Badgley Mischka (Q3820)
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Badgley Mischka is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Badgley Mischka |
Badgley Mischka is a fashion house from FMD. |
Statements
1988
creative director
1988
creative director
As winter crept its way closer this year, Mark Badgley and James Mischka were dreaming of a tropical getaway—and it turns out, many of their friends were, too. “A lot of our friends have moved to Mexico lately, and we got inspired by the fantasy of living in Mexico,” Mischka said. The mood sparked a re-watch of one of their favorite films,The Night of the Iguana, a 1946 thriller starring Ava Gardner and Richard Burton that’s set in the country. It ended up serving as inspiration for their pre-new fall collection. “Her style in the movie is very 1950s-1960s rustic modernism,” said Mischka. “It inspired a lot of the colors in our collection—like the avocados, sands, cocoas, and blues,” Badgley added.It’s no secret that the label is known for its glitzy eveningwear, so to add a sense of newness to the mix—and to pay tribute to Mexico—Badgley and Mischka created more casual daytime silhouettes. “The clothes had to be versatile, and take her a lot of places,” said Badgley. “There was a lot of texture and dimension added to the dresses.” Their day dresses were wrap-tied at the waist with big cargo pockets, or designed in breezy off-the-shoulder floral prints. The most restrained styles, surprisingly, shined the most—like a simple coral sheath dress with a draped cape-like neckline (a simple, but chic, touch).That said, their evening pieces were the true stars here, as is often the case for the pair. The formal gowns were designed in luxe laces, feathers, and georgettes, and there was a sense of lightness and airiness to the looks. A chocolate brown, one-shouldered lace frock had layers of feathers along the bust—it’s a dress that would make Ava Gardner proud. The strapless blue satin gown with mounds of ruffles, though, could have done with fewer flounces. Still, as fanciful as they went, you could see a clear attempt at adding more ease to the silhouettes. “These dresses could take her from the boardroom to lunch to dinner,” said Badley. Dresses that do it all.
13 December 2024
For spring 2025, Mark Badgley and James Mischka called upon a beloved, oft-referenced fashion muse: Jacqueline Kennedy Onassis. But we aren’t talking about Camelot here. The duo behind Badgley Mischka peered beyond the White House and into her marriage to Greek shipping magnate Aristotle Onassis. They were specifically interested in Onassis’s famed yacht, the Christina O, which even informed their venue choice of the Greek restaurant Periyali. (“It looks kind of like the interior of the Christina with the lacquered wood,” Mischka said. “I thought that looked nautical,” Badgley agreed.)“It takes us from Marbella to Malta to Mykonos,” Mischka said of the collection, an offering filled with brightly colored florals in neoprene, beaded embellishments stitched onto silk mikado, faux wrap dresses, and—of course—many a caftan. “We love caftans,” Badgely said. “We do a lot of caftans, especially for our Middle Eastern customers.”The pair made a concerted effort to reinvent the cocktail dress this season, in an apparent attempt to appeal to a younger clientele. “Marilyn Monroe says, ‘I just love finding new ways to wear diamonds,’” Mischka said, paraphrasing a line fromGentlemen Prefer Blondes. “We want new ways to wear our evening clothes.” One option they presented was a sleeveless tuxedo jacket over tap shorts, printed in a black-and-purple floral scuba fabrication. “It’s fun for a girl that was going to a fresh, young, sexy cocktail party [who] doesn’t wear a cocktail dress,” Badgley said. “This to us is a very modern, feminine tuxedo—comfortable, stylish, classic cocktail.”But as the saying goes, if it ain’t broke, don’t fix it. While it was a laudable effort to draw in a younger consumer, Badgley Mischka is at its best when it designs for the women who have stayed loyal to it over all these years. Badgley nailed the brief when he gestured to a salmon-hued dress with a sheer, flowing marocain column over a Georgette underlayer: “Easy, glamorous, tall.”
7 September 2024
For their latest resort collection, duo Mark Badgley and James Mischka drew design inspiration from a recent trip to Santa Barbara. “We were visiting family there, and we were reminded of how much we love it,” Mischka said. Turns out, the California town has a glamorous Hollywood past—and the duo wanted to capture that chic backstory through their new assortment of easy, dressy pieces. “We delved into the history of it, and how Hollywood used to do all the silent films there in the 1910s,” Mischka said. “All of the glamorous Old Hollywood stars had bungalows there.”The initial starting point resulted in sophisticated pieces—including their signature cocktail dresses and gowns—that had more of a beachy, poolside-chic feel. Halter-style maxidresses and caftans were finished with multicolor stripes, and suits or satiny shirtdresses were printed in native plants from the region, including hibiscus flowers and conifer trees—in sprightly shades of pink and green. “The palette is really tied to the colors we love,” Badgley said.Where the pair leaned into bold colors and brazen prints, they refined on shapes. Though the brand has a history of heavy embellishments, the designers aimed to refine this season, and allow the hues or patterns to take focus. “The silhouettes are relaxed,” Badgley said. “We didn’t get into too much beading.” That’s not to say there weren’t some interesting fabrications. A peachy pink satin gown had oversized bursts of flowers along the bust, and an off-the-shoulder party dress had 3D-style flowers appliquéd along the neckline and sleeves. The designers created the frocks with summer lounging and parties in mind. “You just want to be there right at the Biltmore Hotel,” Mischka said.
2 July 2024
It was only a matter of time before designers began taking inspiration from Ryan Murphy’s new show,Feud: Capote vs. the Swans, in which glamorous costumes play a big part. But for designers Mark Badgley and James Mischka, the fall reference felt especially authentic—given they used to mingle with some of the New York City socialites the series is based on. “James and I were lucky enough to live down the street from C.Z. Guest,” said Badgley. “We were together constantly—I lived with her in Palm Beach for a year. I was always so inspired by how she put herself together and the stories about her friends.”This season, then, the design duo wanted to pay homage to the elegant evening attire that the Swans donned for their upper-echelon galas and cocktail parties. “The way they used to dress back then—a beautiful column gown with one alluring detail—is kind of like how our girls like to dress today,” said Badgley. “Everything is bold and simple.” The challenge that came with this, however, was finding a way to do retro glamour that felt current—and not like a costume. To do so, the pair leaned into their signature assortment of gowns, cocktail dresses, and suits in a more muted color palette—designing around metallics, blacks, and jewel tones. “We’ve done so much color lately, but all of sudden our ladies love black again,” he added.Some of the looks did feel modern and worthy of a 2024 Swan. A sleek navy sequined sheath dress featured an asymmetrical ruching detail, giving it just enough visual interest; ditto the gunmetal gray suit and the one-shoulder magenta gown with opera gloves—perfect for slinking into any uptown bash. There were other looks, however, that would simply never be worn below 14th Street—and maybe that was the whole point. The Chanel-esque tweeds felt a little too referential of ladies who lunch, and one wonders if any woman would feel her best in piles and piles of ruffles, which were added onto some of their floor-length dresses. Then again, to be a Swan is to lean into the superfluous.Whether fancy frocks are your taste or not, it’s undeniable that the Upper East Side aesthetic is one that the label has been perfecting for years—the Swans inspiration was a match made in heaven. The duo even have a new set of Swans in mind to wear this latest collection. Namely their longtime clientele’s daughters. “All of our customers’ daughters are coming into society now,” said Mischka. He envisions the new pieces on names like Mercedes de Guardiola.
“She’s beautiful, elegant, and already a published author,” said Mischka. “Brilliantandbeautiful.”
10 February 2024
Blame the stealth-wealth trend, but fashion is in a state of paring things back. What does that look like for a brand like Badgley Mischka, which has always specialized in opulent formalwear designed to make a statement? For pre-fall, Mark Badgley and James Mischka got in on the momentum by experimenting with stripping back their usual signatures—embroidery, sequins, prints—and focusing on sharp silhouettes. “This collection is very simple and streamlined,” said Badgley.For inspiration, the design duo referenced the sleek but glamorous style of their late friends the interior designers Chessy Rayner and Mica Ertegun. “We used to go to dinner parties at their house—they were real cool girls from the ’60s, and they always dressed super chic,” said Badgley. In the mix were a long, black gown with a deep-V neckline and cape sleeves and a white sequin tuxedo-style gown. Another design, a simple sack dress, featured a shapely neckline and straps.If the designs were a little more subtle than usual, they still used luxurious fabrics: Satins, georgettes, crepes, and mikado silks took center stage. Jewel tones were also prevalent, as they were in the color schemes of their friends Mica and Chessy. “Their interiors were quite understated, but there were a lot of gem hues,” said Mischka. A one-sleeve purple satin gown, with ruching at the waist, was a standout. “Our customer is craving silhouettes closer to the body,” explained Badgley. “We didn’t do anything too diaphanous. Our fall deliveries tend to be more sleek.”Another talking point this season? The 2024 presidential election. “We wanted clothes that weren’t too overly ostentatious,” said Badgley. Added Mischka: “We wanted clothes that make her feel strong—she’s gonna need it.”
8 December 2023
There was a celebratory feel in the air at Badgley Mischka’s spring presentation in New York this evening. Held at the restaurant Delmonico’s—the Financial District institution that’s set to reopen this fall—the space was crowded with some of designers Mark Badgley and James Mischka’s closest friends and supporters—some of whom even acted as models this season, including the Tony-winning performer Bonnie Milligan and model Coco Mitchell, who acted as the label’s very first fit model. The occasion for such a big blowout bash? The brand was ringing in its 35th anniversary. “It’s a collection that [represents] everything we stand for,” said Badgley. “It drew from all of the parts of the country that James and I live in—Palm Beach, New York, Georgia, Las Vegas.”The clothes certainly screamed Badgley Mischka’s signatures for an uptown clientele that loves a gala. The gowns and cocktail dresses were plentiful, and were focused on upbeat colors and big silhouettes that commanded attention. A shiny-yellow, one-shouldered cocktail dress had a ruffled hemline and trim. “We did floating gowns that are away from the body,” said Mischka. A structured white column dress was embellished with pink and purple rosettes along the trim, and finished with a big pink bow at the hip. Maximalism was in high effect—then again, when is it not at Badgley Mischka? Their designs are created to make an entrance.That’s not to say the duo didn’t make attempts to pare back. In fact, some of their most splendid creations were their quietest. A glazed silver suit had just the right amount of dazzle, as did the draped, floor-length dress in cream-pink that elegantly fell off the shoulder. It’s these types of dresses—more cocktail than full-on ball gown—that felt fresh for the pair. “We love that cocktail dresses have become an option as opposed to a gown,” said Mischka. “But they still have the importance of a gown.” Sure, there were no big attempts at infusing newness into the collection—imagine a whole collection of daywear, or one devoid of any color!—but then again, a big anniversary would be a strange place to do so. “We just wanted to have fun,” said Badgley. “It’s a celebration of 35 years—which, in fashion, is forever.”
14 September 2023
If there’s a season for designers Mark Badgley and James Mischka to shine, it would be resort: the duo always excel at creating sprightly vacation wear. “It sums up what we love: color, fantasy, and exotic prints,” says Badgley, while Mischka adds that this season was “about making clothes that our customers really want.”With getaways or destination weddings in mind, the pair landed on Fauvism as an initial inspiration for their new designs. They were drawn to the punchy colors and intense brushwork found that characterized the movement of the early 1900s, thanks to artists like Henri Matisse. “The colors inspired our palettes and our print directions,” says Badgley. They transferred this upbeat color palette onto their signature assortment of cocktail and gala dresses in materials like georgette and chiffon, all of which are ready for grand summer bashes.A multicolour foliage-printed gown was a standout. “With Fauvism, we loved the idea that a flower doesn’t really look like a flower,” says Mischka of the print. With a strapless neckline and flounces of ruffles along the sides, it’s the kind of dress that makes a party entrance. “We were thinking of guests of weddings on the beach,” says Badgley. It’s so good it could turn attention away from the bride—though, there was something for brides as well, such as the the white one-shouldered dress with an oversized flower sculpted onto the shoulder. “Imagine it with a killer chandelier earring,” says Badgley. Also in bridal territory? A strapless white jumpsuit, with a draped bodice and buttoned front. “It’s our version of a tuxedo jumpsuit,” says Badgley.For the past few seasons, the pair have also been making big attempts to streamline and minimize some of their more ornate embellishments, and this was apparent for resort. The clean, caped knee-length day dresses—in orange-red or cream—were designed for the ladies who lunch. “It’s dramatic from the waist-up,” says Badgley. For evening, they also designed a buttoned-up coat dress in fuchsia, with a touch of crystal on the sleeve cuffs. “You don’t really have to wear anything with it,” says Badgley. “It’s simple, but it’s powerful.” He called it very “Jackie O,” but given its pink, Mischka had another reference in mind: “It’s very Jennifer Coolidge inWhite Lotus.”
29 June 2023
Someone’s been watchingThe White Lotus. For their new fall collection, designers Mark Badgley and James Mischka were in an Italian state of mind: They simply couldn’t get enough of the idea of embracing “la dolce vita.” “We’ve always been about romanticism,” said Mischka. But unlike the Sicily-set HBO show, the pair were more intrigued by the idea of Italian futurism—the social and artistic movement of the early 20th century—than splashy vacation wear. They wanted to channel the spirit of Futurism by creating clothes with high energy and dynamism. “We took our romantic ruffles, pleats, and beading and made them look like they're moving,” said Mischka.The pair first dove into their seasonal inspiration by reading the Futurist Manifesto by Italian poet Filippo Tommaso Marinetti; They were struck by his line, “We must invent futurist clothes, hap-hap-hap-hap-happy clothes.” That’s exactly what they wanted to do—for their signature formal wear assortment to instantly evoke joy. “We really feel like it's our duty, with every piece we design, to bring happiness and some form of gratefulness to our girl,” said Badgley.In doing so, the pair zeroed in on an upbeat color palette that reflected the five elements (think: shades of emerald, pewter, bloodstone). As usual, their evening dresses were what shined. A floor-length gown in dusty blue had a black tulle overlay, punctuated with oversized shimmering paillettes. Florals also made a cameo—because what makes people happier than fresh flowers?—via shaped rosettes that were added onto silk evening frocks. Meanwhile, a totally silver-sequined suit, with splashes of blue floral imagery, was inspired by an Italian painting the pair were stricken by. “We’re magpies—anything that twinkles, we’re a sucker for,” said Badgley.Compared to previous seasons, there was a sense that the duo attempted to pare things back. Known for their ornate embellishments or beadwork, they focused instead on strong silhouettes. It felt like a palette cleanser. The navy strapless dress with a sheer shoulder cape, for instance, felt refreshingly unadorned and begged to be worn to the upcoming Oscars. “We went simple and monastic, with one ravishing detail,” said Badgley. They also focused more on technical innovations—something that also occurred during the Italian Futurism era—such as infusing their chiffons or georgettes with Lurex, to give added weight and luster. In other words, even their most simple pieces were well thought-out.
“Some pieces can be simple—but they have to deliver,” said Badgley.
15 February 2023
When Mark Badgley and James Mischka started thinking about pre-fall, the design duo had just finished watching the 1953 comedyHow to Marry a Millionairestarring Marilyn Monroe, Lauren Bacall, and Betty Grable. “They’re models and they rent this incredible penthouse on Park Avenue, to try and find a man,” said Badgley. “They all fall in love with guys that don’t have money,” added Mischka “but the fashion is great—it’s all about the ’50s in New York.”The retro fashion in the film ended up inspiring their new assortment of glitzy gowns. Particularly, the pair were smitten with the springy color palette of the film: They focused on designing their signature dresses in uplifting shades of yellows, blues, and greens. “And we always love flowers and bows,” said Mischka. “We can’t resist that.”While the chosen hues were vibrant, they decided to streamline the silhouettes, for a bigger sense of ease. “We used to be all about beading, but our customer now really wants architectural shapes and simpler silhouettes,” said Mischka. The standouts included a one-shouldered tropical-print dress in silk, with a big bow at the shoulder. “These are the kinds of silhouettes you want to wear in the summer—it’s easy and doesn’t stick to you,” said Badgley. A navy cocktail dress had neoprene-shaped flower petals at the shoulder; a simple, sleeveless green sheath gown, meanwhile, had crystal piping at the shoulders, with an elongated train. “It would move across a lawn really prettily,” said Badgley.One of the more dramatic numbers was a golden-yellow dress made of re-embroidered lace (it was touched up with more paillettes and sequins), and finished with pops of organza on the shoulder. It’s a frock that Badgley envisions at a black tie wedding—though in it, you may just upstage the bride.
13 December 2022
During the finale walk of Badgley Mischka’s spring presentation today, the models came out one by one in various bright-colored frocks, from bubblegum Barbie pink to egg yolk orange—the whole lineup appearing like one big fashion rainbow. Design duo Mark Badgley and James Mischka were feeling bright and sunny this season, and wanted to convey a sense of optimism with their clothes. You can thank their recent travels for such a glass-half-full outlook, both on life and their fashions. “We [recently] went to Marrakech and Casablanca,” said Mischka, “and we got inspired by the colors, the smells, and the fabrics there.”For spring, the pair wanted their collection to embody the two Moroccan cities’ unabashed love for color—something especially prominent in their architecture and craft markets. “It was our quest to lay a path for our girls to have beautiful, colorful, happy clothes,” saids Badgley. “James and I often do neutral palettes, but we never get the same reaction for evening as we do when we play with color.”Their gala-ready dresses—in formal fabrics such as satins, mikados, chiffons, organzas, and crepes—came in a variety of sprightly shades. They were very heavy on the ruffles. “We played with a lot of volume, but attached to a streamlined silhouette,” said Badgley. The rose-like ruffled sleeves on a neon green blazer were tricky, though the flouncy, off-the-shoulder ruffled gown in the same shade was striking. Something new for the duo was working with crinoline: They applied full skirts underneath a sheer, embroidered shirt dress. It looked perfect for their Upper East Side ladies-who-lunch clientele. The yellow brocade gown, with a ruffled shoulder and puffed sleeves, was begging to be worn to an opening at The Frick.Badgley and Mischka also wanted to present some daytime separates for spring. But don’t confuse daytime for casual—at all. “A lot of people wouldn’t consider our day pieces ‘day,’” laughed Badgley. “It’s evening separates. It’s a beautiful gown, but her top is chopped off.” There were floral-print suits, totally sequined suits, and a slinky tank dress paired with a billowy floor-length robe—the type of coat you’d float around a mansion in before descending for breakfast. The designers wanted their separates to have such a sense of elegance and ease. “Our ladies want that haute couture look, but they want to be comfortable,” said Badgley.
11 September 2022
Having moved to Palm Beach, Mark Badgley and James Mischka are perpetually in a resort state of mind. On the phone from Florida, they report that the party scene is slowly picking up again, with a difference. Women, Badgley says are “definitely not sacrificing comfort anymore for looks,” and opting for “a slightly more relaxed glamour.”The duo responded to that in a collection that features many shorter and more bohemian looks, as well as jumpsuits, alongside the impactful looks for big events in hues like tangerine orange, lime, and aquamarine, that they are known for. With the exception of these dresses and despite the designers’ access to sun and color, the resort lineup is curiously low-key colorwise, with neutrals predominating and contributing to the dispassionate mood of the offering as a whole.
19 July 2022
The Badgley Mischka woman wants what she wants! Some people may be struggling to fill their post-pandemic social calendar, but the brand’s clients have never been more interested in after-hours. Sales of their ball gowns, sequined suits, and evening attire have been at an all-time high, and their customers continue to ask for more options, especially for going out. With that in mind, Mark Badgley and James Mischka aimed to grant their wish with a fall collection centered on formal attire. After a pre-fall collection steeped in West Coast nostalgia, they switched gears to focus on pieces fit for 2022’s glitterati. Granted, you don’t have to be one of the beautiful people to experience their clothes, but it would take effort to feel ordinary in one of the season’s gleefully over-the-top gowns.Fittingly, the first sparks of inspiration came from Cecil Beaton, whose refined portraits of socialites and royals helped define an era of nightlife. Thinking back to their years as Parsons students, the designers found themselves revisiting English American couturier Charles James, whose rigorously crafted eveningwear often featured within Beaton’s imagery. “There was this one photograph of James’s ball gowns in this fantastic drawing-room,” Mischka says of the 1948 photograph of models like Dorry Adkins, Carmen Dell’Orefice, and Dorian Leigh taken in the salon of French & Company. “People want to be out again, and that picture just captures that,” he said. “We wanted to make a grand gesture this season with gowns that are lavish and impactful.”Lavish is an understatement. These were big-ticket looks, the kind that are too fabulous for your average cocktail gathering. If you had to leave the house while the sun was up, there were cloche hats, shearling coats, and some pretty day dresses, but the real fun was reserved for after dark. Although softer looks like an empire-waisted tulle gown decorated with silk rosettes were present, many pieces channeled James through highly structured design. Extreme silhouettes look great in photos, but they can be challenging to wear. Updating the concept meant using high-tech materials. “We worked with many vintage-looking fabrics, but they’re all shot through with modern technology like stretch fibers,” Mischka says. “Our customer wants to look glamorous and feel comfortable. She’s not going to suffer for a look.”The vibe may have been outré, but embellishment was minimal.
“We’re obviously known for our embroidery and beading, but we pulled that in a little bit,” Badgley says. “This was more about dressmaking, tailoring, and fabric manipulation.” As a result, dresses took on a sculptural quality, their bows and twists forming curves that hugged the body in inventive ways. Sleeves were adorned with outsized ruffles or layers of bows, while bodices received ruched details that swirled around the bust like a fan. Hints of sparkle were there—most notably on a series of airy gowns that used multiple textures in a single color—but the materials that received the most attention were matte and malleable, capable of being transformed into rigorous silhouettes worthy of the James stamp of approval.
16 February 2022
Mark Badgley and James Mischka looked west when putting together their pre-fall collection. The pair weren’t California dreaming as much as they were reminiscing. Both moved to the West Coast during their formative years, soaking up the carefree vibe that permeates the region. “A lot of this was inspired by our families,” says Badgley. “My mom had the sofa in the look book and the chair in teal blue. We have all these pictures of her sitting in it in the living room, laughing; those colors made their way into the dresses.”Upbeat, effortless glamour was the focus, the warm color palette drawn from the decor and the blush and terra-cotta tones one finds in a Santa Barbara sunset. Working with crepes and satin-faced georgettes, they kept the fabrications elegant. The silhouettes—tea-length dresses with flared skirts, breezy striped maxidresses, and halter-neck styles covered in tile print—skewed casual. One could save these pieces for an occasion, but it’s just as easy to imagine the looks paired with the collection’s deep red motorcycle jacket.The lighthearted vibe may have something to do with Badgley and Mischka’s secondary muse: comedy legend Lucille Ball whose ’60s wardrobe featured similar shapes. “Everyone remembers her silliness and comic timing, but she was an absolute beauty,” says Mischka. A model for Hattie Carnegie at the start of her career and a stylish B-movie queen, Ball had moments of overt glamour, and that mood made its way into the collection too. A pink paillette-covered evening look even calls to mind her scene-stealing segment in MGM’sZiegfeld Follies, where she and an army of pastel-clad dancers re-create the theatrical revue.
11 December 2021
The concept of spring renewal takes on a different meaning after months of indoor living and restricted travel. That new definition was on the minds of Mark Badgley and James Mischka as they began work on their spring collection. Returning to a favorite reference—the wardrobe Orry-Kelly crafted for Bette Davis in the 1942 dramaNow, Voyager—the duo set out to create clothes for women ready to reenter the world as their best selves. Butterflies, a recurring motif in the film, made their way onto multiple pieces, representing the theme of transformation. “Now, Voyagerhas an entire scene about butterflies, and then there are the spangled butterflies that adorn Bette Davis’s cape,” said Mischka. “We felt our customer is a bit like a butterfly; she’s been cooped up for so long, but now she’s ready to emerge from her chrysalis.”Undertaking such change requires an optimistic outlook or clothes that can evoke that mood. Badgley and Mischka doubled down on playful details like pastel fringe, sequin paillettes, and a series of prints filled with illustrated flora and fauna. These elements were used with intent; a flock of toucans might fly across a maxi dress, while pearl beads added whimsy to a workwear blazer. As Davis’s heroine Charlotte Vale came into her own, onscreen she wore portrait collars and ruffles to illustrate her evolution, and the collection took that idea and ran with it. Necklines—curved and face-framing or plunging deep Vs—stole the show. While the focus may have been on ornamentation up top, the duo wasn’t thinking about Zoom. “When all of the detail is on the lower half, it can go to waste [once you sit],” said Badgley. “We do a lot of podium dressing with newscasters or for the red carpet. Keeping the embellishments above the waist illuminates the face—on television and even when you’re simply hosting a lovely dinner at home.”Amongst their very social clientele, Badgley and Mischka have noticed a shift in how they want to dress for such occasions. Not quite ready to relinquish ease, they’re craving voluminous silhouettes and clothes that move with the body. The desire to make an entrance is still there, but it’s accompanied by the urge to remain comfy 24-7. Spring’s standouts appeared to address both needs; the “look at me” appeal of a lemony pleated gown with a ruffled train was obvious, but so was its relaxed vibe. The same goes for Badgley and Mischka’s crimson take on the cotton eyelet dress and those reflective two-piece suits.
Fittingly, the pieces splashed out in the season’s butterfly emblem were designed to float as the wearer walks into the room and spreads their wings.
8 September 2021
In the Bette Davis classicNow Voyager, Charlotte Vale celebrates her transformation from browbeaten frump to elegant aristocrat with a lengthy cruise. In true Old Hollywood form, Vale’s confidence boost is illustrated through clothes, Davis trading her high-necked blouses and shapeless dresses for the bold look of 1940s fashion. What Vale wears at her destination is just as important as where she’s headed. When she emerges from the ship’s cabin resplendent in Orry-Kelly costumes, the audience knows things are about to get interesting.For their resort 2022 showing Mark Badgley and James Mischka conjured a similarly evocative mood, with Davis’s heroine and Ingrid Bergman’s Ilsa Lund inCasablancaserving as starting points. “We were going over some of our favorites during the pandemic and just rewatching these older movies,” shared Mischka via Zoom. “InCasablanca, you have those suits with strong shoulders and flowing pants, everything that Bergman wore was incredible, and even her personality; being the most dangerous woman in the most dangerous city in the world was powerful. Then [you have] Davis when she transforms into that beautiful social butterfly during the cruise, and she and [Paul Henreid] share cigarettes. There’s so much glamour and romance in those films, it’s what inspired the collection.”The references were retro but the clothes dealt with 21st-century concerns. Namely, what to wear for reemergence. “Our customer is traveling again; she’s so tired of her athleisure and sitting at home,” says Badgley. “Now what she wants are clothes that will make her happy and keep her excited, in a cute way she wants to show off again.”For Badgley and Mischka, the key was showing that swagger while prioritizing comfort. The models posing in private planes within the brand’s look book were dressed to the nines in high drama pieces, but the materials were relaxed. A copper satin set with wide-leg pants and puff sleeves set the tone; visually arresting but as cozy as a tracksuit, it’s the kind of no-fuss item guaranteed to work for multiple occasions. Likewise, a tea-length dress with hothouse flowers decorating its skirt could be pulled out of a carry-on and worn without ironing. A sapphire paillette-covered suit was cut long and loose for maximum ease.Eveningwear is the brand’s bread and butter, but even the occasion dressing was focused on simplicity. The big story was monochromatic gowns accented by a single statement detail, often at the waist.
Silver crystals curving around a black column gown or oversized sashes on color-blocked red and white dresses were nice, but the look that summed everything up was a scuba gown with an asymmetrical ruffled hem that wrapped up the collection with a giant bow.
13 July 2021
New York nightlife is on hiatus, but its memory lives on. For Mark Badgley and James Mischka, nights on the town have always been a potent source of inspiration. From their days as students at Parsons to the four decades they’ve spent as Manhattan residents, they’ve maintained their fascination with the restaurants, nightclubs, and people who comprise New York’s café society. They’ve been witness to the ongoing evolution of the scene as the landscape ruled by socialites ceded to celebrities and social media stars before grinding to a COVID-19-driven halt. Fall saw the designers looking back to glory days when the city was a bustling hub of see-and-be-seen eateries and velvet ropes.Dubbed Return to Wonderful, the collection was as much about nostalgia as finding a path forward. “Our friends inspired us, all those memories of fabulous dinners or spending the night together at our favorite restaurants,” said Mischka via Zoom. “I remember seeing Phoebe Legere performing in her pajamas at One Fifth and hanging out after the Met gala back in the ’90s. Right now we’ve all been craving that kind of optimism, the thrill of going out and having incredible experiences with other people.”Presented via a video shot on location at the iconic Keens Steakhouse (a venue chosen in tribute to the many shuttered Manhattan restaurants), the collection felt eventful. After pre-fall’s playful stopover in Palm Springs, California, the New York vibes that informed this season added a layer of urbane glamour. Social distancing means 2021’s engagements occur primarily at home, but the Badgley Mischka girl is going places! Her wardrobe of embellished frocks requires more than a Zoom call or FaceTime to be appreciated fully.The collection focused on lively pieces with statement details: sequined trousers, blouses with voluminous sleeves, and metallic dresses decked out with fringe and paillettes. This lineup proved versatile; the sight of a male model looking dashing in a check-covered trench was a welcome surprise. The nostalgic theme allowed for a deep dive into the Badgley Mischka archives to modernize hits from the past and offer a new verve on vintage going-out looks. The oversized satin bows and polka-dot hose channeled the debutante party girls of the mid ’80s—think Cornelia Guest sandwiched between Andy Warhol and Boy George at Regine’s—while gold-flecked furs worn over glittering slip dresses screamed Chloë Sevigny.
Memories are fun, but the real standouts were the pieces that looked ahead. The emerald and ivory chevron number that served as the grand finale felt destined for the red carpet and an IRL event worthy of its beauty. With the world recovering slowly but surely, Badgley and Mischka hope that by the time the clothes hit stores, there will be a good reason to dress up again. “Eventually, there will be a return to normalcy,” said Badgley. “And we’re excited about what’s to come.”
17 February 2021
You can’t keep Mark Badgley and James Mischka down. This year’s unprecedented events have caused the pair to rethink some of their designs, but it didn’t stop them from opening a new retail outpost in Palm Springs. “Maybe people are a little shocked, but women are still buying clothes,” Badgley shared over Zoom. “It’s been a wonderful creative outlet and fun to see firsthand how the clothes are perceived in the shop.”The need to touch, feel, and experience things informs the duo’s sensory-rich pre-fall collection, which explores texture and pattern in ways best appreciated up close. Whether that means zooming in to see the fringe details on a baby doll dress or running a finger over the intricate beading that adorns the collar of a sapphire silk tunic, the idea of luxury comes through.Dresses appropriate for at-home entertaining and small gatherings made up the bulk of the collection. Though they were presented via atmospheric look book photos featuring clouds of smoke, it was easy to imagine these pieces being dressed down with the addition of casual accessories. Elizabeth Taylor’s caftan and baby doll dress phases served to inspire a segment; the star’s habit of accenting her looks with fresh flowers, straw purses, and giant diamonds offer some 2021-appropriate styling tips. “We were channeling one of our favorites this season,” says Badgley. “Some of the short pieces, which are so much fun, [reference] her 1960s movies likeThe V.I.P.s, which is fantastic.Of course, you don’t have to be a violet-eyed movie star to pull off the look. Lace, jewel tones, and subtle embellishment have universal appeal. That sensibility aligns the designers’ current direction and the pragmatism they’ve seen among their customers—online and off. “It’s intentionally dress driven. I don’t think people are wearing overly tailored clothing; it just doesn’t feel right at the moment,” says Mischka.
16 December 2020
During a global lockdown, vacation fantasies run rampant. Summer 2020 was defined by collective daydreams of jetting off to carefree locations and indulging in the kinds of trips once taken for granted. Such thoughts led Mark Badgley and James Mischka to consider the idea of staycations. “We often get inspired by our travels, but this time we couldn’t travel at all,” shared Badgley on the phone from California. “So we started thinking about the place we haven’t been to but have always wanted to visit.”They explored far-flung destinations like the Grecian isles and Havana, but they also touched on the American South’s homegrown charms. The fusion of styles allowed for bright bursts of color, paisley prints, and variations on the housedress.Making it all happen was easier said than done. In quarantine, after returning from the European collections this February, the pair worked via video conference to connect with a team that had spread out across the globe. “We had to get on Zoom just to place a buttonhole on a blouse,” explained Badgley. “Our model was in the Hamptons while James and I were in Palm Beach, and our assistant was in Pennsylvania. The production manager is on from New York; then the buttonhole is being marked in a factory in mainland China. We were all working on together.”Instead of a show, the duo shot their look book and its accompanying film at Old Westbury Gardens, the sprawling former estate of lawyer and steel heir John Shaffer Phipps. The old-money setting accentuated the collection’s opulent feel; the Badgley Mischka muse may be grounded for the moment, but her schedule hasn’t slowed down. “Our ladies are entertaining from home right now,” says Mischka. “They still demand glamour and want to look amazing, but in a way that is more comfortable and appropriate for this moment. There is a thread of glamour through every piece, but it is not so studied or red carpet driven.”That luxe lounge concept served as the collection’s organizing principle. Only the most extroverted among us (paging Jennifer Lopez) will spend their time indoors wearing a flowing caftan or sequin-covered terrycloth robe, but the option should exist. Jewel-toned gowns, prints inspired by Italian pottery, and suit dresses flecked with gold sparkle offered escapism with an eye to the future. “Mark and I are optimists. Our company has been around for 32 years, and we’ve been through a lot of ups and downs,” says Mischka.
“Every time people think fashion is going to end, it doesn’t; it comes down to the industry to adapt. We want to think that things will happen again, and there will be those special occasions.”
15 September 2020
For its fall 2020 show, Badgley Mischka incorporated two very English but very different cultural moments. One was the period TV seriesDownton Abbey, set in the Edwardian era (think: high necklines and stiff bodices). Then there was the loose, hippie-fied bohemian era of the Beatles in the ’60s and ’70s. (Designers Mark Badgley and James Mischka were also inspired by the Edwardian-era American artist John Singer Sargent.) While both British influences were visually opposite, they worked quite seamlessly together on the runway. Some of the pieces could have leaned too prim, such as the skirt set in Look 2, but they felt relaxed thanks to a bit of flexibility and modernity. The top came with a belt tightly cinched at the waist, creating a stellar hourglass silhouette, especially with the exaggerated bishop sleeves.Of course, there were the megawatt numbers from the label. Those included standard black-tie ensembles, such as a clingy, off-the-shoulder black gown. While these looks weren’t groundbreaking, they were still pretty and captivating.The standout pieces were the least formal, in particular a camel-hued, butter-soft jacket-poncho belted at the waist. With fringe that kicked up with every step the model took, it had the power to elevate any daytime outfit.
8 February 2020
It’s hard to overstate the Bloomsbury Group’s impact on culture. The informal assortment of writers, artists, and thinkers who congregated in London during the early part of the 20th century included Virginia Woolf, E.M. Forster, and art critic Roger Fry, to name a few, and their informal gatherings played a crucial role in shaping our current understanding of literature, journalism, and aesthetics. Bohemians who preached a rejection of bourgeois ideals, they were the starting point for Mark Badgley and James Mischka when it came time to consider pre-fall.The idea of a collective, multidisciplinary take on creativity elevated the ambitions of the duo’s collection. The pre-fall season, which can devolve into paint-by-numbers lineups of retail-friendly hits, rarely yields new ideas, but Badgley and Mischka seemed keen to raise expectations. Updated techniques and materials gave the collection its life, adding modernity to familiar concepts like ball gowns, party frocks, and glitzy jumpsuits. Many of the most compelling moments involved neoprene, which featured on blazers covered in abstract floral prints and lively cocktail dresses. The ease of the scuba fabric is a selling point—you’ll never have to run an iron over the aforementioned jacket—but it was elegant enough to feature alongside silks and satins. Also used to great effect: clear sequins which layered over screen prints to add a subtle sheen.As always, things finished off with a gala gown or two, and the customer-favorite portrait collar looks were as stately as ever. The real fun came via techniques that harked back to a 20th-century ideal of elegance. Plum satin and crystals? You don’t need a history lesson to appreciate that.
6 December 2019
In 1961 Claudette Colbert purchased Bellerive, an 18th-century home on the island of Barbados that would become the actress’ primary residence. Retired to the Caribbean after a long and fruitful career onscreen, the Oscar winner didn’t abandon the excitement of her former life; instead, Colbert took Hollywood with her, turning Bellerive into a must-visit destination for her high-powered friends. Frank Sinatra and Mia Farrow honeymooned there, Princess Margaret popped in on occasion, and so did Babe Paley and Slim Keith. The mystique surrounding Colbert and her tropical getaway still resonates nearly six decades later, so when it came time to craft their Spring 2020 collection, Mark Badgley and James Mischka looked to the era and its ambiance. “The way they entertained at night and dressed by night was beautiful; we saw photos, and it was so inspirational,” said Badgley post-show. “It brought an ease to the glamour that we wanted to capture in the clothes.”Bright florals and juicy shades of tangerine and lilac added to the tropical feel. Though the fabrics were handmade in Italy, the palette was based entirely on Barbados. “We did a lot of the palm colors of the vegetation from the island, plus the aqua and lagoon shades,” said Mischka. “We hope it feels like you’re on a vacation when you’re wearing these clothes.” A power suit on model Maria Borges that served as the opening look brought sumptuous florals into a boardroom setting, while belted mixed-print dresses and a series of breezy eyelet-covered pieces offered getaway vibes. Even the swimwear, with its ruffled bikini tops and punchy prints, was shown beneath coordinating blazers or lightweight coverups to highlight the quick change before making a jump into the pool.Nighttime is where Badgley Mischka truly shines and as the pair delved into eveningwear, things got interesting. Though they stayed true to the summery theme, the embellishment level went way up. Colbert’s heyday was in the ’30s and ’40s, and the collection honored that by updating several popular vintage silhouettes: tiered dresses with ruffles, big shoulders, and puffed sleeves all featured. Throwbacks are always welcome, but the most exciting elements were strictly modern. White gowns detailed with three-dimensional flowers and the final look, with its flash of sparkle peeking out beneath transparent stripes, both seemed ideal for modern movie stars.
13 September 2019
Badgley Mischka is on the move. Designers Mark Badgley and James Mischka began 2019 with a wave of change, relocating their New York corporate offices while simultaneously undertaking a move to Beverly Hills. Relocations can be stressful, but the pair was inclined to look on the bright side, crediting the bicoastal shakeup with giving their latest collection its lively West Coast vibe. “We’ve had the chance to visit some incredible resorts in Palm Springs, Montecito, Carmel,” said Badgley at their new headquarters. “Now we’re bringing a little of that into Resort.”Hideaways may have been the starting point, but Hollywood glamour is never far from the designers’ minds. The season calls for easygoing fashion, and they provided their version of the concept: Neoprene dresses in seafoam green were an easy win and the duo’s wrinkle-proof fabric is already a hit for the brand. Paillette-covered suiting added a welcome disco moment. Belted trousers and off-the-shoulder satin blouses are about as casual as Badgley Mischka gets, but each piece felt unfussy and wearable.Customers are increasingly conscious about comfort, even when selecting their eveningwear. Mischka and Badgley addressed these concerns by revisiting celebrity favorites and tempering the extravagance. Ombré halter dresses and black ruffled numbers were nice, but couldn’t compete with an opera coat favored by Oscar winner Helen Mirren. Recreated in iridescent navy satin, it raised the stakes of the whole collection. Likewise, Barbra Streisand’s onstage wardrobe inspired a series of silver-sequined gowns with overlays of blush or mint: Their flashes of silver were only visible as models moved, but they provided an upbeat moment of glittering excess.
6 June 2019
Molly Shannon and Kelly Bensimon sat side by side at the Badgley Mischka show, spending its 45-minute delay whispering and looking at photos on each other’s iPhones. One only hopes they were plotting a way for Shannon to develop a Bensimon impression, but that’s for time to tell. Together, the two celebrities represent what Mark Badgley and James Mischka do best: Shannon in a professional azure sheath and Bensimon in a flirty purple frock suited for partying. Having celebrated 30 years in business last season, the designers are not trying to look back, however.For fall, they pushed forward with a vision colored by restrained glamour inspired by the optimism of the 1940s and ’50s. Their palette of chromes and forest greens was drawn from vintage Mercedes-Benz sports cars, lending a shimmer to the opening suit or dampening the drama on a column gown. The best pieces were Badgley and Mischka’s simplest ones: a dark navy evening dress evoked the aerodynamics of a coupe, while a burgundy dress with sapphire embellishment and bow detail provided a classy bit of romanticism. Does a woman want a gray blazer with feather trim, sparkling trousers, or baby pink moiré bows? Maybe the showgirls in the front row would, but clothes for the Instagram shot are not as worthy as the refined beauty for which Badgley and Mischka are renowned. If one must go showgirl, the finale parade of cherry red minidresses in sequins and feathers will make do.
8 February 2019
The Badgley Mischka woman is changing. “She’s no longer content to sacrifice comfort for style,” shared Mark Badgley during a visit to the brand’s atelier. “No matter the occasion, she still wants to feel comfortable.” That desire for ease was reflected in Badgley Mischka’s seasonal outlook after a fairly bombastic 30th-anniversary collection in September; Pre-Fall with its extended shelf-life and accessible nature called for a fresh direction. Though the duo kept their signatures—bold embellishment and refined shapes—they offered them in new fabrications that focused on movement and lightness. A classic suit-dress in royal blue fit for Meghan Markle and her ilk was delivered in sporty scuba fabric that hugged the body, as did an array of cocktail looks and gowns. Stretchy striped dresses with criss-cross details added a bit of playfulness to the mix, while bejeweled necklines decked with sequins, miniature flowers, and embroidery provided a decadent final touch.Even with the relaxed vibe, the duo couldn’t resist adding in a few looks where the message was about glamour. An emerald satin gown with a draped back was gala-worthy, as were sequin-laden striped pieces and a pair of appealing dresses on which magnolia blossoms featured prominently. Displayed at the Miles McEnery Gallery, the embellished pieces popped alongside artwork by Tom LaDuke and Monique van Genderen. The collection ended with a final flourish, a ruffle-laden crimson piece that banished all thoughts of cozy dressing.
5 December 2018
How do you sum up 30 years worth of fashion? The task is one most designers never get to tackle, but Mark Badgley and James Mischka approached the milestone with a joyous energy. Spring marked a look back on their successes and a trip through the looking glass into an Alice in Wonderland–themed collection filled with embellishment, festivities meant for high spirits, and a chance to reflect on three decades worth of design. “30 years in fashion is a lifetime,” quipped Badgley backstage. “God knows it’s one of the most difficult industries you could choose to spend your career in, but certainly one of the most gratifying.”With guests like Caitlyn Jenner and Alec Baldwin seated in bistro-style tables with an endless supply of Champagne at their disposal, the show had a festive vibe that carried over into the collection. Though they’ve proven themselves adept at daywear, Badgley Mischka’s specialty has always been clothes for important nights out. Parties, galas, and premieres are where the duo shines, so they skipped right to the good stuff. Belted floral dresses with layers of ruffles, marabou accents on sculpted necklines, and shades of lavender and periwinkle combined to create a feast for the eyes.If the sight of an ice blue fringe-covered gown or a sumptuous bouquet of 3-D silk flowers makes you think of Disney royalty, there’s a reason for it. “It’s all a beautiful fairy tale this season,” shared Mischka. “Princess pink, Elsa blue, beautiful colors—and everything is super lightweight, so it just floats.” With an abundance of blooms, candy shades, and brocade, the sweetness may prove too saccharine for some, but there were subdued moments. Sleek silver sequins accented with a panel of pale pink on a slinky gown provided a palate cleanser, as did a simple yet effective look comprised of rose gold fringe.The show also marked a launch into fresh categories. Debuting a childrenswear collection with mommy-and-me-style options via some of the cutest models of the season, they tapped into the familial vibe that has been running through this season. The night ended with a spray of confetti, clothes that target a youthful audience, and the introduction of a brand-new fragrance—a big white floral, what else—signs the duo have their sights on the future.
9 September 2018
It’s hard not to think about the Mexican Riviera without envisioning its current state. The cities along the nation’s western coast have become a destination for those seeking to unwind in hippie splendor, but in the 1950s, the mood was entirely different. Travelers who passed through back then looked more like Betty Draper than Kate Moss. Resort found Mark Badgley and James Mischka going back to the season’s origins and the idea of stylish travelers enjoying a jet-set lifestyle.The inspiration point was obvious in the collection’s zesty palette and optimistic perspective. Flowers woven into sumptuous evening gowns nodded to Mexico’s history of handcrafted embroidery, while striped jackets echoed the patterns found on traditional textiles. Within the casualwear, this vibe added a sense of playfulness, with ruffled details enlivening striped blouses and fringed textures making A-line dresses feel unique. But the real fun happened after dark.While the eveningwear was diverse, the high points came when the designers embraced levity. It’s hard not to smile when you’ve got fiesta prints bursting with hibiscus blooms and grosgrain bows trailing down the backs of prim dresses. There was more to the designs than whimsy; laser-cut ruffles tipped with silver and hand-painted flowers added visual interest to caftans and necklines. In a few instances, the embellishment verged on the overwrought—red roses distracted from the appeal of dressy cropped jeans, while blue blooms were lost when set against a periwinkle print—but when done right, the details added to the spirited trip back in time.
7 June 2018
As anyone who has attended a fashion show in recent memory can tell you, most of the action these days is viewed through the lens of an iPhone. While many have bemoaned the presence of phones during NYFW, Badgley Mischka designers Mark Badgley and James Mischka used their Fall collection to lean into technology. Providing guests and those at home with an app created in collaboration with SAP and Apple (from which they could not only watch the show but also select their favorite outfits and rate which looks they liked best), the duo opened the doors for a new kind of interaction between audience and brand. “The information is invaluable,” shared Badgley backstage. “It will be funny to tell our buyers tomorrow when they think, That is the dress, only to find that a thousand people thought different!”Catering to generation iPhone is a smart move, but the collection itself avoided veering into any tech-meets-fashion clichés. Citing the works of Caravaggio as a starting point, the pair delivered a collection rooted in the traditions of American design, but delivered in sumptuous fabrics with old-world appeal. Keeping the color palette vibrant, they began with a red sequined overcoat on the lithe form of Alicia Burke. They elevated the familiar black-and-red check pattern by adding a touch of glitz. Diving almost immediately into eveningwear, they showcased their speciality—powerhouse gowns that demand attention—by presenting a series of gala-ready looks covered in embellishment. There were swaths of tulle covered in silk petals and crystal adornments galore.Even with all the finery on display, the crowd quickly settled on a favorite. With its figure-accentuating full skirt and crimson color, Look 12 proved the most liked of the bunch, thanks in part to its fairy-tale sensibility. “It was done in beautiful brocade that we got out of Italy—very classic, very Grace Kelly,” said Mischka. “The foundation gives that little waist with the volume.” While it remains to be seen what developments all the added data will prompt, one thing is certain: The rest of fashion may be clamoring for athleisure, but Badgley Mischka’s audience still craves glamour.
14 February 2018
Mark Badgley and James Mischka would have fit right in at one of Truman Capote’s 1960s society soirees. They are two very charming men living in a somewhat forgotten era of American fashion, when women wore couture to lunch and Claire McCardell to their summer homes on Nantucket. The designers, it seems, are intent on bringing some of that Swan style into 2018, as evidenced by their McCardell–meets–Babe Paley inspired Pre-Fall collection. It was all-American in a Park Avenue kind of way: classic, crisp red belted shirt dresses with flared skirts, ivory blouses decorated with pearls, picnic tops worn over skinny Hepburn-esque pants, and column evening gowns with novelty ribbons and shoulder embellishments.After a couple of seasons that saw Badgley and Mischka experimenting with younger trends like athleisure and sexy, slinky silhouettes, this collection felt true to the DNA of this New York brand. The clothes are made for a highly specific client who spends her winters in Palm Beach and her summers in Southampton. She’s a woman who shops at Neimans and drinks bellinis on Madison Avenue. Much like Capote did at his parties, Badgley and Mischka know how to play to their audience. This season, they’ve given her a time capsule to travel back to the days when being a part of high society—or dressing like you were—was a much more important mark of status than the number of Instagram followers you have.
15 December 2017
Mark Badgley and James Mischka often find their inspiration abroad. Just last month, their Spring 2018 ready-to-wear collection took its cues from Capri, and this morning, they were in New York to show their Fall 2018 bridal lineup fresh from a vacation in Italy’s Bay of Naples. Fittingly, the gowns were conceived with a similar destination wedding in mind. “There’s a softness to the collection,” Badgley said. “We don’t believe in harsh lines in bridal. Everything is glamorous and soft and beaded and sensual.” Mischka added: “It has to glow a little bit, too.”There was no shortage of star power here. For starters, the style names paid homage to the duo’s Hollywood clientele, all beginning with the letterB. The Blake (as in Lively) is a romantic slip dress in embroidered lace, while the Beyoncé (as in Knowles-Carter, though that hardly needs explaining) takes the form of a plunging gown in beaded silk georgette. To maintain a sense of lightness throughout, the designers took the heavy construction out of a bustier by incorporating new technology. Power mesh fabrics replaced boning, and stretch-paneled sheer corsetry lent extra flexibility. “Our girls want to feel more natural. Of course, they want to look amazing, but they also want to be comfortable,” Badgley said.When in doubt, it all came down to what they called “the pinkie test,” in which you pick up a hanger with your little finger to test the weight. “It should just feel like ounces,” Badgley said. “Those are the dresses that are fun to take away.”
10 October 2017
More often than not, Mark Badgley and James Mischka are inspired by their fabrics—this season, more so than usual, as their Italian glazed canvas and raw linens lead them to the sun-soaked island of Capri. “Our inspiration is an American girl going to Capri for the first time,” Badgley said backstage before the show. “Hopefully, it’s her dream of Capri.” As Mischka underscored, it is a full lifestyle collection. “From when she gets up in the morning, goes to the beach, swimsuits, a lot of day clothes,” he said, before Badgley chimed in: “From breakfast to ball gown.”To complement the local textiles, the pair concocted bright prints of flowers found on Capri: gardenias, poppies, bougainvillea. Some were stuck onto pieces as dramatic appliqués, like a coral lace minidress with a huge feathered bloom on the chest. There was swimwear—including a high-cut silver bikini with plastic beaded buds à la last spring’s Miu Miu—and the first-ever Badgley Mischka T-shirts, which the men advised pairing with jeans or a ball-gown skirt. The heavily beaded and embellished evening gowns done in sequins and spun silk jacquards were a hit with the audience and seemed destined for a night out in Capri, should life ever lead you there.
12 September 2017
It’s no wonder that designers Mark Badgley and James Mischka are chummy with America’s fashion royalty. Women of a certain Hollywood ilk—think Brooke Shields and Lauren Hutton—have long been devoted fans of the duo, not only because of their spotlight-worthy gowns but also because of their down-to-earth, unpretentious personal charm. When it came time for Badgley and Mischka to start contemplating Resort 2018, the designers felt that they wanted to pay homage to one of their luminary friends. “Our inspiration this season was Anjelica Huston,” Mischka said. “A lot of the dresses in this collection have a silhouette and a boldness to them that fits in with how we picture her dressing. She’s always been a muse for us.”Huston is a client and starred in the label’s 25th anniversary campaign in 2009. As a friend and collaborator, Badgley and Mischka did the model, actress, and style icon justice in their slightly more subdued, body-hugging pieces this season. Highlights included a long belted black crepe dress with long sleeves and a dangerously low-cut neckline, as well as a red floor-length gown with beautifully beaded off-the-shoulder straps. Other more decorated looks didn’t quite match with Ms. Huston’s aesthetic, particularly the embellished crimson caftan fit for a Palm Beach snowbird and a gala-appropriate shirtdress with a voluminous skirt and crystal buttons. In all, however, there were definitely options for every Badgley Mischka fan.
19 June 2017
It’s been a minute since Mark Badgley and James Mischka put on a proper show, and for their return to the runway, the designers went all out. Ahead of the first looks, the stage was set with furniture from their debut home collection. Models perched amongst the tufted settees and gilded canopy beds, decked out in the new line of casual (well, by their standards) Badgley Mischka sportswear. Fall is a season of expansion for this tried-and-true New York label, and while Badgley and Mischka are clearly thinking ahead, this season’s core inspiration was gathered from the past.“We’re caught between some wars right now,” Badgley said backstage. “We went back to the time when Europe and America were between the two World Wars.” He added, “It’s about the women living in those uncertain times and how they used power and strength to soldier through—it resonates today.” Perhaps this is why the pair thought that it would be an appropriate time to introduce an easier, everyday ready-to-wear category, though the blue velvet tracksuit, fur stoles, and embellished sneakers hardly felt dressed down. Nonetheless, the new pieces fit well into the Badgley Mischka woman’s wardrobe, as did the rest of their glittering lineup.The designers borrowed some ’40s silhouettes like nipped waists and voluminous skirts and the finale gown with a collar, long sleeves, and dainty floral embroidery and beading that felt decidedly Wallis Simpson–like. Other than that, the styles from a war-torn past—referenced by Badgley and Mischka before showtime—weren’t very visible at all. But as always, there was certainly strength behind the detailed work that went into each and every piece. For Fall, they’ve created another timeless collection of ravishing armor for the powerful woman, whether she’s on the red carpet, at a gala, or lounging luxuriously around the house.
14 February 2017
There are few designers more synonymous with Hollywood glamour than Mark Badgley and James Mischka, but they wanted to evolve the concept this season, adding a hint of Latin energy through lightness. The duo were inspired by Buenos Aires in the 1950s, a continuation of their ready-to-wear collection presented in September, adding layers of tulle, lace, and organza at the hem and train for graceful movements on their signature mermaid silhouettes. The styles presented were also faithful to the duo’s approach to glitzy eveningwear. Intricate embellishments were used to emphasize waistlines and necklines. One standout included a beaded, strapless bustier-style dress with soft peplum that masterfully offset streamlined, cascading layers of tulle trimmed with lace. It could make a trip down the aisle feel like a red carpet premiere.
12 October 2015
Buenos Aires of the ’50s?Mark BadgleyandJames Mischkamay have never made it there themselves, having been born several years too late, but the red carpet stalwarts imagined that milieu through a romantic’s lens as the basis of their Spring lineup.From the suntanned skin that the designers said informed a blush-heavy palette to the butterflies and flora, here was a depiction of B.A. straight out of some dreamy tourist brochure. Idealized, but never kitsch, the pair embraced their précis wholeheartedly, integrating it into the label’s classic silhouettes, “beautifully tailored by day and very sensual and elegant by night,” as Mischka put it backstage pre-show. The tailoring came to life with a swingy, warm-weather tweed shorts suit, the nighttime mood in a hothouse-looking floral lace gown and a metallic brushstroke jacquard. Backstage the designers offered that while their autumnal fabrics skew toward the more heavily encrusted, here was a relatively breezy profusion of frothy, lightweight tulles, chiffons, and georgettes.Gold foil butterflies on a blush tulle gown had a certain heady charm to them. Still, generally Badgley and Mischka’s simplest propositions spoke the loudest: to wit, the plunging ivory top and gold beaded trousers, or a little caped black cocktail dress with a waterfall of bugle bead strands that cascaded down the back. Though if you’re looking for an everyday shift for the office, well . . . look elsewhere. “Our day starts at 5 p.m.,” Mischka laughed backstage, while Helen Mirren, sitting front row, called out an unapologetically glam strapless gown in white and metallic gold floral jacquard as her most coveted look.
16 September 2015
In the late '60s and early '70s, James Mischka was a young boy living in Malibu. This Resort season, he and Mark Badgley were inspired by the "sunny colors and sun-drenched days" of that era. "We were thinking about the dresses our moms wore back then," Badgely said. (The Pandora station playing in the background during their lookbook photo shoot was aptly titled "California Dreamin'".)It's not out of character for the duo to mine retro ideas, but this collection was particularly vintage in feel. Luckily, it never veered into costume territory. Standout looks included an icy blue strapless column dress embellished with 3-D yellow glass flowers, and a silk caftan in a "Hawaiian Punch" print. For those after something utterly modern, the designers offered a tank-back gown with a shimmering pink mesh top and metallic brocade skirt, which was belted at the waist with a corded black ribbon. The sharply pleated white handkerchief skirt and white crepe safari dress were elegant complements to a collection that was otherwise bursting with color—from the shift covered in baby-blue glass beads and dotted with pink appliquéd flowers to a one-shoulder number in purple hothouse-floral lace.
9 June 2015
Wife or mistress? Mark Badgley and James Mischka tried to think about both sides of that particularly tricky argument for Fall, having re-watched one of their favorite old Hollywood movies,Blood and Sand, from 1941. It's about a bullfighter on the rise, his faithful wife, and the sizzling other woman, played by Rita Hayworth. Spoiler alert: Nothing good can come of being caught between two women and a bull.Similarly, the collection the designers showed felt like a push and pull between two ideas, at times three. There was a prim lady in her bouclé trench and peplum day dress. And, of course, the matador translated both overtly—in embellished brocade jackets, shells, and strapless gowns that stayed safely in the designers' wheelhouse—and with a more modern hand, via a white button-down shirt tucked into a long black skirt with gold embroidery encasing the waist and hips. Then, an intermission of sorts, comprising red and black plaid looks. A sheath with a deep V-neck was cool but felt more appropriate coming from a young contemporary guy, not full-grown men, and definitely not with this plotline.But the designers introduced a promising new material to their lineup: a silk honeycomb gazar. "It's my favorite," Badgley said after the show, pointing out a breezy black cocktail dress in the fabric, with gold embroidery just in the back. "It weighs ounces, and it molds like clay." It also illustrated how tech-sportif and high-glam can coexist if given the chance.
17 February 2015
A first-time trip to Cartagena, Colombia, made dreaming up Pre-Fall an almost too-easy task for Mark Badgley and James Mischka. The hotel they stayed in, a 450-year-old monastery, was a stomping ground for women "dressed to the nines," said Mischka, who, along with Badgley, was inspired by the locals' sense of color. "Every girl looked like Sofia Vergara," he said. A 1950s Studebaker parked in the hotel's driveway also charmed the designers, persuading them to reference mid-century silhouettes. Yes, there were fitted-bodice ball gowns in opulent brocades, plunging jeweled necklines, and allover sequin columns that will please Badgley and Mischka's party-season customer. But the almost-daywear-pieces—in particular, a pair of crepe gauchos and a blouson cocktail dress decorated with flowering vines inspired by their hotel's wall—were equally compelling, if not more so.
10 December 2014
Over 25 years in the business, a designer will accrue a lot of advice, both asked for and unsolicited. Decades ago, Mark Badgley and James Mischka were told, "Do what you want to do, and don't listen to anyone else"—wise words they have taken to heart. Being dress designers can be tough. Everyone wants you to branch out into "everyday" clothing, even as you're trying to create one-of-a-kind eveningwear that will most likely get photographed. But for 25 years, Badgley Mischka has served a clientele as sparkling as their gowns. So if these designers aren't showing neoprene gingham baseball jackets, who cares? It's just not their jam.For their 25th-anniversary collection, Badgley and Mischka approached it just as they would their 16th or 21st, which is through a modern yet subtly retro lens. After watching '60s French science fiction films, they struck upon the idea of effervescence and weightlessness. Which morphed into "Marie Antoinette on the moon," seen in the loose, bustle-worthy ruffles detailing a jacquard jacket, and in embroidered gowns in featherlight organza and gazar. The references, thankfully, were subtly used, so the transparent and Plexiglas ideas picked up from the sci-fi flicks showed up here as shattered chandelier crystals glued to Lucite cuffs and brooches. And perhaps because no woman wants to be caught wearing the same dress as another, each gown had a different shape, color, or embellishment from the next. The designers also didn't ignore what goes onbeforea red carpet or a black-tie event—but their tweed suits, shot through with metallic thread, were every bit as glamorous as their evening counterparts, as was a gathered ice blue silk dress cinched with a wide belt.But before daytime came Badgley Mischka's night to celebrate 25 years of, as Mischka put it, "sticking to our mantra and being the turtle who sometimes wins the race." Theirs is a very specific customer, and today, as hundreds of silver balloons fell from the ceiling and Naomi Campbell brought out a birthday cake, their fans all gave Badgley and Mischka a very loud cheer.
9 September 2014
"We were just so sick and tired of winter," said James Mischka. "So over it," his partner, Mark Badgley, concurred. To cure the cold-weather blues, the duo booked a trip to Tahiti and Bora Bora, and designed Badgley Mischka Resort with visions of French Polynesia in their heads.The inspiration went a long way. A silk and wool shift was done in a lush tropical print, which showed up again on a V-neck slip. An ivory racer-back gown was distinctly embroidered with beaded hibiscus flowers, as was the neckline of a marigold and lemon tweed dress. The designers have made jewelry out of druzy agate in the past, but this season they used the stone as a fabric adornment. The bustline of a slinky white-sequined number was decorated with chunky gems, as was the top of an aqua and gold tweed column gown. A black tulle minidress was embroidered with a lush "jungle" design, offering a youthful take on formal dressing. But Badgley Mischka's signature ruffled skirts were nowhere to be seen. Indeed, the season's effort was meant to feel streamlined. "More sleek," said Mischka. While the frills might've been missing, the lemon-colored ball gown, made of brocade organza, provided just enough froth.
9 June 2014
Mark Badgley and James Mischka washed Fall in gold. Inspired by turn-of-the century Vienna, in particular artist Gustav Klimt and architect Josef Hoffmann, the Badgley Mischka collection was a study in the effect, whether on a bodice hand-beaded with rectangle paillettes and ruby gems, or a tweed wool shift with a metallic glaze. An almost-weightless metallic floral brocade made a beautiful ball gown, while a leopard print on a wool "nod to the power suit" was dulled down to contrast with the otherwise opulent materials.The richness was framed, smartly, in fifties silhouettes. "We were interested in the artists, but not the fashions, of that time, so we thought of Dior and Balenciaga from the mid-century instead," explained Badgley at his studio the day before the show. He and Mischka certainly know how to make an Oscar-worthy gown—see the pink, ruffled-collar column done in shimmering snowflake tulle for proof —but they have often struggled with day. However, this season's voluminous shapes, such as a black cape coat in a waffle-weave wool, gave the before-6 p.m. pieces some spirit.
10 February 2014
Mark Badgley and James Mischka say their clients like to buy formalwear for the fall parties before they leave for the summer holidays. Which means Pre-Fall is all about glamorous dresses at Badgley Mischka—even more so than in other seasons.This time around, they looked to the opulence of Rome—where they recently took a belated honeymoon—to inform the look of the gowns. The silhouette was mainly long and lean—even a ball skirt in a beautiful bordeaux red and black jacquard was pretty narrow. A stretchy crepe column was embellished with an armorlike jeweled collar, while the standout beaded nude chiffon number was studded just at the neckline with golden brooches. The duo were most successful when they pinned heavy brooches on wispy fabrics. "It's the contrast that makes it interesting," Mischka said. It's true.
9 December 2013
For Spring, Mark Badgley and James Mischka's point of reference was Jacques Henri Lartigue's 1920s photographs of women lounging around the French Riviera. The resulting runway told a notably concise story, taking the Badgley Mischka woman from the beach to a yacht to under the sea in twenties- and thirties-inspired silhouettes. "We are always thinking about designing for real people, even when we're designing couture," said Mischka at their studio the day before the show. Spring will give those clients plenty to choose from.The collection started with a set of navy and white looks for day, and it starred the most perfect summer tweed: a navy taffeta threaded with a white cotton slub, which was made into several separates, including a boxy cropped jacket and a formfitting trumpet skirt. There were pretty polka dots, too, used deftly on a pair of chiffon palazzo pants and a bra top.The designers soon transitioned into evening, sending out a series of gowns that reflected the colors of sunlight on the sea: Grecian-esque columns in pale peach, lavender, and orangey red were mixed in with similar numbers in a soft chrysanthemum print.For the finale, Badgley and Mischka looked to the mermaid to create the heavily beaded styles for which they're best known, in colors like aqua and iridescent pink. A cream column dress embellished with floral appliqués sewn on with navy yarn was particularly beautiful and reminiscent of Badgley Mischka's work from the late nineties, when the label first became a red-carpet smash.
9 September 2013
Blake Edwards' 1968 cult comedyThe Partyprovided the inspiration for Mark Badgley and James Mischka's latest collection. But of course it wasn't Peter Sellers' baggy red pajamas they were gushing over. Rather, they looked to the swinging cocktail styles of the film to inform their work."Have you ever heard of a mood ring?" asked Mischka, pulling out a white scuba gown whose collar was studded with stones that turned a brilliant blue when worn because of body heat. While the other gowns provided less entertainment, they still had a good amount of sixties flair: Lucite embellishments were a retro contrast to traditional sequins; geometric starburst embroidery added a veil of youth to a few dresses and caftans.Color choice was solid: magenta, coral, sea foam, and white were all prominent and added to the festive nature of the party clothes. And an iridescent, op-art-inspired raffia embroidery provided the right amount of psychedelic noise.
9 June 2013
For Fall, Mark Badgley and James Mischka looked to Alfred Hitchcock's icy femmes fatales: "A paradox of the cool surface and the inner fire," as Badgley put it a few days before the show. Taut silhouettes—a fitted sheath in curve-hugging oyster crepe, a black double-knit pencil skirt, and a black crepe lace dress with a wool collar—made up the majority of the strict daywear.Then things got a little murky. Velvet open-toe pumps topped with a bow were for Minnie Mouse, not Tippi Hedren, and a string of floaty organza gowns weren't special enough. A pink and black damask skirt, named the Vertigo, felt tired, as did a cashmere twinset with bunches of crystals peppered all over.Where the designers excelled was in the ultra-detailed final gowns, an evolution of pre-fall's Aztec theme. Brocade, the material of the moment, was fresh in a ball skirt paired with a gray bouclé jersey top, and a slinky white long-sleeved jersey gown stood out because of its exposed zipper adorned with a gold tassel.
11 February 2013
According to the Mesoamerican calendar, there are three days until the end of the world. The 2012 "prophecies" have crossed most people's minds in the past few weeks—designers Mark Badgley and James Mischka included. Fittingly, the duo let Aztec and Mayan artwork drive their latest pre-fall collection. "For us, we're looking at this not as the end, but as a new beginning," Badgley said. The art lent itself well to the range's embellishments, which appeared on almost every gown. Two peplum styles stood out, one in oyster and one in jet black, with beading on the trim and sunburst motifs on the skirts. A matte jersey gown had a two-dimensional serpent design that wrapped around the bodice. Mischka explained it was felt padding, a technique used by Schiaparelli in the thirties.Elsewhere, beads served as more than just an accent. A fluid tulle number with a chiffon lining was covered in jewels and sequins, creating the illusion of a cocktail frock layered over a gown—that's forward thinking. But a black sheath halter gown with a tulle inset cape dusted with antique chains and diamonds was the collection's winner. It's the one that the duo's girls will rush to get their hands on, whether it's the end of the world as we know it or not.
17 December 2012
Over the summer, Mark Badgley and James Mischka developed a cinematic crush on the 1935 film version ofA Midsummer Night's Dream. Enchanted by the film's "haunting beauty," as one of the designers put it a few days before their show, they set out to achieve the same effect with their collection. A sylvan backdrop set the mood, and the clothes, which, as in seasons past included a mix of items from Badgley Mischka and Mark and James, were frothy and romantic. Fluttering tulle sleeves looked fitting for a fairy queen (they were, perhaps, a touch large for a mortal), and Lurex-treated tweed on a full, knee-length skirt had an effervescent shine. In another setting, a pair of skinny tweed pants fixed with a hologram effect would have seemed downright clubby; the strapless organza bustier they were worn with—it looked like a giant rose—made for rarefied company. A pair of heather jersey sweatpants studded with sequins did little to deflate the mood. With a surfeit of novelty fabrics—brocades, matelassé, lace, and bouclé—making up the majority of the looks, this was not a collection geared toward, say, a performing troupe of mechanics. Which is to say, the label's usual demographic will have plenty to choose from.
11 September 2012
Mark Badgley and James Mischka recently moved out to Long Island's North Shore. So it's not much of a surprise that the duo found their Resort inspiration in an old yet soon-to-be-revived classic,The Great Gatsby. With images of Mia Farrow and Carey Mulligan in their heads, the designers whipped up a series of dresses, in both cocktail and floor-grazing lengths, that they imagined Daisy Buchanan might wear to entertain. It was easy to picture either one of the actresses parading around on set in an oyster strapless crepe gown with heirloom pavé embellishment or the matte jersey dress with feathered cuffs. Simpler looks were just as appealing, the best being a black body-hugging column gown with mesh cutouts and sheer insets. Bright colors and bold prints were reserved for the second half of the collection—pieces that the designers imagined Daisy would wear on her yacht. The most well executed was a sexy red open-back gown that tied in the front. Digital floral prints blossomed on a short satin caftan and a flowy dégradé patio dress with a beaded waist and collar.
11 June 2012
For Mark Badgley and James Mischka, Fritz Lang'sMetropoliswas their celluloid starting point for Fall. While the German expressionist classic informed both their signature collection and their younger-skewing Mark & James line (presented side by side today), its influence was most evident in the main collection's luxurious gowns.Models with high-voltage hair (they looked like they'd put their fingers in sockets) immediately conjured up a dystopian-future mood, while the Deco beading and triangular insets on lean, snaking gowns evoked the film's angular architecture. Over the phone a few days before the show, the designers explained they created the palette—shades of burnished platinum, rose, and gold—based on what they thought the colors in the black-and-white film would have looked like.While a rakish pajama set in gold lamé might have been better left in black and white, the heft still looked rich. Better were pants and vests in metallic tweed from the diffusion line that had a captivating sparkle. In response to customer feedback, the design duo pushed this season's Mark & James girl to a more sophisticated place than she's been in the past. Fans of both lines should be happy with the results.
13 February 2012
Baring skin on the red carpet is the modus operandi of starlets who spend hours in the gym with their personal trainers. Most seasons, Mark Badgley and James Mischka indulge their A-list followers with siren gowns. But for pre-fall, the duo is switching things up a bit and showing long looks with puddling trains—many with high necklines—cut from emerald or burgundy-colored matte jersey. The dresses succeeded in showing off all the right curves in a covered-up, tasteful way.Badgley and Mischka called out a cream column gown with ornate cap sleeves studded with black gemstones as a favorite. It had a matching belt with disco ball tassels that was a fun accent. Costume jewelry complemented the Old Hollywood feel of the collection, which was inspired by vintage Horst portraits. While there were a few missteps (it's pretty safe to say people are generally over theBlack Swanmoment going on in the last look), most of the dresses delivered on the glamour factor that keeps the label's customers coming back.
12 December 2011
A few days before their show, Mark Badgley and James Mischka explained that they were putting more shape into their clothes, creating a new, more structural silhouette. Fabrics with heft, like linen, shantung, and brocade made an appearance; although they shared the runway with jersey and chiffon, there was, relatively speaking, less swish than usual. Less swish, but more bows. Dresses came adorned with them throughout, from the big one across the shoulders of a purple, open-back shift with sparkling cap sleeves to the neat one that closed the pink belt at the waist of a long, tiered gown. If the bows weren't distracting, the palette certainly got your attention. A to-the-knee tulle-and-chiffon dress with a full skirt and beaded bodice popped in bright lemon. And a pair of teeny-tiny tap shorts from the Mark + James collection, pieces of which were mixed in with the main line, was pink and sparkly; up top, a staid linen top kept anyone from blushing too much. An emerald leather Mark + James motorcycle jacket was another made-for-cool-girls item, and itwasvery cool. It came draped over a turquoise swimsuit, but throw it on top of one of the closing gowns—the nude georgette with tiny embellished pleats was the best—and you'd have a look with an edge.
12 September 2011
Painter Jeremiah Goodman has referenced the lavish interior spaces of designers like Yves Saint Laurent and photographers like Bruce Weber, and now Mark Badgley and James Mischka have used Goodman's work as a source of inspiration for Resort. They've brought his oeuvre to life in the Badgley Mischka way, "painting" with feathers, jewel embellishments, and sequins on taffeta, brocade, and silk canvases. Goodman was working during the 1960's, which are the other driving force in the collection. The designers couldn't resist the urge to do a megawatt, "aurora borealis sequined" dress. "We normally steer clear of this, but it's just such a quintessential sixties shift," Badgley said of the V-neck number. Their interpretation of the era, which happens to be captivating lots of other designers this month, too, is quite literal: Flowers and polka dots adorn gauzy dresses, and a striped bouclé fabric recurs in multiple ruffled forms. One of the best of their retro numbers was a sequined, grassy gown with a plunging neckline that looked Oscar-worthy.
7 June 2011
You might assume that Mark Badgley and James Mischka are forever in a Hollywood state of mind. But judging by the range of items they showed on today's runway—including their contemporary Mark + James line, this season debuting handbags, as well as the fruits of a brand-new outerwear license—that's not necessarily true. Nevertheless, L.A. seemed like the focus today, and logically so. Last month they finally opened their Rodeo Drive flagship, and of course there's the upcoming Super Bowl of eveningwear, a.k.a. the Academy Awards.Specifically, Badgley and Mischka invoked the thirties- and forties-era glamour of Adrian. You saw a direct line from that reference to fluid, draped dresses, with glitzy swatches of Deco beading capping shoulders and encircling necklines and waists. An inky navy satin gown with a draped bodice and chiffon sleeves could have come straight off the set ofThe Women, a reminder of how little eveningwear really changes.Some might find Badgley and Mischka's custom of showing various lines together confusing, but it's actually refreshing to see casual elements, like lovely gauzy knitwear and a great little shearling bomber, mixed into their after-eight lexicon. And there were some interesting textural experiments for day, pairing up lace, bouclé, and Mongolian lamb. Of course, they closed the show with a run of siren-silhouetted gowns, which was short the three that were already worn to the Golden Globes. In truth, these may not be the dresses that get live-tweeted to death on Oscar night, but aside from the final gown, which suffered from an overly heavy panel of ruffles, they're solidly Joan Rivers-proof.
14 February 2011
For Spring, Mark Badgley and James Mischka invoked the "timeless glamour" ofWhite Mischief, the 1988 film about aristocratic British expats in colonial Kenya—a group that apparently dressed impeccably while behaving quite badly, particularly when the sun went down. But what better than fashion to wash away the sins of last night? The design duo cast the collection in fresh powdery pinks and icy blues that were nothing short of angelic.There was a lot going on here, what with three collections—couture, ready-to-wear, and the contemporary Mark & James line—mixing it up on the runway, at times in a single look. But Badgley and Mischka maintained an admirably stylish coherence. You could watch a lacy jacquard strapless column from couture followed by a little linen jacket and silky high-waisted shorts finished with a beaded belt from Mark & James and not feel jolted.The designers' take on a bubbling-under-the-surface decadence played out in naughty-nice sheer layers and a high-waisted, floppy-hatted seventies look that recalled Jodie Foster inTaxi Driver. (A curious yet surely unintended overlap with last night's Marc Jacobs show.) Meanwhile Badgley and Mischka's backdrop of Africa inspired slightly more crafty embroideries and macramé weaving.Though those seeking drop-dead dresses—like the sublimely simple, draped one-shoulder gown in mint green—might have found the selection slightly more sparse than usual amid the addition of casual fare, they should rest easy. There are still a few months until awards season.
13 September 2010
Mark Badgley and James Mischka are in expansion mode. After opening a Palm Beach boutique this past winter, the duo added a Newport outpost last week. For Resort, they took inspiration from the two locales. Well, where were you expecting with these designers? Williamsburg?Badgley and Mischka had Newport in the Gilded Age in mind: One gown was literally glittering (a strapless gold number dripping in sequins), while another featured a Belle Époque-style bustled skirt. Other references to the coastal Rhode Island town were more playful: Pale ribbons shimmered like shells; jeweled belts resembled sunken treasures. As for the Palm Beach angle? That's where the color came in, most notably with a turquoise draped jersey gown and a magenta chiffon caftan with an embroidered neckline. Don't expect the boutiques to be stocked according to geographic location, though. As Mischka tells it, the customers are essentially the same. "They all just want to dress up and look great," he said.
13 June 2010
Twinkling embellishments and stardust beading were a big part of the Badgley Mischka story. The reason for all the shiny finery, James Mischka revealed a few days before the show, was that he and design partner Mark Badgley (like a clutch of other designers this season) had been stargazing. Literally: They were poring over images captured by the Hubble telescope. "There's a galaxy feeling to our beading," Mischka remarked. Indeed, a short V-neck tank dress covered entirely with densely clustered gemstones had a river of citron running down the front and back like the Milky Way.The show opened with 15 gala looks. A fluid jersey jumpsuit in navy represented the pants portion of the program; the rest were gowns, gowns, gowns. A long-sleeve, high-neck black matte jersey dress had starry epaulets, and the bodice of a pale mauve gown cascaded with quicksilver stones.Most designers would be content to call it a day after a dozen-plus high-wattage frocks, but Badgley and Mischka took advantage of their captive audience to show a full collection from their contemporary line, Mark & James, too. Over-the-knee boots and second-skin pants in liquid mercury marked the demographic shift; skip the boots and wear the pants with one of the semi-destroyed bouclé knits for a debutante-goes-clubbing look. There were plenty of round-the-clock options in this act of the show, but it was hard to focus on the more familiar and workaday pieces when the memory of so many stellar dresses was still hanging in the ether.
15 February 2010
Mark Badgley and James Mischka channeled the tropical glamour of mid-fifties Cuba for Spring. The pair sourced their visuals by digging through old photos of friends' parents snapped during Havana's heyday. (The friends, incidentally, were in Palm Beach—the perfect locale to wear these clothes today.) Badgley and Mischka mostly worked a formula of clean, breezy fabrics with a well-measured dose of embellishment. By day, that would mean a lovely bell-sleeve white jersey dress, totally plain but for the vibrant coral bib necklace; and for evening, a fluttery black silk halter gown, casually belted and worn with a chunky crystal cuff. Jewelry was important here, seen in big, sparkly costume tangles of chains and found objects. It's far from a fresh idea, but it brought a welcome off-kilter twist to the designers' straightforward elegance. As their notes explained, this old-school island set also wore Parisian couture, and there was certainly a touch of Rue Cambon in all the black and white, and evidence of atelier hours in beadwork and the hundreds of tiny white petals embroidered on a ball skirt. The first two terrific daywear looks in salt-and-pepper silk tweed were also a nod to the same. The graphic palette far outshone the shots of color in lipstick red and highlighter pink: The latter is a hue that's become a clichéd way to add runway excitement, but that's a minor quibble for a mostly solid collection.
14 September 2009
"They're all party clothes," said James Mischka of the sparkly Resort collection he designed with partner Mark Badgley. The duo, who maintain a farm in Kentucky and just added a contemporary line, Mark & James, to a full roster that includes couture, bags, shoes, bridal, and bridesmaid, somehow found time to re-watchEvita. The movie inspired the color palette of fuchsia, purple, and orange as well as the overall "Buenos Aires in the fifties" feel. There was nothing retro about these clothes, however. With the exception of a lone jumpsuit and a few short evening looks like a ballet dress with tulle overlay, the designers focused on the columnar silhouette. One of the best was a deep lilac gown with a cascading ruffle down one side.
10 June 2009
"The beat goes on," said Mark Badgley backstage after today's show. "It never makes sense to do something that we're not about." What Badgley and his design partner, James Mischka, are about, recession or no, is great-looking dresses with a healthy dose of straight-up glamour—speaking of which, they are currently hard at work on two Oscar gowns. For all that, though, they kicked things off in a quietly minimal manner, sending out a group of smart all-black day looks. Some of these came from their lower-priced Platinum collection, which the duo went on to mix in throughout, because, noted Mischka, "that's how women shop."Of course, the wattage was soon amped up. On the brighter end of the spectrum: a liquid-gold velvet that fell into a seductive low-necked cowl; eye-popping satins; and a slinky allover-sequin column, surely headed for a chanteuse near you. An asymmetrical frock with a sideways drape ending in a chunk of ruffles was too tricky, but overall this was a solid collection. Strongest, in fact, were looks with a modicum of austerity, like a one-shoulder, smoke-hued gown on Bruna Tenorio. With its strategic flutter of ruffles, it was easily the most elegant thing around.
16 February 2009
"People keep getting married and kids keep turning 13," said James Mischka. "We just did pretty clothes that people want to wear." In other words, Badgley Mischka ignored today's apocalyptic headlines and stuck to what they know for pre-fall: bead, paillette, and feather-dusted cocktail dresses and gowns, plus a few new cocktail suits (made, the designers said, at their customers' requests). A sequined tank dress sashed high on the waist and a ruffled halter gown in the must-have shade of marigold were two highlights.
9 December 2008
It's been 20 years since Mark Badgley and James Mischka joined forces. There'll presumably be major festivities to mark the milestone when they open up their first store on Madison Avenue (where else?) next spring, but in the meantime, this collection was something to celebrate.Rather than look back, the duo moved forward with what was, for them, a pared-down lineup. The goal was to keep things light both figuratively and literally. "Everything weighs ounces," Mischka said. The designers chose only featherweight fabrics—mainly satin and gazar—and nixed the elaborate, heavily encrusted surface decoration they have indulged in (perhaps overindulged in) in years past. "We just sprinkled it like fairy dust," Badgley said of their Spring embellishments. The only extras on a lilac organza cocktail number were dressmaker ruffles, while beaded floral-print dresses had just a subtle glimmer. Prints in general took the place of surface decoration.Not only was this a welcome change, but it ensured that the few glittery gowns they did show, beacons of Badgley Mischka's two decades in fashion, really stood out.
11 September 2008
Ease may be the byword of the Resort season, but it was in scarce supply at Badgley Mischka. Instead, the design duo's over-accessorized glitzy getups in lurid colors came closer to evoking scenes from a vintage Jackie Collins novel than to the chic layout in a fashion magazine. The freshest looks kept it simple: a short printed dress that tied in a bow over one shoulder, and a teal chiffon column with subtle beading at the bodice and a cool cascade of fabric down the front.
9 June 2008
Mark Badgley and James Mischka said Bianca Jagger was their woman for Fall. Clues that the seventies were the duo's starting point included a brick-red crinkled leather jacket worn with a matching, flared above-the-knee skirt; and an apricot turtleneck and boot-cut glen plaid pants worn with a little broadtail-and-fox vest.They aren't the kind of designers to launch themselves willy-nilly into a theme. So worked in among the floral shirtwaists, floppy felt hats, and high suede boots were the kind of reliable, timeless clothes that the ladies who lunch live for: a pencil skirtsuit in a buff tweed shot through with metallic thread, or wool crepe tuxedo pants worn with a chiffon blouse and a little silk faille jacket with short mink sleeves.Badgley Mischka's daywear is always sensible enough, and this season is no different. But anyone with a Bergdorf's charge card knows that their raison d'être is eveningwear. Two of the best gala looks were an amethyst organza creation hand-painted with impressionistic flowers, and a strapless bustier style with a lace overlay studded with crystals. The spare elegance of these looks made you wish the boys had left the silver and gold sequins, splashed liberally on other big-night dresses, back at the disco.
4 February 2008
"We were looking at old Man Ray photos of Nancy Cunard," said Mark Badgley and James Mischka of the starting point for their pre-fall line. "And Talitha Getty, who was bohemian, but elegant at the same time." Loosely translated, that means there were animal-print silk ottomans, floral taffetas, and creamy satin-face chiffons, all cut into kicky cocktail dresses or soigné gowns and trimmed in the duo's signature beadwork. The winners were a navy floor-length dress with jet embroidery and a draped, strapless one in claret with a rhinestone detail at the waist. The collection won't arrive in stores until May, but chances are good that we'll be seeing these two numbers on the red carpet next month when awards season starts.
9 December 2007
The 1920's French Riviera ofTender Is the Nightis friendly territory for Mark Badgley and James Mischka. The beads, the fringe, the Champagne-soaked nights—what better era to mine for the red-carpet dresses that have long been the duo's bread and butter? For Spring, they reinvented a drop-waist flapper dress in blush tulle and satin. In a more indirect reference to their inspiration, the designers studded the front of a plunge-back maillot and a halter-neck, sleeveless dress with crystals in a geometric, Art Deco style.The seventies tailoring and structure of the Charlie girl are less familiar to Badgley and Mischka, who are still relatively new to the sportswear game. But, the pair said before their show, they were taken with "the way that decade's clothes were put together and polished, yet didn't grab the body." So they showed fluid suitings and jumpsuits in washed shantung and the maxidresses associated with the period in cotton gauze. A purple silk strappy dress, gathered and draped casually at the hips, was one of their strongest Me Decade riffs.Altogether, though, these inspirations made for an unusual and sometimes jarring combination. Badgley and Mischka would do better for themselves to refine their message next time.
5 September 2007
Don't look for a Mark Badgley and James Mischka-designed active sportswear line anytime soon; jeweled maillots and string bikinis—worn alone or under ombré chiffon cover-ups—are more their speed. For sunny days, there was a "paging C.Z. Guest" shantung dress in pimento red with white embroidered openwork at the hem. A black organza jacket paired with of-the-moment wide linen trousers featured elaborate Indian-style beading, and a macramé sweater had an appealing airiness. But it's eveningwear that the designers are famous for, so in the end, there were more after-dark than day options. Mixed in among their signature embellished gowns—many in eye-popping brights—were some shorter and zippier styles, like a blue and white number with peppy paillette polka dots, and a corsaged halter dress in tropical hues that best combined elegance with ease.
10 June 2007
Who would¿ve thought the day would come when jeans strutted down a Badgley Mischka runway? But there they were, tight as a glove and worn with cropped sable and Persian lamb jackets. And there was plenty more strong sportswear where those pieces came from, ensuring that the duo¿s celebrity faithful should be well-dressed in their non-red-carpet moments come fall. The youthful glen-plaid dress worn over a camel turtleneck that opened the show would suit Rachel Bilson, and a standaway-collar tweed jacket with matching high-waisted pants would make a sophisticated addition to the closet of her seatmate Amber Tamblyn.The show¿s strapless velvet cocktail numbers, however, could¿ve used a few more inches at the hem, and the combined inspirations ofWuthering Heights, which informed the moody platinum-gray palette, and India¿s jeweled embroideries made for some overwrought evening dresses. Still, a few of the more understated sparklers did stand out: A vibrant violet chiffon gown with hematite embroidery at the high neckline, for one, was a surefire entrance-maker. In the end, the collection might¿ve benefited from a stricter edit, but nonetheless it hit some of the season¿s important notes.
7 February 2007
Mark Badgley and James Mischka are clearly trying to move in a new direction and received a standing ovation today for a collection that they described as being "a little out of the box for us." The applause was testament to this well-liked duo's popularity, but it was also reward for a show in which they had, for the most part, resisted their tendency to gild the lily. In fact, they claimed to have been inspired by the Shakers, the result of a recent trip to Kentucky. Gone was fall's garish palette; in were white, cream, ochre, bronze, and black. The consistency of the color scheme gave coherence to a collection that focused a bit too heavily on silhouettes that were designed to "hang from the rib cage and be soft and flowing from behind." The designers described their embroidered-net halter gown with an asymmetric hem as "monastic," but truthfully, this negligée-like number wouldn't pass with Mother Superior. Badgley Mischka, after all, will never be minimalists, but by paring down their red carpet-ready dresses, they made them more ready for the paparazzo flash than ever.
13 September 2006
From the Queens of the Stone Age soundtrack to the skull-and-crossbones-embroidered trench that closed the show, this was not intended to be your typical stately Badgley Mischka presentation. If the results were somewhat uneven, it was good to see designers Mark Badgley and James Mischka trying to shake things up. In addition to the embroidery the duo is known for, pleats were a recurring theme, and looked good applied to tiered knee-length dresses. Daywear isn't usually a big part of the Badgley Mischka vocabulary, but there were gestures toward more trend-friendly pieces here. Best were the ruff-collared blouses and the rather chic sheared-mink miniskirts. The fur jackets were covetable, too, especially a jaunty white arctic fox one destined for Aspen.Of course, there were plenty of the dresses that are the stuff of dreams for Oscar-nominated actresses. A midnight-blue moiré and tulle gown cut tight at the bodice had just the right amount of glittering embroidery, and a black tulle and chiffon number that trailed subtly at the back would surely send the paparazzi into a frenzy. On the other hand, one wondered where a shirred and wildly ruffled red tango gown could be worn. The Vermeer-inspired palette was saturated, said Mischka, "200,000 percent." Perhaps they should have knocked off a few zeros, because some of the citrons and especially the reds were jarring. But then, Badgley and Mischka clearly didn't want to play it safe this time.
4 February 2006
Though the black-windowed vans with flashing lights and Maryland plates on 11th Avenue were a reminder of pressing world events and the week's affairs at the United Nations, the prevailing mood at the Badgley Mischka show at the Waterfront (formerly the Tunnel) was one of escapist celebration. The duo has returned to the runway with a new backer Iconix (formerly Candie's) after a two-season hiatus.The chandeliers dripping with ferns and orchids, and the perfectly coiffed socialites dotting the front row, made the atmosphere feel like a society wedding reception, which suits the designers' aesthetic just fine. There were plenty of mother-of-the-bride dresses to choose from, and, thankfully, the mounds of beading from prior collections gave way to refreshing tiers of lace and tulle, lush satin and chiffon. A real effort was directed at daywear, and the result was conservatively chic tweed dresses and jackets, sweater sets, and beaded tanks. A black jacket layered over a long tank worn with shorts was surprisingly trendy. The unexpected combination of crystal beading on sandy linen hopsack, which was also combined with tulle, produced several lovely cocktail dresses.But Mark Badgley and James Mischka (who dressed Kate Winslet for this year's Oscars) are known for gowns, and these were still the focus of the show. An embellished bouquet-print satin-and-chiffon gown was a signature, but it was the dress on Caroline Trentini near the end that stood out for its utter simplicity. Made of black cotton and featuring a large rose corsage at the hip, its only drama came from a trapeze hem. Nothing shown here would shock loyalists. Theirs is a world that hovers at the edge of the fashion universe, where trends take a backseat to heavy-handed glamour.
13 September 2005
When Robert Plant of Led Zeppelin sang, “I wanna give you every inch of my love,” he never seemed to have beads, tulle, and satin on his mind. Nonetheless, it was an apt (if remixed) soundtrack choice for Badgley Mischka, who passionately embellished inches—yards, actually—of luxurious fabrics for their fall show.The result was a collection of amazing dresses meant for the kind of life that requires, well, lots of amazing dresses. Two semi-sheer tulle pieces, with caviar-size beads clinging to them like a shadow, stood out, as did a more formal evening gown in floor-length satin lamé. Daytime looks included suits and tight, embellished hunting jackets, often in herringbone. Other highlights: a mahogany mink coat with embroidered medallions and a burgundy shearling and mink coat that, despite a whole lotta luxe materials, avoided going over the top. No mean feat.
8 February 2004
Badgley Mischka is sure to see some of its designs show up at the Emmys this weekend, but its star-studded show was a performance in itself, with dueling photographers nearly coming to blows over access to Bebe Neuwirth and Cynthia Nixon in the front row. The Trumps (Blaine, and Donald with Melania) were also in attendance, along with Kelly Klein and Toni Braxton; but the jewels in the crown (and how they sparkled!) were Beyoncé (in a floral-print bustier with rhinestone beading, and chandelier earrings) and Jay-Z (tee, jeans, and Nikes, plus a serious gold watch).Mark Badgley and James Mischka's inspiration was Maggie, the character played by Elizabeth Taylor inCat on a Hot Tin Roof, and music producer Javier Peral spliced sound bites from the movie into a mix that also featured Marilyn Manson and Goldfrapp. The clothes, however, seemed more suited for a Russian princess with a fondness for Fabergé, dripping as they were with pearls, beads, sequins, and all matter of glitter—a kind of tribute to craftsmanship over subtlety. Some of the prettiest looks were the most restrained, like a washed chiffon gown in a color described by the program notes as “thistle” and the georgette dresses in Easter-egg hues that closed the show. The stand-out piece was a white frayed chiffon dress that gave the effect of ribbon-like strips woven together by tiny, magic hands.When Donna Summer'sWorking the Midnight Shiftcame on the soundtrack (“I'm just a working girl, just earning a living…working that midnight shift for that extra little something”) it offered a tongue-in-cheek take on a collection aimed at celebrities whose job it is to look good on the red carpet. Nice work if you can get it.
15 September 2003
Mark Badgley and James Mischka keep alive the tradition of occasion dressing, designing entrance-making gowns for red carpets and gala benefits. Their shows are more about variations on a theme than about surprise, and they stayed true to form for fall, with a palette out of a wine-lover’s dream. Beaded and satin dresses, both short and long, came in colors like claret, bordeaux, cognac, plum, rose and lilac. A deco style was much in evidence, most successfully in the sliplike satin gown worn by Eva Herzigova to close the proceedings. Badgley Mischka also scored with the "plucked" mink coats and jackets that appeared throughout, though it's probably best to leave the lamé leg warmers at home.
9 February 2003
If the soundtrack of a show is any insight into a designer's state of mind, Badgley Mischka are feeling reflective. The duo, who've made their name by putting a modern spin on traditional glamour, opened their spring collection with Patti Smith'sDancing Barefoot, a beautiful but pensive ballad about letting go.That mood translated into a toning down of Badgley Mischka's pile-it-on beads and baubles approach, making way instead for pastels, muted paisley prints, trailing handkerchief hems, whisper-light chiffons and lots of lace. There was also a new edge to the collection, by way of some short, flirty dresses and sexy blouses paired with skinny white pants. The models, with their mussed hair and mod clear-Lucite heels, looked softer and more approachable than last season's sirens.That's not to say Badgley Mischka are stepping away from the sparkle and sex appeal that have made them famous—especially with another red carpet looming this Sunday at the Emmys. There were clingy, curvy, photo-op dresses aplenty (a good thing, withSex and the City's Kristin Davis in the front row). But with this collection, the designers definitely steered a new course by shedding some unnecessary glitz. And that's never a bad thing to let go of.
16 September 2002
Into each life a little eveningwear must fall. The problem is that too often, formal dress fits into one of three categories: boring black, prom-queen redux or dowager-dowdy. Design duo Badgley Mischka are none of the above. They've built a nice business—and a hefty celebrity following—making elegant formal clothes that satisfy the demands of the Park Avenue charity circuit as well as Hollywood's red-carpet gauntlet.For Fall, Badgley Mischka did it again. In another of the small showroom shows so popular this season, they presented 44 options for evening, from simple (a black georgette dress ornamented with ribbons and black beads) to super-siren (a scarlet gown with a lace-lined plunging neckline). In a niche used to a piling on of glitz, they mostly showed admirable restraint, relying on body-hugging cuts, sheer fabrics and a few well-placed ruffles to communicate sex appeal. Hip girls will like the ivory and black-lace tiered cocktail dress; hip moms will dig a snappy little ivory ribbon cocktail suit. Halle Berry will snag the ivory velvet gown with red beading.
11 February 2002
After spending a couple of seasons exploring the alien terrain of sensible daywear, Mark Badgley and James Mischka have gone back to their first love: the high-octane evening gowns that have made them nearly as famous as the Hollywood celebutantes they love to dress.This season, the duo's attention-loving gowns have a decidedly antique feeling. An embroidered paisley column was lavished with candle-like drippings of translucent beads; dreamy shades of marigold, apricot, iris and tuberose gave a youthful spin to a slinky assortment of long sheaths that were generously decorated with cutouts and floral appliqués. The non-full-length department was represented by '20s-inspired Deco slips and shirtdresses.For those few Badgley Mischka customers who venture outdoors before 6 p.m., there were several light tweed dresses and suits, including a jacket embellished with—no surprise here—a smattering of beads down the sides.
16 September 2001
"Our collection is a lot younger this season," said Mark Badgley backstage. "We've added a lot of day looks. Of course, our day begins at around 5 p.m."Badgley Mischka's version of sensible, go-anywhere looks included everything from body-hugging burgundy leather ensembles, pleated satin skirts, spaghetti-strap bustier tops, cowl-neck gold sweaters, shearling jackets and even a couple of monotone corduroy looks. But publicity-crazed starlets shopping for their Oscar selections needn't panic—there are still plenty of sequin-drenched gowns to attract hordes of paparazzi, and an attention-grabbing tuxedo with a fitted jacket and flowing trousers.Badgley Mischka provided some sensible alternatives to their well-known repertoire of event-tailored dresses, but their collection would've benefited from a thoughtful edit and a more defined point of view.
11 February 2001
Technicians worked up to the very last minute on the runway at Badgley Mischka, removing their equipment just as the lights dimmed and an imperious soundtrack worthy of an overproduced Disney epic signaled Caroline Ribeiro's glittering appearance in a gold and silver embroidered shirtdress. The look was pure Badgley Mischka: sexy, slinky and attention-grabbing —as were the chiffon wrap skirts, gold beaded pants and off-the-shoulder sheer dresses that followed.But those were just the simple day looks; the evening gowns are what flashbulb-starved Hollywood types covet most. Come Academy Award time, the predictable pack of Swarovski-mad stylists will be on the hunt for those essential body-clinging, light-reflecting, cleavage-baring, curve-hugging, thigh-revealing, heavily embroidered floor-length creations. And, at Badgley Mischka, they will find plenty to choose from.
17 September 2000
Models coolly walked down a runway made out of snow at Badgley Mischka, with ice totems looming in the background. The reference was clear: Lights reflected the multicolored hues in the sculptures and on the floor as much as on the designer's dazzling clothing. This season, the collection consisted mostly of solid looks in beige, black and white—double-face cashmere was paired with sequined trousers and beaded georgette; rabbit bombers were worn with leather jeans. The ultra-glamorous eveningwear consisted of embroidered patchwork gowns and sequined sheaths in bronze, champagne, and magnesium; the bronze was so sequined it looked nearly holographic.
6 February 2000
"Our collection is girly and optimistic, younger than usual, and definitely glamorous," explained Mark Badgley. The presentation featured nearly all the colors of the rainbow in cool sorbet shades, like light rose, lime green, and citron yellow tempered with white. Reserving their trademark glittering gowns for last, Badgley Mischka devoted the first part of the show to embroidered, shimmery separates that included wearable georgette tops, raspberry sequin skirts, and fuchsia sprinkle-beaded jackets.
12 September 1999