced show that mixed the women's and men's collections, the designer showed she still has the touch.Karan is nothing if not eclectic, and here she managed to mix some seemingly irreconcilable themes. But then, who else could reconcile the urban gypsy (ruched, ruffled or patchwork leather skirts, lace-trimmed tops) with the new prepster (a monogram sweater, a fisherman knit hoody, pinstripe pants)? The subdued palette helped: There were shots of color, but Karan mostly restricted herself to brown, gray, white, navy and ivory. Also helping keep things grounded were staples of the straightforward sportswear that was DKNY's original base: snug pinstripe pants, a great pea coat, even some of the tailored jackets that Karan, a working woman herself, always includes.
11 February 2002
Donna Karan presented her secondary line at the Dia Center for the Arts, ushering groups of guests into the gallery space where models took to the catwalk every half-hour or so in what amounted to a revolving party.Men's suiting was an important influence, as Karan showed oversize pinstripe blazers, stark masculine chemises, a billowy tan trench, and basic suits livened up with matte copper paillette tops.A disheveled tulle skirt was paired with a strapless leather bustier—an unavoidable nod to the '80s. Young girls will love the shimmering hot pants and powder-blue beaded minidresses; the older crowd will stick with true-and-tried basics. Most of Karan's looks featured wide leather belts worn at the hip—a look that is already emerging as one of the key trends for the season.
18 September 2000
Donna Karan's DKNY collection revolved around suits this season, featuring a structured silhouette in classic tweeds, herringbones and plaids. Belted macs, pleated skirts, cashmere turtlenecks and mohair dresses all looked grown-up and sophisticated, while sexy oxblood leather coats, sheer chiffon tops and lacquered satin shells also made a polished statement. But DKNY is all about mixing and matching—Karan also showed colorful Fair Isle cashmere and washed-wool multi-bias sweaters that were both relaxed and modern. And, naturally, there were plenty of sexy options—Karan's slim pants, short leather jackets, liquid dresses and vivid hosiery are sure to satisfy even the staunchest DKNY aficionado.
5 February 2000
At Friday's late-night show, Donna Karan's diffusion line, DKNY, celebrated "the first ten years, the first New York store, the first fragrance and the first season of the millennium." Indeed, with Boy George spinning the background music and a bevy of celebrities in attendance, the show reeled with festive energy. Karan kept the upbeat feeling both on and off the runway: Boys and girls strutted confidently down the catwalk in flesh-colored suede and leather, orange and acid-green nylon, and snake-embossed prints. For her finale, Karan showed a series of metallic denim pieces that sent the audience out—to her party—with a bang.
16 September 1999