Naeem Khan (Q3466)
Jump to navigation
Jump to search
Naeem Khan is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Naeem Khan |
Naeem Khan is a fashion house from FMD. |
Statements
Just when guests at Naeem Khan’s spring presentation thought the show was concluding, the lights in the Angel Orensanz Center—formerly a synagogue—suddenly turned a deep shade of green and the score from the Broadway musicalWickedbegan playing. The iPhones all rose up: Khan collaborated with Universal Studios to design a small capsule ofWicked-inspired looks, which will go on sale in anticipation of the November film adaptation by Jon M. Chu. “I was inspired by the Good Witch and the Bad Witch and making them glamorous—not costumey,” said Khan, who designed his signature evening gowns in shades of Elphaba green, Glinda pink, and black.Such blockbuster collaborations can often feel cheesy or like a cash-in, but here it felt unexpectedly fun. Out came a sheer tulle gown with tiered shiny green fabric—as if Elphaba was going to the Oscars—and a long-sleeve pink column gown covered entirely in cascading beaded fringe (Glinda on a regular Tuesday). They were wickedly fabulous, and if the film’s stars, Cynthia Erivo and Ariana Grande, don’t wear at least one of the creations to their various forthcoming premieres, it would be a crime.But it wasn’t allWicked-mania. As usual, Khan delivered a strong assortment of refined eveningwear that was heavy on the crystals, beads, and embroidery. Many of the finishings this season were inspired by a trip he took to Sicily this summer, including Noto and Taormina. “I took a lot of inspiration from the church walls,” he said. The silvery baroque robe coat, paired with a cream silk deep-V dress, felt ornate in such a manner, as did the purple draped-chain column gown, which hung in a way that resembled a pair of curtains fit for royalty. Many of his gowns this season also featured beaded patterns of olive branches—inspired by the vineyards he visited while living la dolce vita.Sure, there was lots of sparkle, and perhaps it wasn’t the most surprising collection from Khan, but few do glitz and glamour as well as he does. There was a sense of refinement in taste level in his execution of red-carpet dressing, which can often veer into gaudy territory. Even better was his foray into menswear—a new category for the designer. His evening suits had just the right amount of razzle-dazzle, like his pinstriped suit lined with beaded fringing. “The Naeem man is flamboyant, just like my woman,” Khan said. “He’s not afraid to wear sequins.” More men shouldn’t be.
Though his mandarin-collar evening coat with matte black beads provided a more subtle shine. Entry-level shimmer.
9 September 2024
Given that designer Naeem Khan specializes in glamour and shimmer, it’s no surprise Taylor Swift recently enlisted him to design a look for her European Eras tour. “I’ve designed for her on many occasions,” said Khan. “She’s such a powerful [artist.]” Working with the superstar inspired some of the fringed mini dresses found in his new resort collection, which were fabricated using glass beads. “For Taylor, I mixed three different colors—black, silver, and gold,” said Khan, though his resort dresses came in monochromatic reds or blues. “They’re fun little dresses that you can dance in.’Khan’s new assortment of resort evening attire wasn’t entirely dedicated to Swift, however. He said he wanted to strip things back and focus on refinement and quiet elegance. Khan is known for his ornate beadwork, but this time around, his dresses were devoid of heavy, over-the-top embellishments—though he still had a focus on dazzling sequins or intricate lace work. “This season, I needed to take a step back and make real clothes for the travel and party season,” he said. “I wanted to bring simplicity back to glamour.”The highlights were the black, long-sleeved column gowns which had bursts of gold or silver sequins along the front. “It almost looks like electricity—a zap of static in the front,” he said. A burgundy sequined halter gown, with a rosette at the neckline, was also designed to be comfortable and to pack well (for the jetsetter, of course). “We did them on these incredible stretch materials that don’t wrinkle,” he explained.Though most of the frocks were clean-cut and streamlined, Khan did venture into more voluminous ball gown territory, one of his signature silhouettes. Sugary pink A-line gowns were created using an embroidered raffia overlay. “You twist the grass and embroider with it, then give it a metallic sheen,” he said. “It gives a great structure.” Floor-length, powder-blue gowns were also made with custom laces.For the more low-key customer, Khan experimented with textural treatments, too; another dress featured silver and black sequins arranged in a tweed-like fabric. “For when you want to feel glamorous, but a little understated,” he said. “I just wanted the clothes to be realistic, wearable, modern, and fun.”
13 June 2024
With the 2024 Oscars coming up in March, it’s hard not to envision one of Naeem Khan’s signature glitzy gowns making a cameo on the red carpet next month—and this season, the designer’s offering of Hollywood-worthy dresses was certainly plentiful. For fall, Khan experimented with finding new ways to embellish his frocks with beadwork and sequins, choosing youthful finishing that gave his gala gowns a fun new feel. As always, it was the solid fabrications—in which each crystal or feather is placedjustright—that shined through.If Khan’s opening number were to be assigned to an A-lister, it would definitely be a Young Hollywood star. The bright red suit featured a cropped jacket adorned with full plumage. Fun! Feathers were used consistently as trim this season, lining the bust of pieces like a strapless purple gown with billowy sheer sleeves. Nobody cuts a sequin like Khan, though, and his strongest approach to disco ball dressing came via an ombré V-neck gown, which transitioned from black and champagne sparkles to larger, bright-gold paillettes. His checkerboard mini dress, in sparkling shades of blue and black, also had tinsel-like fringe at the shoulders and along the hemline—which, ahem, is the perfect cocktail dress for dancing the night away at an Oscars after-party. Maybe even with Dua Lipa.The designer’s appliqué work this season also had updates. Mainly, Khan was feeling for bold color; his long-sleeved, floor-length laces were done in sprightly blues or fuchsias.A more surprising addition this collection was the small assortment of suiting for men. As leading gents in Hollywood take more risks with their style, Khan had the elevated tailoring options for those who aren’t afraid to make a statement. His black tuxedo jacket with abstract splashes of black sequins felt like just the right amount of boldness, while keeping the overall silhouette timeless. The foray into menswear makes a lot of sense: In Khan’s world, everyone shimmers.
12 February 2024
Like many designers this season, Naeem Khan was drawn to the idea of stripping things back and toying with minimalism. “I needed a palate cleanser—like a sorbet after an amazing appetizer,” says the Indian-American designer. But simplicity looks a little different for someone who’s known for his extravagant eveningwear and heavy embroidery work. Instead of creating stark, neutral frocks, Khan experimented with finding subtle new ways to approach party dressing in his own way—putting emphasis on quieter colors and flourishes to let his craftsmanship shine.One way in which Khan refined his assortment was by zeroing in on a new architectural inspiration. He looked to “masters of modernism,” as he calls them, such as David Chipperfield and Zahn Hadid, to ignite ideas for sculptural designs. “I wanted clothes that were architectural,” said Khan. “Even with the ballgowns, I didn’t want giant volume. It was about keeping everything minimal—but minimal in my world, because I’m so over the top.” His floor-length, short-sleeved navy gown made use of raffia appliqué for a textural shape. “I love raffia because it’s organic,” he said. “We developed this technique in Italy where you actually sew the raffia in this abstract pattern. It gives me structure.”There were other colorful ideas in the mix, too. His silk halter gowns—in purple, red, and magenta—had shaped rosettes at the neckline, which provided just the right amount of drama. Turns out, they were an adaptation of a bridal gown he designed. “I did a rosette bridal dress in a blush color, and it was everybody’s favorite dress,” he said. LBDs, meanwhile, had Swarovski trims along the neckline and back. They were created with dancing in mind. “[The long gown] has got a little flare to it at the bottom,” he said, “so if you’re dancing, it swings when you move.”Sure, Khan’s glitzy dresses mean he’s sticking to his signatures, but there were technical innovations here. His sleeveless, champagne-colored column gown had intricate leaf-style embroidery all over it—all applied onto a comfortable (and unexpected) jersey fabric. “It molds to your body, and when you pack it from travel, you don’t even have to iron it, “ he said. Call it glamour on the go.
8 January 2024
Given his roots, it’s only natural that Indian American designer Naeem Khan chose to explore “a marriage between the East and West” for his latest spring collection. Nodding to India’s signature craftwork—beading and embroidery being two pillars of Indian design, not to mention a recurring motif at the house of Khan—the designer wanted to celebrate his culture’s contributions to fashion, while also attempting to modernize and innovate on its traditions in new ways.Khan did this best when he leaned in on popular Indian silhouettes and subtly updated them. Drawing from the sari, for instance, he paired a silver beaded crop top with a buttery yellow skirt—complete with a sheer shawl draped across the body. Another look—a sequined black bra top, paired with a gauzy skirt embroidered with stars and hearts—also had the draped shawl to match. Both looks felt youthful and fun without compromising the integrity of the original design.Other looks perhaps went a little too contemporary. A leopard-print bra top and leggings—all hand-sequined—felt forced, and the tulle overlay an unnecessary afterthought. The skintight jumpsuit, hand-beaded over a sheer nude underlay, would be tricky on anyone. But Khan’s technical hand is what infused these looks with something special. One almost needs to see his clothes in person to understand their splendor: His foiled-feather evening gowns and embroidered caftan-coats dazzled under the bright lights in a way that screamed one word: expensive. The majority of his pieces felt luxurious and had a weight to them—a proper way to celebrate his native country.
12 September 2023
Naeem Khan just celebrated 20 years in business, a milestone for any brand, but this resort collection seemed made almost on autopilot, with few surprises. “It’s not about a vibe,” the designer said, rather it’s “happy clothes that you’re going on holiday in.” When asked why one dress, pretty but unrelated to the rest of the lineup, was included, Khan’s answer—because he liked it—felt offhand. That’s his prerogative, of course, but it would be nice to see some editorial rigor applied here.It’s not necessary to whip up a narrative around a collection; in fact, it’s refreshing that the designer doesn’t do that. The story at this brand always revolves around fabrics and decorative treatments. This season, there were papier maché embellishments as well as the more expected raffia and fringe work. The printed pieces were made using reprocessed chiffons and cottons, and sequins were applied to jersey (versus mesh) for a smoother, more liquid fit. The monochrome pieces in gold were especially winning as they balanced simplicity with a feeling of luxury and kept the focus on the body as much as its decoration.
12 June 2023
Naeem Khan, who moved in Andy Warhol’s circle, knows from parties, but instead of hosting a big shebang to mark the first two decades of his brand, he focused all of his attention on the fall collection. That focus paid off: this was a strong, streamlined outing. “It’s my DNA of 20 years put with the times of today, that was the whole idea, basically,” said the designer backstage (after taking his bow with his dog.) “I wanted to pull out all the stops, and I just wanted what I do best… it has to be craft, just a lot of craft.”Indeed it was. Khan is the scion of a textile company and has access to extraordinary fabrics and artisans who seem to have magic in their fingers. This savoir-faire is precious and with a few exceptions the designer applied it judiciously. There was less fringe (a plus) and more lightness both in the beaded dresses and the fabric ones. (The material used for look five, for example, was semi-sheer and the dress seemed to float around the model.) Of course the feathered looks had a flutter all of their own, not to mention glamour to spare.Khan is of a generation of New Yorkers who used to go out and dance—Pat Cleveland was grooving in her front-row seat today—and the opening looks, dresses hung with metal medallions, had a movement and a music all their own. These were used to different effect on look 20, a sheer slip dress with beads and feather work. Even Khan’s mermaid dress (look 30) got a makeover; for fall it was rendered in emerald with built-out power shoulders. New for the season, and welcome, were evening separates that should attract new customers, allowing them to buy into part of the dream. Front-rows and sidewalks show us that there is an appetite for glamour. (Real Housewivesanyone?) It seemed ironic that Róisín Murphy’s song “Simulation” opened the show; in a world where real and fake are increasingly indistinguishable, the splendor of the hand work at “The House of Khan” (which was the signage that greeted guests), can only be described as mighty real.
14 February 2023
From a distance of 40 years, we should be able to look back at the OTT television showLifestyles of the Rich and Famouswith some irony. But, as became clear at the Naeem Khan show with its overflow crowds, “Champagne wishes and caviar dreams” has moved beyond satire and a hashtag (#Goals) to real life. Now that everyone has a camera (some travel with their own photographers) and plays to an audience of followers, all that’s missing is “Lights! Action!”“What is Fashion Week for?” someone asked before the kickoff of the New York shows. I don’t think there’s a single answer, but there’s no doubt that it is becoming ever more public facing. Fashion is not only big business, it’s entertainment. And in a phygital world, garments speak louder than words. If you are looking for capital-G glamour, Khan’s lavish designs cut through the noise, not for their silhouettes but for their handcraftsmanship from India and their adherence to an old-school idea of the high life and red carpet dressing, which is effective if not innovative.Khan has his own lexicon: use of fringe, Norman Norell–inspired sequined mermaid dresses, capes and dresses, floral embroidery. All were included in the spring show. Unfortunately the designer leaned on signatures that were not his own as well. An all-pink ensemble and dresses with bodices in the form of a swirling flower seemed plucked from Valentino’s playbook.What felt most signature were the raffia-embroidered pieces that opened the show—the use of a humble material for evening was interesting—and a floaty dress elaborately and meticulously “illustrated” with embroidered and beaded sea creatures. As major as Kate Beckinsale in the finale look was Khan’s use of diamanté crystal beads that sparkled on the body in such a way that would eliminate the need for paparazzi, since the flash was built in.
9 September 2022
Talk about global warming hasn’t put a kibosh on the resort destination show, which seems to have become a codified part of the fashion calendar. For resort, Naeem Khan played the idea out in reverse, instead of bringing people to the collection, he brought the collection to the people.The designer chose the Frost Museum of Science in Miami as the location for his first-ever resort runway, on which he worked with mostly local talent. Back in New York the day after the show, Khan said that sharks were swimming in a tank above the audience and that he used whale songs on the soundtrack. It all sounded very Bond, James Bond. The bead-fringed minidresses with cut-outs could easily play to that theme; likewise a series of bias-cut all-over sequin dresses.Khan’s stated theme was tropical, and this was best communicated in a series of ombre prints made in a fabric that used reprocessed fibers; he used hemp for pieces like the floral embroidered suit that opened the show. Seventh Avenue is coming up roses for resort, it seems, and the designer revisited the flower in prints. There were also “collectible” dresses featuring ribbon work and extensive beading. This collection felt like a greatest hits compilation—played for a new audience.
8 June 2022
To visit Naeem Khan’s atelier is to be reminded that casual is a relative term. What his clients wear to lunch, others might don for an important occasion, so it was interesting to see the designer take somewhat of a modular approach to evening wear this season. This collection was heavy on stretch sequined pieces. Among the dresses, which came in various lengths, there were shirts, a hoodie top, and leggings, which could be worn together or mixed into an existing wardrobe.The inspiration for these all-over sparkles came from the American designer Norman Norell’s mermaid dresses, one of whichMarilyn Monroe wore to accept her 1962 Golden Globe award. Khan offered more liberal interpretations, as well, featuring more densely layered sequins that were interspersed with feathers, which gave a sort of animality to the design.Khan is as much a businessman as a designer, and is focused on giving his customer what she wants. What changes season to season are the prints and the decoration. You don’t come to this brand for innovation, but for handicraft, and the references to Khan’s time working for Halston in the 1970s. (Fall’s connection was once removed; it was Halston’s admiration of Norell.) New in terms of technique was Khan’s use of a cashmere hand-stitched embroidery that had a dense, soft texture that perhaps could be adapted to—dare we say it?—separates.
15 February 2022
Naeem Khan isn’t trying to spin his pre-fall lineup; he’s open about it being designed for selling more than storytelling. And it’s an aspect of the business that needs attending to; sales are way up, according to the designer. Khan’s ready to have fun again, and so it seems are his customers, who are looking for special, if traditional, pieces in which to feel and look great.Women turn to Khan for the couture-like craftsmanship of the Indian artisans who work with him. That craftsmanship was notably on display in the opening look with raffia fringes and in the final grouping of dresses featuring filigree-like ribbon work. There are no surprises in this collection, except maybe that the most obvious, almost cliché designs—the dresses with beaded hearts—are selling well. The slightly more abstract fireworks pattern is based on a 1981 design Khan originally did when he was working for Halston, while the white flowers on two midnight blue numbers were inspired by Khan’s recent visit to Jaipur Palace. Doubtless, they’d make the wearer feel like a princess.
12 January 2022
Pretend It’s a City, the Netflix docuseries featuring Fran Lebowitz and Martin Scorsese that became super popular during the pandemic, evoked the glamour of old New York, real and imagined. Naeem Khan also leaned on a similar trope that went even further back in time when he chose to present his spring 2022 collection, titled The Matinée Show, at Sony Hall to the accompaniment of a live band performing jazz and bossa nova classics. Guests were seated at small round tables, as in a 1940s movie. “New York is always there [in my work],” said the designer. “All that glitz…”Khan played with Deco-era glamour a bit through his use of fringe, but in the main his work is aimed more at bombshell beauties (such as Veronica Webb, who was in attendance) than peppy flapper types. There were hints of 1970s Cher in some of the glass-beaded looks in black, which were, as always, exquisitely rendered. The overall mood, though, was of sunlit, seaside summers. “To me it was like taking a journey to Cuba or going to Italy,” said Khan. This getting-away-from-it-all theme was mainly expressed through hand-designed, proprietary prints, some of which steered dangerously close to those famously associated with Italian luxury brands.There were full-skirted ball gowns in the collection, as well as languorous caftans, but in the main, Khan stuck to the body-close and skin-baring looks that define modern red carpet dressing. Unexpected additions to the lineup included solid and printed hemp jeans. A note attached to the program exclaimed the sustainable aspects of this natural fiber. By promoting it, Khan says he wants to bring eco-consciousness into the world of eveningwear.Always ambitious, in March the designer launched a new venture. “What Christian Dior and everybody did with couture in Paris, I want to do that in America,” he stated.Khan is an envoy between several worlds: ready-to-wear and couture; India and New York (and, increasingly, Miami). The challenge, he suggested, is how to be true to all of them. “This is my signature,” he said. “This is what my family’s made for a hundred years. I have to be loyal to that.”
9 September 2021
Naeem Khan’s name has been cropping up frequently of late because Ewan McGregor shadowed Khan, a Halston alum, in preparation for his leading role in the Netflix docuseries. Having been there, done that, for resort Khan decided to turn his attention back to his own life in fashion. “Making sure that you remain true to what you do is important to me,” he said.The silver pieces in this collection are made of the real thing and have a connection to Khan’s memories of visiting factories as a boy with his grandfather and seeing sequins created one-by-one by hand from silver and gold. Khan used this metallic bling on several pieces including a dress with a similar shape to the one he created for Mrs. Obama when she and the president welcomed the prime minister and first lady of India to the White House.The one Halston-era bit of nostalgia doesn’t read as one. The floral on a flouncy black and white caftan is akin to one Khan drew in his Halston days when Andy Warhol was in the studio. “I was drawing these flowers for Halston because I was making the embroidery designs [for] him,” Khan recalls, “and Warhol said, ‘Let me show you how to draw.’ So he and I sat down, because he had done the poppies…. So these are my poppies that he and I had drawn; different, but similar.”Whereas Warhol’s silkscreens register things in a way that’s intentionally a bit off, with Khan’s designs what you see is what you get: straight-up evening glamour. The designer is known for making up traditional silhouettes in extraordinary fabrics and with exquisite surface decoration. Among the standout pieces in this determinedly “maximalist” and made-to-party collection were actually the jumpsuits. There’s one in a knockout red, and a metallic number with a detachable apron skirt, a new-old piece that popped up at the last round of couture shows.Also of note is a pretty three-quarter-length brocade dress with a corset top and peplum accenting a fuller skirt. It carries a whiff of 1950s haute couture, yet it’s also sort of Carrie Bradshaw—and very fresh. The peek it gives of the lower leg speaks to ease of motion and getting back into the action. Plus there’s an added bonus, according to Khan. “I mean, everybody has great ankles,” the designer said. “I find ankles are so sexy.”
14 June 2021
There’s an odd stillness to the photographs of Naeem Khan’s fall collection that somehow calls to mind the designer’s collection of Andy Warhol’sDiamond Dustpieces. Warhol’s series, depicting high-heeled party shoes, grew out of a commission from Halston (the designer Khan moved to New York from India to work with). Technically they are still lives, but as their title suggests, these shoes are also transportive magic slippers.TheDiamond Dustseries might serve as a metaphor for Khan’s work: the creation of sparkling dresses for a glittering clientele who presumably are not prioritizing comfort, or sweatpants. “There are women who love glamour, who cannot live without glamour and they socialize, even though it might be restricted,” the designer said on a call. “They want to look fabulous because dressing like this makes you happy and it gives a certain feeling to life.” Nice work if you can get it.Despite Khan’s assertion that “this collection is actually based on reality, where you just make beautiful things for the situation,” his showstopper dresses might look a bit out of this world to people who have no foreseeable plans to party. Still, their craftsmanship allows them to be appreciated, in the manner of objects, or artworks, behind glass. Each piece is made of sumptuous materials and elaborately embellished—this season with floral motifs, golden lace, and layers of beaded fringe. Though you can’t make it out in the pictures, every look comes with a silver lining of sorts: Work for a skilled artisan.
16 February 2021
Naeem Khan believes in the magic of beautiful clothes. “We all want to feel fabulous,” he said via Zoom from his garment district studio. Khan does have a point, even considering the uncertainty about what the next several months will bring with the election and the pandemic. People are reemerging here in New York. Post-quarantine, Khan has been enjoying intimate gatherings at his home and joining his well-heeled friends for fun alfresco dinners in Manhattan. He is hopeful we’ll all find reasons to get dressed up again, and as a designer he’s ready to help outfit those eager to dive headfirst back into glamour. In fact, Khan noted that his custom business has grown steadily over the last few months, with private clients requesting couture pieces for upcoming weddings and private events, whenever they happen.And so Khan’s spring 2021 collection isn’t short on dazzle. He revived some of his classic, Halston-esque silhouettes like tunic gowns and body-hugging sequined halter dresses. Other standouts included his ball skirt-jumpsuit-hybrid look, as well as simple, monochrome slip dresses worn with intricate hand-beaded tops and jackets. He stuck to mostly jewel tones, with some leopard prints and sparkly star embroidery mixed in. These, he said, are the clothes “my woman wants from me.”
15 September 2020
Naeem Khan had a very special guest at his fall 2020 show last night. Backstage, which was actually a futuristic-looking screening room inside the designer’s Zaha Hadid–designed apartment building, Khan was sitting close to actor Ewan McGregor, who was listening to what Khan was saying with great intensity. It turns out that McGregor was indeed there to learn from Khan, as he’s about to start filming a new limited series for Netflix about the life and work of Halston titledSimply Halston.McGregor is starring as the iconic American designer, and for him, Khan holds the key to a breadth of insider information about Halston’s life, career, and the way that he worked day to day. As McGregor said, “I’m here to observe, to feel this energy, and to see how this all works since this isn’t my world.” Khan often talks about the years that he worked alongside Halston, a time period that began in 1978, when he moved to the U.S. from India, and ended toward 1981, when he launched his own fashion house called Riazee. As a young designer, Khan was, and of course, still is a skilled embroiderer, but during his apprenticeship, he learned the art of construction and draping, which were techniques that Halston himself was known for.This season Khan once again paid homage to his mentor Halston, but also said that the fall 2020 collection is “my thank-you to America for when I came here to work and learn the craft at 18, and for the opportunity to build my own business over the last 30 years.” He added, “People are leaving New York, and I want to stay in New York and continue to make beautiful things. These are clothes that will live in a woman’s archive and be passed down from one generation to the next.” Indeed, the gowns and separates shown last night are investment items: hand-embroidered, sheer, and body-hugging beaded gowns; sequined star-spangled evening pajamas; and leopard tops decorated with billowing capes. This latest outing from Khan did feel more personal than anything he’s done in recent seasons, not only because of the Halston homages but also because of the way he represented his dedication to craft and hard work. His designs are for those who always want to make a statement, women who are modern versions of Elizabeth Taylor and Bianca Jagger, both of whom he spent loads of time with during the Halston years and gleaned a lot of his aesthetic from.
Khan was visibly proud to be telling his story to McGregor and proud that Halston’s legacy, the good and the bad, would live on in the new bio series. Khan won’t budge on his point of view, and he is working tirelessly to continue running his business the same way that he has for the last three decades, but with more focus on ready-to-wear separates and slightly less on red carpet couture. That might become trickier and trickier as the fashion industry tides continue to turn at a rapid and dizzying pace. But Khan is a great big bedazzled example of the American dream, and there’s no doubt his star will continue to shine long after the next collection lands in stores and his longtime friend and hero is streaming on Netflix.
12 February 2020
This season, practicality was top of mind for Naeem Khan. Practicality in his way, that is: Intricate embroideries, shimmering embellishments, and slinky silhouettes were still very much a part of the story. But Khan wants to keep growing his business and that means appealing to today’s changing customers. Everywhere you go, from the Middle East to the U.S., versatility is key now.That means giving clients new versions of their favorite Naeem Khan slips and disco-inspired jumpsuits, which travel well and can be mixed and matched with everyday sweaters and jackets. Khan showed sequined and printed tops and sharp palazzo pants too. A floral embroidered coat was a nice addition to this slightly more everyday offering. All this said, his evening gowns are the main attraction. No surprise, the vibrant array of options was his most diverse yet.
15 January 2020
Bridal design is a sweet spot for Naeem Khan. With wedding dresses, he’s able to focus solely on his intricate techniques, his beautiful handwork, and his penchant for glamorous, statement-making eveningwear. His brides prefer a body-conscious or voluminous silhouette, always with beading, crystal embellishments, and feathers. While his Fall 2020 collection had hints of his fan-favoriteflou, it also looked decidedly cleaner. Khan focused his efforts on editing down his offering and incorporating new pieces inspired by ready-to-wear, like a lightweight sequined long-sleeve top and matching pants and a halter jumpsuit. He also introduced a series of little white minidresses, a few of which were punctuated by fringe.In the details and cuts, the gowns and separates nodded to Khan’s time spent working with Halston in the ’70s. He often goes back to that point in his career, and while it’s become a bit redundant in his main-line collections, here it felt refreshing and wearable. The idea was to give a bride a complete wardrobe for her entire wedding celebration, from the rehearsal dinner to the after-party to Sunday brunch. Khan succeeded in doing so while still maintaining his masterful couture touch. The gowns were lovely—some with subtle embroidery on sheer tulle, others with floral appliqués and delicate beads—and will appeal to women beyond Khan’s usual clientele of brides who love to make an entrance.
14 October 2019
In 2016, the world lost one of its most visionary architects: Zaha Hadid. Known for her deconstructionist, space-age style, Hadid built the Guangzhou Opera House in China, the National Museum of 21st Century Art in Rome, and, in 2004, she became the first woman to receive the prestigious Pritzker Architecture Prize. She was many things to many different people, but to designer Naeem Khan, she was a very dear friend. His spring 2020 show was dedicated to her and her legacy, which is why he decided to stage his runway inside the lobby of a residential building she once designed in the Chelsea neighborhood of Manhattan. Khan was proud to point out that he lives just upstairs in one of the sleek, curvilinear apartments. “I wanted to do something more personal, salon style,” a relaxed, T-shirt-wearing Khan (he’s usually in a sharp suit) said backstage. For him, this season was about nostalgia and remembrance: of Hadid, of his days designing along Halston, of the era in fashion during which show intimacy outweighed a large and glossy front row.But Khan referencing the past is nothing new. The majority of his designs—the sparkly fringe minidresses, the slinky, sequin slips and gowns with hoods—are still closely bound to the aesthetic he built during his Halston days. That’s not to say they aren’t relevant, because they certainly are. Someone like a Bella Hadid or an Emily Ratajkowski would look fantastic in his body-hugging black sequin gown with a deep V-neck and padded shoulders. The same can be said when you imagine 2020 women like them wearing Khan’s liquid fuchsia silk dress. As per usual, Khan’s handiwork with beading and embroidery was stunning. This collection was clearly a very touching and personal one for Khan, and even if it could have used a bit more evolution away from the past in terms of point-of-view, it felt unapologetically like him—something that his fellow bold and fearless creative friend would have been very proud of.
11 September 2019
In the past, Naeem Khan has designed megawatt, over-the-top, sequin-drenched red carpet looks. This season, the collection had a more subdued and elegant attitude. Here were yesteryear-feeling pieces, looks that appeared as if they were plucked from a vintage store in Paris, like a slinky, body-hugging oxidized crimson dress embroidered in abstract florals (Khan wanted to shift from dainty flowers this season) with a dropping back. Separates, something Khan is developing more, had a shining moment, like his version of the shawl. The collection could have veered into dowdy territory but the delicately embroidered piece with swinging fringe and its cropped cut lent a cool figure when worn with a silk tank and drawstring pants.Fun fact: Khan started his career at the house of Halston, and here he created several dresses as an ode. They still stand the test of time and looked quite chic, including a glitzy body-hugging purple number with a criss-cross neck.Khan always has his international customer base in mind, and a big moment here was the update on the kaftan. There were added seams in the fabric that outlined the body to create a kaftan-dress hybrid, a feature that merged tradition and modernity quite beautifully.
15 June 2019
Naeem Khan’s global wholesale director Marco Cattoretti was on hand to give the presentation for the label’s Spring 2020 bridal collection today. He began by talking about a story written byVogue’s Emily Farralast week, which discussed the need for a more modern bridal market in 2020, one that speaks to women who want to get married in something that feels empowering, not princess-y. Cattoretti said they’re laser-focused on this concept at Naeem Khan. This season, there was certainly less embellishment than in the past, and fabrications felt lighter, too, both of which added to his vision of a strong, stand-on-her-own kind of woman, no extra fluff required. The delicate embroideries and hand-stitched veils offered a subtler take on the designer’s typically dazzling—bridalwear.Sheer long sleeves and low V-necks were a nice update, as were the slimmer silhouettes: Skirts were neither too billowy nor too voluminous, with just the right amount of ethereal float. All of Khan’s pieces were still wildly romantic, which did nod to the storybook wedding aesthetic. That said, he also incorporated a few sexier pieces, including a riff on a Halston-inspired slip from ready-to-wear and a few playful minidresses for the after-party (and after-after-party).As far as Khan’s evolving approach to bridal, it wasn’t that the dresses felt particularly modern. Where Khan succeeded in refreshing the old codes was in this collection’s versatility: There were traditional dresses, flirty dresses, and dresses that were meant to show off your curves. The most modern aspect was that sense of choice, which is what the millennial bride is really looking for these days.
17 April 2019
The story of Naeem Khan’s Fall 2019 show should really begin with its finale. Just as everyone thought they’d seen the last look, out came three surprise models: Pat Cleveland, Alva Chinn, and Karen Bjornson. They were once a part of what was referred to as the Halstonettes—Roy Halston’s muses in the 1970s. Khan apprenticed for Halston back in the day, and it was during his time in that studio working alongside the legendary designer that he learned his craft. The collection he showed today, like many of his collections, made nods to his former mentor through the draping and the figure-hugging dress silhouettes.Backstage, Khan articulated that the politically and socially charged times we’re living in now mirror those of Halston’s ’70s. It seemed like he was trying to balance then and now, both in his heart and in his mind. He didn’t elaborate on the state of the world too much, but seeing him walk the runway with Cleveland, Chinn, and Bjornson it was plain to see that he misses those good old days, though of course he’s still moving forward and evolving his brand.As far as the Halstonettes were concerned, time is standing still. They all looked flawless in their spectacular stretch sequin gowns. The rest of Khan’s offering this season catered to a younger crowd, one that spends money on luxury but likes to pair it with a pair of jeans from H&M or Zara. The designer was quick to point out that 80 percent of the collection this season was separates, including embroidered vests, trousers, and sequin print blouses. His black, gold, and silver deco beaded jacket would look fantastic with a plain t-shirt, as would a cool velvet blazer.Khan also infused some of his heritage in the collection, mainly via the floral embroideries and vibrant color palette that called to mind the landscapes of India where he was born. His signature eveningwear didn’t disappoint either, especially when it came to the very Halston-esque jersey cross halter gown and a pink feathered mini dress with crystal embellished straps. It all felt like a mash-up of Khan’s own timeline: his past, his present, and a little bit of both taking him and his brand into the future.
13 February 2019
Designing this Pre-Fall collection Naeem Khan was focused on the fact that a travel-ready wardrobe is of high importance to his well-heeled clientele once the warm weather hits. His new outing includes sleek, packable black sequin gowns and caftans made with silhouettes that fit tighter to the body than usual. Khan wanted to be conscious of all the summer weddings and parties that women are attending, and he did so with his usual flair, but without a lot of heavy embellishment.There was a striking, sheer long dress embroidered with flora and fauna that felt soft and feminine rather than shiny and glamorous. A pair of silk drawstring trousers were a lovely addition, especially considering their versatility. These pieces can be styled for both daytime and evening. Of course, Khan also showed a selection of black tie–appropriate gowns and his most popular silhouette: a hybrid of pants and a floor-length ball skirt.
18 December 2018
For Spring, Naeem Khan mined his personal history. He went back to his first years in New York after emigrating from India and eventually landing an apprenticeship with Halston during the late 1970s. Khan remembers that period fondly, and this season he took inspiration from the glamazons that made the most of the basement and booths at Studio 54, as well as the melting pot of colorful city folk he encountered when he first hit Manhattan. Backstage, he also talked about Truman Capote’s Black and White Ball, Babe Paley, Katharine Graham, and the Mudd Club.Khan was throwing out a lot of different eras and different styles, from the tight jersey dresses Halston made famous to the ball skirts worn to casual dinner parties by Paley. But he managed to squeeze everything into one very bold, very dance party–worthy collection. It felt younger and perhaps a bit more fun-loving than his previous outings. Pieces like the black one-shoulder jersey gown and the sheer slip dress with white palm leaf embroidery were made for a modern-day Studio 54 denizen. The beaded minidresses were lively, too, and will no doubt dance their way into the closets of Khan fans like Carmen Electra and La La Anthony.Khan noted that much of the draping and tucking on the dresses and separates nodded to his Indian heritage and the traditional sari wrap technique. This was a nice touch for him to include, and it did look fantastic when applied to the jersey pieces. He went offbeat in a few places, though, such as the butterfly motifs and fringing on a bright yellow mid-length skirt. Khan kept alluding to the fact that he wanted to make dressing up easy for his younger clientele, and he tried to do so by adding a sheer, embellished black T-shirt to a lineup of dramatic ball skirts. Overall, the collection had a little bit of everything from every era and seemingly every famous nightclub there ever was. Too much at times? Maybe, but playful nostalgia is what Khan does best.
11 September 2018
For Resort 2019, Naeem Khan delivered a little bit of everything. There was plenty of eveningwear, of course. This time, the slinky gowns appeared to be more simple than in the past, coming in solid jewel tones, like emerald or sapphire, and animal prints. A sleeveless top and wide-leg trouser set was one of the more sassy-chic choices in the animal print group. (The only time the print appeared to be a bit much was when it was mixed with zebra.) It’s worth noting that while Khan often loves a sequin, he is also great at producing more delicate but still intricately constructed pieces. This was best displayed in a white, hand-embroidered blouse with cuffs boasting a tiny checked pattern.Like many designers who have long leaned into red carpet dressing, Khan is opting to produce more dressed-up separates. He’s finding that many of his customers, whether in the Middle East or in the United States, are mixing and matching his sparkly tops and jackets into their evening as well as daytime wardrobes. An argyle top that was outlined in a silver micro-beaded fringe is something that will have Khan internationally covered in terms of a red-hot separate.
14 June 2018
Naeem Khan lives to dress the party girls. Thanks to his penchant for a crystal-encrusted minidress or a heavily embroidered jumpsuit, his collections always have an element of dance-’til-dawn fun. The same is true of his bridal designs, and this season, he upped the ante on the idea of outfitting a wild, carefree woman for her walk down the aisle. During the prep for his Spring 2019 presentation, Khan said his latest wares are for “a rock-star bride.” That meant more embellished jumpsuits, one of which came with a detachable ball skirt; loads of fringe; an iridescent long-sleeved gown with a hood; and yes, a cool mini decorated with mirror embroidery.Khan did include some gowns that were more traditional, too, and he was smart to do so. In his bridal collections as well as his main line, he is a master when it comes to giving his customers a wide variety of choices and interchangeability in their wardrobes. But the most interesting looks were definitely the ones that brought loud beats and endless glasses of Champagne to mind. Khan’s bride is glamorous, poised, and feminine, but she’s also a woman who loves nothing more than to have a good time and to look amazing while doing it, especially on the most important day of her life.
17 April 2018
What if Lady Liberty wore a velvet tracksuit? What if it came with feathers on the hood and sequins on the back? In Naeem Khan’s America, this is exactly how she’d greet newcomers to our shores, resplendent in her 6-inch Louboutin platform pumps. As a designer, Khan never misses the opportunity to show glittering, over-the-top drama on a runway, and this season it was in full effect. Just as the collection ended with that rich, sparkly tracksuit, it started with various iterations of the same. Zip-up jackets and drawstring pants were hand-embroidered with sequins and lace. Then came a jumpsuit with a Deco beaded deep V-neck and long sleeves. A gold embroidered animal-print coat, a lamé bow blouse and matching pants, and a cape and satin bustier followed. It was sexy and vibrantly colored, and overall a little too much. That’s what Khan’s crowd wants, though. They want to make an entrance with the crystals and taffeta and fantastical ball gowns. His woman may be highly ornamented, but still, she’s furiously strong and confident. This was who Khan wanted to bow down to for Fall, specifically the ladies in his personal life that are, as he said, “strong, independent, motivated, and beautiful inside and out.” This designer is one who is bold enough to turn the Statue of Liberty into a glam-leisure poster girl, and while that may be a questionable move, there’s no denying that Khan’s intentions are pure—he loves to make clothes for women who want to stand out.
13 February 2018
Naeem Khan is known for his glamorous sensibility, and his Pre-Fall collection proved no exception to the rule. One body-skimming gown came with silver beading that replicated bursts of fireworks, and another head-turner, with a sheer back, was embroidered with pale pink sequin stripes. These aren’t just embellishments for embellishment’s sake, either. On one dress, the waist was tightly embroidered with a raffia band, making for a pretty, cinched-in silhouette that drew the eye toward a whittled mid-section.The designer applies his attention to detail to more everyday separates, too. One standout included a black sweater with red and pink finely threaded floral appliqué that crept up to the scoopneck collar. (A more nighttime-appropriate version was equally stunning; the coat boasting the same floral design had each petal meticulously outlined with embroidered sequins and beads.) The biggest hit here was a pair of wide-leg track pants that were coolly elevated by a simple stripe of velvet. Stay tuned: Khan says he’s working more in this pared-back, casual direction going forward.
20 December 2017
Naeem Khan has long been inspired by the idea of a global woman, often referencing different cultures from around the world in his collections. This season, his wedding designs had an elegant, international flair, but also notes of the ’50s and ’60s. An embroidered jumpsuit with a plunging neckline looked vaguely retro, and there were options for a more traditional bride, like the ball gown with floral appliqués coating the skirt and bust.Khan’s standouts were the more outré pieces, including an asymmetrical, off-the-shoulder gown with floral embroidery lining a thigh-high slit, and a strappy gown with a skirt made of five tiers of raffia. There was a fun moment here, too: At the end of the show, the models danced out to disco music in kicky metallic dresses. “What happens when you get married? You don’t want to stick around in the same gown,” said Khan backstage. “It’s the idea of showing a couple different dresses so you can change during your amazing occasion.” Wedding season or not, those flashy numbers will be red-hot sellers.
9 October 2017
Oh, the drama! Naeem Khan is never one for subtlety, and this season was about pumping up the volume even more on his opulent designs. The Spring collection came with a ton of looks on the runway, though Khan said backstage that he originally had upwards of 130 pieces that he’d struggled to edit down. It was all part of the show, however, one that featured aSwan Lake–esque set with a fog machine and pounding music. In the front row, the always-fabulous Paula Abdul smiled and bobbed her head to the beat. Just down the row was formerLaguna Beachstar Kristin Cavallari. Now these may seem like odd bedfellows to find at a fashion show, but in a way they represent the spectrum of women who buy Khan’s clothes in the first place: the established icon who likes to try on a daring red carpet gown and the young, successful Hollywood personality who needs pretty bejeweled dresses for galas and hosting events.This time around, Khan showed clothes for both of those customers and more. He was mainly inspired by famous Russian dancer Anna Pavlova, but also by a recent tropical vacation he took with a good friend who happens to be a princess. Go figure. With Pavlova and that sunny paradise in mind, the designer created ballerina-on-holiday–appropriate looks like drop-waist strapless dresses and tutu skirts made from tiered and fringed raffia. It was a dreamy lineup, but it was peppered with more wearable items, too, such as the white trousers with black striping down the sides and the striking black-tie version of a pajama set. The bouncy tea dresses and dazzling beaded and embroidered gowns eventually gave way to that finale moment of Khan pizzazz: an embroidered ivory ball gown with tiered raffia fringe. Even with a Spring collection that catered to those like Cavallari and Abdul and nearly every woman in between, that last look reminded everyone that no matter who he’s dressing, Khan is always a romantic—and a great showman—at heart.
13 September 2017
Naeem Khan attended the CFDA Awards with catwalker Josephine Skriver. The Victoria’s Secret model wore a glittering pantsuit with a lingerie top from the designer’s Fall 2017 collection. A few days later, she wore Khan again to the Country Music Association Awards. Khan was also the fashion sponsor of the New York Botanical Garden’s Conservatory Ball, which was an inspiration for his current Resort collection. “The whole idea came from my support for the Botanical Gardens, nature, and what is happening in our world,” said Khan of his collection. The floral theme played into his signature red-carpet and black-tie pieces. There were the expected body-skimming gowns, this time chock-full of embroidery at the bust and full skirts that start at an empire waist. Among the cocktail options, there were two floral-print dresses, long and short. Both looks were pretty and easy—no-frills sells that could appeal to clients young and old.Like many designers known for their high-wattage eveningwear, Khan has been branching out into daywear and trying to include more separates. A good example of the shift is the look that included an embroidered floral décolletage-diving top—a motif that dotted his Spring 2018 bridal collection—which was styled with a long white skirt. The top, now shortened, could easily be paired with black trousers, or, if the wearer cared to, jeans. It’s the type of glitzy statement piece that would appeal to Khan’s younger targets like Skriver and perhaps her high-flying model friends. Let’s see if another Victoria’s Secret angel scoops up one of the designer’s looks in the near future.
19 June 2017
Naeem Khan doesn’t think about red-hot trends when it comes to bridal. Instead, he focuses on what his international brides really want. With that in mind, there was a wide variety in his Spring ’18 collection: A bedazzled, flapper-esque number looked fit for the modern, outré bride, while a drop-waist gown with an embellished bodice and ostrich-feather skirt might resonate with more a sultry type. Other gowns were classic with a romantic twist, like the lace A-line dress with angled, fluttered sleeves, which added a pretty touch.Khan also included a shimmering, caviar-beaded jumpsuit, but he didn't necessarily intend for it to be worn down the aisle. “The idea is,Who is this woman who wears my clothes?She’s fashion-conscious, she travels, she obviously wants multiple wares,” Khan said. “She wants to get married in an important dress, and then she wants to change for the rest of the evening.” Even if the relaxed jumpsuit wasn’t Khan’s idea of an altar-ready look, it would make a sensational choice for a certain easygoing bride.
22 April 2017
Spring 2017 saw Naeem Khan angling toward a younger, more contemporary crowd and for Fall, he went all the way with his new slightly sexed-up millennial woman. The show opened with three embellished pajama looks worn open with sheer lacy black bras by Anine Bing, followed by a silky black bomber jacket and velvet drawstring pants. With La La Anthony, Hannah Bronfman, and a few tricked-out bloggers in attendance today, it became apparent right off the bat that Khan was attempting to morph his elegant red carpet maven into a social media–savvy, street style starlet.The motifs and silhouettes didn’t come with as much flounce or flutter as we’re used to seeing from the glam-minded designer. There were mixed leopard and floral prints, a beaded fringe mini, body-hugging midi dresses, and barely there jumpsuits. There didn’t seem to be a through-line as far as a narrative was concerned, but the show did end on a prevailing note. As the music stopped, Maya Angelou’s voice filled the show space. A recording of the poet reading her work “Human Family” accompanied a single model walking the runway in a regal ball gown accessorized with an opulent golden flower crown and veil. Think Beyoncé at the Grammys—a finale look that was powerful, beautiful, and enough to make the front row swoon while Snapchatting up a storm.
14 February 2017
There was something a bit more youthful than usual aboutNaeem Khan’s Pre-Fall 2017 collection. Maybe he’s become inspired by a certain kind of contemporary young woman, even those close in age to Sasha and Malia Obama, both of whom he dressed for the First Family’s final Christmas card photo this month. More to the point, the designer is “feeling very strongly about separates” and “creating very wearable clothes,” as he put it in the showroom—but those that still feel like his signature riff on classic couture. The ubiquitous industry termsee-now-buy-nowwas one Khan used several times, especially when describing looks such as a cashmere sweater and ball skirt pairing, or off-the-shoulder lace blouses and fringe jackets, of which he also said “any woman could wear with a pair of jeans that is already in their closet.”Khan may have pivoted toward more retail-friendly designs this time around, but he certainly didn’t back away from the bread and butter that is the red carpet–ready, drama-filled evening gown. Most eye-catching of this bunch was the tea-length tulle dress with a hand-beaded bodice, as well as a halter gown embroidered with small silver and red dots that looked like slinking waves when zoomed out. There were also plenty of watercolor florals, ranging in hue from black and white to yellow and dark green, the latter of which decorated an evening dress accentuated by a plunging neckline and black crochet detailing at the waist and on the sleeves. It was all certainly intended for a slightly cooler member of the glitterati, but nonetheless, Khan’s quintessential glitz still managed to, quite literally, outshine the rest.
13 December 2016
Naeem Khanalways has an international bride on his mind. “My bride is in Spain; she’s in Moscow!” he offered backstage this season. The gowns ran the gamut of homeland inspirations. The opening number was a fit for an Eastern European matrimonial affair: The short fit-and-flare dress came with matching white floral appliquédcuissardes. That reference to Spain continued with a gown tiered with fringe that was reminiscent of a traditional Spanish shawl, while its bustline was dotted with strings of pearls.The traditional pieces here were quite pretty, like a sleeveless gown with latticework on the chest; a long-sleeved style was embroidered with sterling silver spangles. There was a shocking pop of color, too: Khan’s last two dresses came in canary yellow, their bodices decorated with floral appliqués—a look for the statement-making bride, no matter where she hails from.
10 October 2016
Given his propensity for embellished ball gowns and his mastery of embroidery, it’s easy to forget that Naeem Khan actually cut his teeth as a designer atHalstonin the ’70s. Spring 2017 was a reminder of that fact. Drawing upon his experience under the master of American sportswear in the days of disco, Khan opened his show with a series of slinky gowns cut on the bias. It was a departure from his usual outings, but mostly a welcome one, and Khan is one of the few designers who can lay claim to a piece of the Halston heritage. The one-shouldered gown with billowing cape was particularly successful; others, like the monochromatic parachute dress felt like a slight reach for the brand. Many of these looks came in a refreshing palette of red, blue, black, and white—a color combination that appeared intermittently throughout the collection, including on a handful of crochet gowns and a joyful, voluminous ball gown.But this is a Naeem Khan show, after all, and the early, streamlined looks gave way to embellishment and embroidery, sometimes ingeniously combined, as on a hand-embroidered floral gown that had a layer of tulle hand-beaded with sequins. These, and the romantic bohemian embroidered gowns at the end, were some of the highlights. No doubt we’ll be seeing these on the backs of A-listers soon—perhaps even at the Emmys this weekend. But Khan, who has already pretty much conquered the red carpet scene, also included a few separates that might suit (well-funded) commoners, such as an embroidered blouse with poet sleeves that, the designer pointed out, would look beautiful with jeans.
14 September 2016
Last Fall,Naeem Khanhinted that a couture show in Paris may be in his future. Considering July’s couture calendar is more crowded than ever—new additions this season include Khan’s peersJ.MendelandGiles Deacon—it wouldn’t be a surprise. For Resort, he put those ambitions temporarily on hold and ventured into opposite territory: daywear. He’s done beaded sweaters and embroidered separates in the past, but never quite to this extent. To wit, a pair of sheer, off-the-shoulder blouses covered in Khan’s signature embroideries were styled with shorts.As expected, there were plenty of glimmering red-carpet gowns on display, but like those cold-shoulder tops, the best ones were a little unconventional. For instance, a simple black tulip-hemmed dress was paired with a sparkling jet-beaded blouse; it functioned as an evening jacket, but would look even cooler with jeans. (The November ’88 cover ofVoguefeaturing Michaela Bercu in a $10,000 jeweled Christian Lacroix sweater and acid-wash denim springs to mind.) As for the holiday party season—this collection will arrive in November and December—Khan’s customers should skip his traditional columns and pick up the graphic, color-blocked jumpsuits instead.
17 June 2016
Naeem Khan’s native country of India has recently enjoyed its fair share of limelight thanks to his designs:Kate Middletonjust wore one of his dresses on a tour of the Taj Mahal.Khan’s Spring ’17 bridal collection likewise tapped into his homeland. The most standout features, floral appliqués, were crafted in a traditional Indian manner but modernized in different hues. Those pretty petals were seen on everything from classic, no-fail designs, like a slinky halter number, to a confection of a gown with a drop skirt. For the modern bride, Khan proposed a refreshing idea in the form of sparkling embroidered leggings paired with a tunic.
19 April 2016
Naeem Khanhas always dreamed about doing couture in Paris; Fall 2016 was his audition. “I’m practicing,” said Khan backstage. “My family has been making embroideries for over 100 years—I’ve all the facilities to do [couture], so why should I not? I think I’ve honed my skills. I’m ready for it.”That confidence came across strong in this season’s metallic beaded gowns, each of which must have contained thousands upon thousands of sequins carefully sewn into dazzling patterns. The collection was inspired by Art Deco—specifically the architecture you see on the streets and skyline of New York City. “Anytime I’m driving by or I’m at somebody’s penthouse apartment, I see these amazing jewel rooftops and I say to myself, They really look like embroideries,” said Khan.The inspiration translated beautifully into silver sequined looks—capelets and maxi capes and thigh-high boots—which unmistakably recalled the Chrysler Building’s glittering facade. The gold sequin looks, equally strong, borrowed a little inspiration from the fashion of the Deco period, with tiers of flapper-esque beaded fringe. On the other hand, the velvet appliqué dresses—while beautiful—didn’t quite fit the theme, and Khan could have benefited from editing them out, particularly because everything else was so spot-on, right down to the shoes and evening bags. The latter, by the way, was a first for the brand: They were laser-cut, 3-D-printed embellished with Art Deco–inspired patterns—proof that Khan, who specializes in Old World hand-embroidery, isn’t opposed to making use of technologically advanced practices.As for Khan’s Paris dream—it might soon be a reality. The designer said he would be meeting with the Chambre Syndicale de la Haute Couture tomorrow. “It’s just a conversation at this point, though,” he clarified. Stay tuned.
17 February 2016
With awards season almost upon us, stylists are no doubt sniffing around the Pre-Fall collections for red carpet options to bring to their star clients. They’ll find plenty to work with inNaeem Khan’s latest outing, which was rife with all sorts of embellishment—from laser-cut silk flowers hand-sewn on frothy sheer gowns to intricate beaded floral designs and boldly colored embroidery.But despite his red carpet–ready gowns, Khan says he doesn’t necessarily design with actresses in mind. “My primary focus is retail because that’s where the business is,” he said, adding that his client base in the Middle East is particularly important. “It’s almost 30 perfect of our business, we cater a lot to the royalty there.” That means that, in addition to gowns better suited to a lithe 20-something starlet, the collection also provided options for women of a certain age who don’t necessarily have a personal trainer and celebrity chef to get them camera-ready. These were the gorgeous—and forgiving—embroidered caftans and long-sleeved gowns, and, incidentally, they were his best work. On the other hand, his plays for a younger customer—like a body-con black gown with sheer inserts—felt a little forced.The caftan, in particular, is important to Khan—and very popular with his Middle East clientele—and this season the designer did a version that was more of an evening coat, allowing for even more versatility. Similarly, an off-the-shoulder top could be worn with jeans or tucked into a voluminous skirt for evening.
17 December 2015
The seed forNaeem Khan’sSpring 2016collection was first sowed in Mexico, where the designer hosted his wife’s 60th birthday party. The theme of the three-day event was centered around Frida Kahlo, and guests were encouraged to come dressed the part, flower headdresses and all. That idea carried him on a trip to the Mediterranean, where his fascination with flowers bloomed. Dresses in bougainvillea pink, lilac, and marigold floated down the runway, and some of the most successful looks referenced that influence, including a gorgeous lemon floral-beaded caftan gown.Khan was also thinking of muses like Grace Kelly and Sophia Loren; echoes of styles worn by both could be seen in the wasp-waist, full-skirted ball gowns. A lilac gazar number with rolled bateau neckline particularly recalled Kelly—we’ll surely be seeing that one on the red carpet soon. Princess gowns have their place, as Kelly more than proved in her lifetime, but Khan would do well to curb his appetite for embellishment here. A dress with a bustier emblazoned with a large glittering heart, for instance, verged into Disney heroine territory.That embellishment worked best when its design wasn’t so overt. Backstage, Khan said that 600 people worked on the collection; up close, each gown was clearly a masterpiece, so it was disappointing when the message became slightly muddled on the runway. The sky-high platform heels seemed another misstep, particularly as models struggled not to trip over the delicate skirts. Khan has already proven his skill at creating gorgeous, red carpet–worthy gowns; the designer doesn’t need to dress it up so much. In fact, as happened with a few looks, the extra fixings detracted from the main course.
16 September 2015
There's no telling when inspiration will strike. Naeem Khan loves to travel, and his Resort collection reflected as much: pink-and-red Japanese embroideries on silk faille, embellishments reflective of the Ottoman Empire on a square-collar smoky blue gown, and Indian mirror work on a boxy crop top and matching dirndl skirt. "A vision of exotica," as he put it. But it was in the Tampa, Florida, airport, of all places, where Khan sketched some of the collection's most beautiful pieces, including a gold bugle-beaded caftan.Perhaps Khan needed to be in a place like that to truly appreciate the dreamier spots he has visited. But while the designer managed to create individually compelling designs—from a hand-tucked tulle ball skirt in Marie Antoinette blue to a cream silk piqué shift embroidered with black beading—the collection didn't come together as a whole. It would have been nice to see him channel all that good energy into just a few great ideas.
9 June 2015
Somewhere along the way, a runway show's measure of success went from being how much the audience clapped to how little it clapped. Now everyone has their Instagram-primed smartphones held up, like prairie dogs standing at attention in fashion's grasslands. It's still odd, though, to see a truly remarkable dress—in this case, Naeem Khan's sheer, full-skirted T-shirt gown covered in waves of silver and black beads—walk by in the final parade to near pin-drop silence.Khan's stock has risen of late with the young Hollywood set. His runway stylist is Lupita Nyong'o's gal, Micaela Erlanger, and Diane "Always on Point" Kruger is a recent wearer. Which may be why he focused almost exclusively on red carpet for Fall, forgoing the handful of separates he's shown in the past.If it ends up that fashion week is a quick-turnaround dress rehearsal for the Oscars, the nominees are: a coral and red dégradé strapless chiffon gown; a black-and-white scallop-beaded gown with a deep, deep V-neck; a navy velvet siren with emanating silver stripes; and the aforementioned silver and black look. The spangled tuxedos felt too obvious—the moss colors were a tough sell—and the lattice looks skewed grande dame-ish. It was mainly when Khan indulged in more-is-more beading in the show's final black, white, and silver section that there was an approving hush.
17 February 2015
The Oscars are early this year and New York fashion week is late, which means starlet favorite Naeem Khan's freshest red-carpet options will hail from Pre-Fall. (For the rest of us, the collection drops in stores in the summer of 2015, just in time for the autumn party circuit.) With this season styled for the first time by Micaela Erlanger, who dresses Lupita Nyong'o, Khan said he wanted to make "classic, beautiful evening dresses that are right for my women around the world, from Los Angeles to the Middle East."Khan offered a host of options in a palette dominated by blue, black, and white, from a low-cut, polo-collar cocktail dress decorated with leatherlike matte sequins to a star-covered halter gown topped with a cropped-and-sequined moto jacket. There was an emphasis on dimension and texture, including the heavy embroidery and beading on a sporty sweater, and a white fabric woven with microfilament, also known as fishing line, engineered to shimmer in the light. If Khan's collection was intended to give his customer something to party in, he succeeded.
15 December 2014
Even for Naeem Khan, whose work is so clearly targeted at those who frequent the red carpet and other oft-photographed spots, the lure of the sporty motif was just too strong to resist. The designer of dazzle sent out group after group of bugle-bead and sequin sweatshirts and T-shirts, some in multicolor florals, others in youthful bright yellow or blue flower patterns. There were also silk sweats and sheer-panel sweatshirts with explosions of crystals. With places like Brooklyn's Barclays Center becoming cultural hubs and courtside getting serious paparazzi play, a pair of black sequin sweats might not be the weirdest thing. Nor the most practical.While some of Khan's attempts to tap into what's happening in sportswear felt a little forced, it was still a venture into the new before he slipped into the more assured territory of evening. Here, the choices were endless and the territory familiar, as if the designer were speaking specifically to his front row of teen-drama TV stars and the beautiful/cool Connie Britton (Tami Taylor forever!). There were beaded taffeta caftans for the bohemian, embroidered panel minidresses for the young-adult starlet, jewel-tone bias-cut satin gowns for the siren, and even a caviar-encrusted emerald jumpsuit for the wildly daring.
9 September 2014
Naeem Khan leads an exuberant life and keeps his cultural appetite stoked by constantly traveling for both business and pleasure. Following a Resort preview in New York, the designer took off for Mexico City, where he had plans to participate in a local industry event, before catching another flight to his native India for an inspiration trip. Khan's globe-trotting adventures inform his collections. The new lineup opened with a series of blue-and-white cocktail sheaths and off-the-shoulder peasant blouses featuring traditional Mexican embroidery. This season, Khan continued to expand his comparatively casual offerings, which have proven strong for sales. "I wanted to take eveningwear and make it fun and sexy," he said during the walk-through. There was an increased emphasis on easy sportswear shapes, evident in a group of stripe T-shirts and tennis sweaters updated in glam sequins. Similarly, Khan showed bugle-beaded tanks and matching tap short sets, which were targeted at young starlets in the market for modern red-carpet alternatives, as well as a sporty polo dress cut from a stretch charmeuse splashed with a manipulated cockatoo-feather motif. Digital prints are a relatively recent development for Khan, who typically opts for all-out embellishment instead. There was a new lightness to the plumage-printed numbers and maxi dresses screened with a graphic Moroccan door pattern, not being weighed down by all the bedazzling and handiwork. But Khan still incorporated plenty of his trademark decorations elsewhere. Art Deco appliqués reminiscent of the Chrysler Building appeared on best-selling caftans and column gowns. All in all, Khan was smart to advance a more laid-back tone while maintaining his signature sparkle.
12 June 2014
Beyoncé's stylist, Ty Hunter, sat in the front row today at Naeem Khan's presentation and probably saw plenty of options for his most famous client. The collection was inspired by showgirls of another era, said Khan backstage before the show, citing Liza Minnelli inCabaret,with a bit of Louise Brooks thrown in. "I took the sex fromCabaret," said Khan, "but made it elegant." It seems the recent advent of Khan's bridal line—which he said has been picked up by eighty stores over a few short months—has freed the designer to venture into sultrier territory with his ready-to-wear. Khan worked with Halston back when Halston made costumes for Minnelli, and one could easily imagine the star in her dressing room wearing the gold-piped satin evening coat that opened the show. Soon enough, the looks moved from the boudoir to the red carpet, by way of 24-karat filigree embroidery on heavy crepe sheaths and a pleated gold lamé halter gown that looked very Halston indeed. Beading was prominent and appeared in delicate, Deco lines of gold, black, and even lilac, as well as silver-and-gold chevron stripes of flapper-style fringe. One of the most beautiful gowns—a red-carpet-ready three-quarter-sleeve column covered in honeycombed-gold bugle beads—employed chunkier crystal trim that sparkled at the neck, waistline, and cuffs. Khan loves couture techniques, and on a few special pieces he applied lipstick-red hand-shirred chiffon and engineered embroidery to great effect. Also impressive in the hand-detailing department: leopard spots created entirely of stacked sequins. Those covered the bodices of a few dresses with skirts in variegated tones of gold, chocolate, cream, and black ostrich feathers—all hand-dyed to match the animal spots, of course. It was hard to picture Liza or Louise taking the stage in one of those sequined, feathered, leopard-spotted numbers. But Beyoncé? No problem.
10 February 2014
A quick Google search reveals that Naeem Khan can nab more red-carpet credits in one month than many of his competitors do in an entire year. No doubt, several of the evening gowns from his new Pre-Fall lineup will turn up during the upcoming awards season. More than likely, starlets will gravitate toward the dazzling looks decorated with Khans signature beading and threadwork. A particular standout was the red finale number featuring intricate baroque scrolls painstakingly embroidered on sheer georgette. It would look fantastic worn with a matching, painted-on pout on someone like Golden Globe nominee Lupita Nyongo. In contrast, a pair of short pastel frocks that shook with allover beaded fringe seemed too costumey—we left theGatsbyflapper look behind in 2013.Other noteworthy ideas here included the delicate, draped metallic chains found on a glam cocktail dress and party top (which looked nice shown with a trumpet skirt but would really shine paired with crisp white jeans) and a long, strapless skirt cut from a pale, iridescent jacquard that is a pretty option for women who dont want all that heavy embellishment but still want to look special.
17 December 2013
Last thing first: Naeem Khan closed his show with a sneak peek at his upcoming bridal line, launching in October. There will be lace.Back to the beginning: Khan found inspiration in all things Latin this season, a sweeping landscape that was home to Frida Kahlo, flamenco dancers, Mexican churches, and the Moors. The models were crowned in Kahlo's signature headband braid (no unibrows), and the dresses dripped with vermilion roses. There were a few distinctly Spanish silhouettes—like an embroidered georgette peasant blouse and trumpet skirt—and a few distinctly Khan silhouettes, including a black-tie caftan with a floral cameo embroidery. Lace was used to beautiful effect here. On one strapless tulle gown it functioned as an embroidered print, a technique achieved by individually cutting and hand-sewing each piece. "It's almost like couture," Khan said. It certainly looked decadent, and was proof that a gorgeous gown doesn't need lots of feathers and finery to make a statement. This collection was feather-free, but it wasn't lacking for finery. One paillette-covered tee-and-trumpet-skirt look was so drippy with beads it provided its own clinking soundtrack. And, toward the finale, a few of the taffeta tufted and metallic beaded dresses looked positively heavy with decoration. But that's a quibble. Khan showed considerable restraint overall, and when he didn't, the result was still worth the weight.
9 September 2013
Naeem Khan knows how to take a woman's breath away, which is why the designer's well-heeled customers (ranging from such starlets as Taylor Swift and Emmy Rossum to the First Lady herself) regularly turn to him for eveningwear to make memories in. As usual, Khan's Resort lineup included plenty of dazzling numbers for those moments when the red carpet is rolled out and the flashbulbs are popping. A long black column gown featuring intricate baroque embroidery, and several Deco-inspired styles with dense crystal embellishment and feathered skirts—we're talking Chrysler Building fashion statements here—were particularly eye-catching. For cocktail hour and lower-wattage events, Khan showed a pretty knee-length halter frock overlaid in hand-crocheted raffia lace, as well as a slinky sheath with allover silver sequins stitched on to lightweight cotton tulle so it had the drape and comfort of a T-shirt.A series of vibrant floral-print pieces disrupted the collection's streamlined color palette; they looked a bit out of place. Still, as Khan put it and we confirm, they'd be terrific options for a glamorous December night at the New York Botanical Garden.
11 June 2013
Naeem Khan outdid himself, yet again, for Fall. The designer, known for his red-carpet following and couture-like beadwork, showed an opulent Fall collection that was inspired by the Byzantine Empire and Erté's illustrations from the twenties—both themes ultimately worked in his favor. In the former category were regal velvet gowns and evening coats with painstakingly detailed gold Ottoman embroidery. He showed similar embroidery in a lighter context, too, on a racer-neck number with an alluring open back, which included white raffia ribbon threaded through a nude tulle. The Art Deco portion of the collection delivered looks for the modern Josephine Baker. A crystal-embellished bolero worn with slim black tuxedo trousers with a matching overskirt was a fresh eveningwear combination that we'd like to see more of on the red-carpet circuit. On that note, Baz Luhrmann's long-awaitedGreat Gatsbyfilm will finally hit theaters several months from now, and we can't think of a better premiere option for Carey Mulligan (or Gemma Ward, who plays "Languid Girl") than one of the body-skimming slip gowns with allover crystal beading that positively hypnotized with all those flashbulbs going off at the end of the runway.
11 February 2013
Awards season is just around the corner, which means it's the busiest time of the year for eveningwear aficionado Naeem Khan. He'll be traveling to Los Angeles in early January to entice celebrity stylists with his finery, but he's also been receiving requests for less formal numbers, and those were what stood out in his new pre-fall collection. To-the-knee black dresses were relatively simple aside for the gobs of crystals, jewels, and pearls clustered at the chest. Another cocktail shift with an intricate baroque pattern created from tiny pieces of laser-cut leather was the reported favorite among retailers. Still, starlets looking to make an over-the-top red carpet statement will opt for Khan's more ornate fare. In light of the pressures on designers to be ever faster and more commercial, his painstakingly laborious beadwork and handcrafted details feel refreshingly old school.
16 December 2012
Naeem Khan is a man on the move. His recent travels took him around the globe, and in several of the places he landed, he found visual stimuli for Spring—a gorgeous sunset in Utah; tile work in Morocco; the surf in Hawaii—which he then snapped on one of his smartphones (he's got an iPhone and a BlackBerry) and sent to Italy with instructions for turning them into prints. The results, presented digitally, through embroidery and via laser-cutting, were the main focus here, along with an emphasis on day- as opposed to eveningwear for Khan's well-heeled clientele. A long satin sweater coat (the show notes identified it as a "topper") in a black and white mosaic leather appliqué over slim white cotton pants looked graphic and fresh. An updated take on Resort's sunflower print showed up on a to-the-floor belted shirtdress; in organza, it was unexpectedly chic. A rainbow of caftans closed the show—bedecked in sparkling beads, they were glitzy and glam. Clients hoping for a new gala gown will be disappointed this season, but smart shoppers will surely be able to think of somewhere to show off those caftans.
10 September 2012
Naeem Khan opened a new door when he began introducing more daywear into his repertoire for Resort '12. Since then, retailers haven't been able to keep the designer's linen shift dresses and embroidered peasant blouses in stock. Clearly Khan has a lot of fans and would-be customers who can't necessarily afford (or borrow) the over-the-top gowns they see starlets wearing on the red carpets but still want a piece of their own. For Resort, he listened to feedback and showed safari-inspired shirtdresses in an original sunflower digital print (admittedly, he's a tad late on this trend, but the result was still beautiful), as well little cashmere T-shirts and clean, cuffed walking shorts that are more accessible than his usual fare. But fear not, bling lovers, there's still plenty of sparkle to go around. The heavily beaded flapper gowns and caftans in this lineup were signature Khan. And the designer even echoed the unforgettable custom cape he made for Linda Fargo's Met Ball appearance (with the image of Neptune's fountain done in gold sequins) on a short-sleeved sweater. It nicely illustrated the more approachable yet still decadent direction Khan is heading in. We'd love to see someone like Chloë Moretz pair that with the editorial duchesse bloomers here.
6 June 2012
"It started with a dot," Naeem Khan said backstage after his opulent show (which boasted the week's best celeb, Matt Damon, in the front row). By "a dot" Khan meant a bindi—the decorative mark or jewel worn by Indian women to ward off evil or signify marriage—which he co-opted as the jumping-off point for an exploration of Indian body art.Using evening coats and gowns in a palette of taupe, sand, and black as stand-ins for actual skin, Khan beaded, threaded, and appliquéd the collection's pieces with geometric prints and classic Indian paisleys. The embellishments followed the garments' seams or played elegantly off the body's lines and curves. They created allover prints that looked beautifully organic. Where there wasn't pattern, there was texture. A black pouf of ostrich feathers made for a buoyant skirt on a cocktail dress with a top made of black, ivory, and silver beads. Another—a breezy, dropped-waist dress in silk faille—was decorated with both abstract felt appliqués and small mirrored discs.Sounds busy, but it was far from fussy. Despite all their adornment, the dresses were enticingly sinuous: A slightly relaxed silhouette, courtesy of plunging necklines and low backs, kept the surface treatments from feeling heavy. As the Academy Awards approach and stylists start their bidding wars, Khan's collection should be at the top of their wish lists. A long-sleeve, open-back gown covered in dense gold paillettes actually looked like a walking Oscar statuette, and it was one of many that would dazzle on the red carpet.
13 February 2012
Awards season is boom time for Naeem Khan, whose celebrity clientele drives his business. So the designer is very deliberate when it comes to filling his pre-fall lineup with evening gowns that will rack up the red-carpet credits. Khan didn't want to jinx himself by calling out which starlets in particular he'd like to outfit this year, but there were enough glam looks here to satisfy a large swath of A-listers. You could imagine the sub-20-year-old set wearing his slinky Halston-esque dresses with allover sparkles; ditto goes for the petal-colored number with a deep V, mixed sequins, and black "scratches of beads." A more demure dame might opt for the lustrous long-sleeved gown with "oyster wave" beading. Khan does have the occasional tendency to go a little too over-the-top (see: the voluminous looks in a blown-up, ferocious tiger print that might swallow a woman whole). But then again, if anyone knows the lengths these Hollywood stars are willing to go to in order to land inUs Weekly, it's him.
7 December 2011
"I love showing on the last day of New York, because I feel like it's the finale," Naeem Khan said before presenting his Spring collection this afternoon. The designer's decadent lineup neatly punctuated a week that was full of over-the-top colors, fabrics, and prints. Khan was peacocking in his usual fashion today, meaning that these dresses, which you'll likely see on a red carpet soon, took a reported 600 pairs of hands to make.Edith Head (Khan rubbed elbows with the famed costume designer a few times when he worked at Halston) and Ava Gardner inThe Barefoot Contessawere the muses behind this collection. It was easy to imagine a modern starlet wearing the long-sleeve gown with "scratched feather beading" that gave the appearance of cracked ice. Ditto the demure, white cocoon-shaped number with spare sunburst beading. These were sleeker and more realistic than some of the voluminous ball-gown silhouettes and magpie embellishments that were also shown here. Khan was happy to report backstage that business was up 30 percent this year, and considering the current cutthroat economy, it's encouraging to see the designer thrive in a niche market.
14 September 2011
Phones were ringing off the hook the day Naeem Khan previewed his Resort collection. Michelle Obama had worn a custom gown by the designer to a state dinner the previous evening, and the press was having a field day. While most designers bask in the attention that an endorsement by the First Lady draws, Khan has already been there and done that several times over (he has dressed her for five public events and counting).This outing was full of looks that MObama would approve of; a persimmon linen shift had over-the-top embroidery and an open back, while a heavily beaded, marigold number came beautifully draped for vintage appeal. Other looks were all over the place but still distinctly Khan. There was an impressionist floral-print silk caftan with grosgrain trim, and a seriously amazing "Cinco de Mayo" dress with an off-the-shoulder peasant bodice and a trailing, fitted skirt that used 26 different colored threads, took over 1,000 hours to create, and will only set you back around seven grand. It's all proof that Khan's business remains afloat for a reason in a difficult luxury market.
7 June 2011
You can tell it's a Naeem Khan show by the glamorous detritus—ostrich feathers, sequins, jet-black beads—that decorates the catwalk by the finale. Still, Khan worked a relatively subtle Silk Road theme this season. The other, more potent influence was his customer. "I thought about the women who wear my clothes," he said backstage before the show. "They are powerful."These were no mincing dresses. Laser-cut, patent-leather flowers dotted with sequins had been sewn by hand onto the red satin number that opened the show. Ditto the ostrich feathers individually attached to tulle on several dresses. It made for gorgeous, fluffy poufs on skirts and bodices; in one instance, an entire dress appeared to be floating. A luxe and louche gold caftan elicited applause, but it was a cap-sleeve, open-back gown coated in silver paillettes that would draw raves on the red carpet. If it hasn't been claimed yet for the imminent Academy Awards, it will surely be scooped up soon.
16 February 2011
Awards season is just around the corner, and that means red-carpet aceNaeem Khanis on the grind, fielding special requests while cranking out a pre-fall collection befitting his celeb-heavy clientele. Khan described the lineup as a continuation of his splashy Spring show, but the vibe here was subdued by comparison—a bit more old Hollywood. It should be a hit at the box office. Buyers have reportedly already been swooning over a powder blue chiffon dress made in tribute to Ginger Rogers and a sand-colored caftan with clustered sequins that looked perfect for Elizabeth Taylor circa 1976. The designer gets a kick out of combining new world technology with old world techniques. So he will, for example, take strips of laser-cut leather and sew them by hand onto a no-frills black shift (he's looking to build up his daywear business). Speaking of hands-on, a long gown with complicated crystal beading and a marabou skirt took his team of 30 a week to make.
15 December 2010
Roberto Cavalli, are you sitting down? Naeem Khan dove into tropical waters for Spring, focusing almost exclusively on eveningwear options for the Palm Beach-to-Cannes set, with a big splash of Saint-Tropez party gear thrown in, too. And while there were no animal prints on the loose—Khan continued with the floral-inspired treatments he debuted at Resort—there were beaded shoes, sparkling caftans, and door-knocker necklaces designed by his wife, Ranjana. The caftans and chunky turquoise lent a seventies vibe to the affair; the fabulous excess called to mind a certain Italian.It was an over-the-top embellishment celebration, a melee of colors, and hardly any dresses that screamed "Michelle!" Come to think of it, a strapless yellow crepe to-the-floor gown with jet black embroidery would look stunning on the First Lady, but a one-sleeve, slit-to-the-hip, allover sequin number in fuchsia and turquoise would have theHuffington Postcrowd in a tizzy. Relatively subdued by comparison was a painterly print in mottled grays and white on a one-shouldered organza gown with a full, sweeping skirt. Take away the embroidered belt and pendant necklace and you might have something to wear north of the Mason-Dixon line. Stunning enough to wear anywhere (with a VIP room) was a fitted, drop-waist sheath embroidered with white flowers and a skirt made of ostrich feathers. Even next to so many other jaw-droppers, it had a lingering glamour that was compelling.
15 September 2010
Naeem Khan's latest effort was heavy on glamorous evening looks, but a focus on floral-inspired treatments added a fresh slant to the season's offerings. Among the standouts: a shift with silver crystals arranged in daisy patterns, and a tulle rosette-covered coral gown.A surprise find in this collection? A T-shirt dress and cotton tanks. Well, sort of. While the designer did cite "simplicity" as one of Resort's key themes, his interpretations weren't exactly casual. The aforementioned dress came in fully sequined nautical stripes, and the tank tops—Khan says he sells several thousand each season, at four-digit price tags—featured intricate allover beadwork.
7 June 2010
When it comes to style, Michelle Obama has the Midas touch. Last November, the First Lady wore a silver Naeem Khan column to the White House's state dinner for India. "It's completely changed my life," Khan said after his show. "People know me at the grocery store. My stuff is selling at 80, 90 percent sell-throughs."On the runway, he worked his own Midas touch in a strong show that crossed his gilded, disco-ball glamour with a hint of love, sex, and rock 'n' roll. It's not an easy mix to brew, but Khan mostly made it work with motorcycle vests and jackets, now beaded or in brocade, over long jersey dresses and feathered skirts. Another kind of topper was equally important here: the opulently beaded, fur-trimmed vest, an evening powerhouse that Khan has made a go-to staple.As adept as he is at embellishment, it's not hard for this designer to go overboard. There is a very fine line when it comes to beads, brocades, et al. A shift embroidered all over with gold mirror-work wastrèschic, while another strung with gold fringed beading was decidedly less so. Still, when he came up for air, Khan proved he was worthy of his household-name status.
17 February 2010
Further proof of the power of MObama: Naeem Khan was the third most searched-for name on Google the week after the First Lady wore his strapless gold gown to November's White House state dinner. The sudden attention could ruffle a less experienced designer, but Khan seems to be basking in the attention: The eveningwear he showed for pre-fall was his most assured in recent memory. "It's a sexyMoulin Rouge!-meets-Ninefeel," the designer said of the richly textured pieces, which included a cocktail frock beaded in a chevron pattern, a black wool-cashmere caftan with a jewel-embellished neckline, and dresses trimmed in paillettes overlaid with marabou. The effect was youthful and fresh, but not so young as to veer intoGossip Girlterritory. Perfect for, say, a certain Beltway-residing fan.
17 December 2009
"There are maybe five gowns," Naeem Khan said at his Spring presentation, held once again at his swanky Garment District studio. It's surely a sign of our times that a designer who once sent out a parade consisting almost exclusively of serious eveningwear is branching out. But that's not meant to sound doom-and-gloomy; in fact, it's quite the opposite. Though it followed the ho-hum-sounding path of commercial strategy, Khan's Spring collection was actually his most youthful, fun, and energetic so far. He called the look "punk Raj," and that's pretty right-on, merging as it did his expertise in traditional beading and embroidery with a poufy and girly silhouette, with added tangles of crystal-and-chain jewelry. Think Bow Wow Wow meets Blair Waldorf. Still, the collection shouldn't alienate Khan's core clientele, who, incidentally, aren't jaded and spoiled teens. Most of the looks here might read as dresses but are, in fact, separates—Khan's new frontier—that can be worn umpteen different ways. At times, the way they were worn here bordered on too much, but I guess these days we have to enjoy excesses wherever we can find them.
16 September 2009
"Don't experiment like crazy, make classic things, and hang in there," said Naeem Khan, describing his strategy for besting the recession. However sensible, that policy could lead to clothes that are too safe, but that wasn't the case here. The nighttime specialist took some steps into daywear, showing lots of embellished cashmeres with ladylike full skirts in lamé and matelassé. And when it came to evening, Khan deployed his signature flash inventively. There were a few of his allover sequined dresses, but he also used hand-shredded appliqués to create wallet-friendly alternatives. Meanwhile, a navy strapless gown with black and white embellishments was a knockout.
10 June 2009
"It's not Russian, it's Indian," said Naeem Khan at his civilized Fall presentation in his now year-old showroom, pointing out the embroidered swirl of Kashmiri paisleys covering a grand opera coat. (As he tells it, the piece took 40 people almost two weeks to make.) Actually, there was a sort of sartorial Eastern itinerary happening here, from the Muscovite chic of fox-trimmed gilets and luxurious skirts to the more blurred (but decidedly east of Greece) origins of a Poiret-esque kimono coat and emerald velvet caftan. Most exciting were the richly worked separates (for which Khan says there's increasing demand). Unlike a gown, these can be worn over and over and in umpteen different ways. But when it came to serious evening, Khan's approach was pure American glamour, with standouts such as a silver paillette dress that looked like it was made of crushed glass, a smoky brown chiffon number encrusted with hunks of crystal, and a white tulle goddess dress with an elaborate necklace halter. Just don't expect to see any of them this Sunday night, as Khan has opted out of the red-carpet races. "It's just too tight this time," he said. "It's the retailers or the Oscars." Ironically, this is the first season he's working with perennial Oscar commenter, stylist Mary Alice Stephenson. But no matter—it must be a happy partnership, because this was one of Khan's strongest collections.
18 February 2009
Naeem Khan said he drew pre-fall inspiration directly from his customers. "I looked at them and offered what I felt they needed, at every level," he explained. For the client still looking to splurge, there were ultra-luxe wool sweater dresses with jewel-encrusted necklines and a cocktail sheath dripping in pearl beads and Swarovski crystals. On the flip side, a trio of hand-pleated georgette goddess gowns with toned-down embellishments still had that Khan touch, but at half the price of his traditional offerings.
17 December 2008
A quick scan of the invocations in Naeem Khan's show notes—the late sixties crossed with icons of eccentricity Diana Vreeland, Loulou de la Falaise, and Tina Chow, all transported to the Orient—was clue enough that what followed would be a riot of exotic excess. Khan didn't turn up the volume all at once; instead he started off uncharacteristically minimal with an asymmetrical white jersey gown with a sari-inspired drape. But soon enough we were neck deep in densely colorful cherry blossom and mythic phoenix embroideries, sizzling sequins, and candy-colored chinoiserie jacquards, some doubling up on the drama factor with voluminous portrait collars and fat origami pleating. Khan occasionally came up for air with flowing jewel-toned satin gowns, some with a focused chunk of blingy crystal beading—they were still look-at-me dresses, but sans the madness. Though it's often been said that executing simplicity is what's difficult, going over-the-top also requires a deft hand—which some of Khan's pieces lacked. Yes, too much good taste can be boring, as Vreeland famously said, but Khan's big-spending clientele presumably want people to stare for the right reasons.
10 September 2008
"It's classic Khan." That was designer Naeem Khan's own verdict on his Resort collection, executed in what he called a modern art-meets-Palm Beach palette (read: saturated brights and sherbet shades). Some might compensate for such an intense color story by cutting back on the details. Not Khan. Bejeweled collars, extravagant sequins, intricate hand embroideries—here were all the elements that keep his clientele coming back for more, more, more.
9 June 2008
"A concentrated dose of glamour": That was how Naeem Khan described his 26-look Fall show. He also said that it reflected the reality of his woman—i.e., the reality of a highly social, limelight-loving, international creature in endless need of sumptuous after-eight gear. On the glossy (not to say slippery) black runway, Khan began strongly with haute bohemian, vaguely Russian coats and dresses, intricately embroidered and trimmed with fox. He maintained momentum with beaded lace columns and a plum chiffon gown with chunky crystal trim. But excess took over when he opened up a treasure chest of coq feathers, marbled paillettes, pearls, gold bullion, and coins. Some of these embellishments were manageable when applied to cocktail-length dresses, but mostly they seemed to hobble the models. Khan plans to make a bigger-than-ever push for the upcoming Oscars—strike? what strike?—but it's likely to be his lighter fare, such as a flowy digitized ikat-print number, that will make the red-carpet cut.
6 February 2008
"I have to stick with what I know best," Khan told Style.com. "I love this collection. It's happy and beautiful." The designer, who spent three weeks in his native India this summer, has been pondering ways to take Indian luxury and merge it with American glamour. The answer? Ethnic decoration applied to Western silhouettes, of course—a solution that's served him well before. Khan's kind of fashion isn't about being a smarty-pants or pushing any big envelopes; it's about sparkling dresses for sparkling women.Queen Noor of Jordan was watching. Paisley-embroidered caftans channeled Talitha Getty, the sixties pioneer of Moroccan heiress chic; short shantung dresses conveyed Jackie O. White-on-white embroidered shorts were very Palm Beach, palazzo pants veryLa Dolce Vita. If you still think diamonds are a girl's best friend, take a second look at Khan's clear-beaded nude chiffon Marilyn Monroe gown. And it would be difficult not to feel like a queen for a day in one of the entirely jewel- and bead-encrusted, yet airy, dresses that came toward the end of the show.Allover beading in tribal patterns had fistfuls of glamour, which is what keeps the cadre of women who gave him a standing ovation coming back for more, more, more. But for all of their ooh-la-la dazzle, the encrusted collars and necklaces seemed rather passé.
10 September 2007
DJ Donna D'Cruz set a party mood…and Naeem Khan has had reason to celebrate lately. After all, this is the designer who created the slithery metallic dresses worn in the finale ofDreamgirls. And at today's show, he might have had the Oscars in mind (hint, hint, Beyoncé) when he sent out a series of sheaths and gowns covered in jewel-tone paillettes.If somewhat repetitive, the effect was still dazzling. Another series of striking pieces, including a festive evening jacket, was decked out with hand-cut Venetian-glass mirrors. A series of organzas, meanwhile, were appliquéd with abstract patterns of patent leather, inspired by Mogul palaces in Khan's native India.He also used embellishments of pleated and steam-crushed organza ribbons. "They are fabulous—artsy and crafty, but modern," feels Khan. The Halston alum balanced out the glitz factor a bit with a pair of pieces that expressed a more subtle elegance: a flowing scarf gown in ombré shades of topaz and a one-shouldered dress adorned with a simple feather corsage.
3 February 2007