BCBGMAXAZRIA (Q4433)
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fashion company founded by Max Azria
- BCBG
- BCBG Max Azria Group
| Language | Label | Description | Also known as |
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| English | BCBGMAXAZRIA |
fashion company founded by Max Azria |
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Statements
BCBG Max Azria is back showing collections to the public again, and Fall is the label’s second season with its new creative director, Bernd Kroeber. (The brand has gone through some major changes over the past several months: Former chief creative officer Lubov Azria, who had been at BCBG since 1991, left the company in March 2017.) Either way, change can sometimes be good. Plus, Kroeber hasn’t lost sight of BCBG’s core, or as he put it at today’s presentation, “The fusion of modern and romantic. We explore the contrast of hard and soft and masculine and feminine.” After all, Kroeber knows BCBG well—he’s worked there since 2007.That hard and soft element, a BCBG mainstay, was evident down to the title of the show, Rough Glamour. In clothing, the idea was translated through the signature pairing of tough outerwear and feminine dresses. A cropped-to-the-waist leather coat sat quite wonderfully on the body, breaking up the tiered ruffles of a maxi skirt. For die-hard fans of the label, that bohemian aspect was still present, too. ASource Family–style white dress had a charming ruffled neck, sleeves, and hem for an ethereal attitude. On top of that look sat a structured, futuristic silver coat. The odd combination worked.Robe dressing was a strong point. Kroeber referred to it as “sensual,” and some items did fit that description, like a long and linear army green striped robe dress. Another hit was a powder pink number, complete with a soft blue ruffle at the bottom, worn over a pair of chunky, over-the-knee boots. There was a nice non-clothing touch, too: The brand partnered with female artists, including illustrator Langley Fox, to create pieces of art to accompany the collection. It’s a good move to bring a cool personality like Fox into the realm of BCBG, and it’s not hard to imagine her wearing some of the pieces that were shown today.
11 February 2018
Thoughathleisurehas become an overused term,BCBG Max Azria’s chief creative officer, Lubov Azria, has it on the brain. For Resort 2017, she infused stretchy, sporty fabrics into the flowing, bohemian aesthetic for which the label is synonymous. The outcome wasn’t a visual clash. Azria used an elevated translation of sporty fabrics, specifically jacquard (as in the cinch-friendly material so prevalent in Azria’s other label, Hervé Léger), as a detailing factor in many of the pieces. A Stevie Nicks–type frock became less witchy when trimmed with strips of bandage down the center.Azria also experimented with gym-centric materials on a larger, more separates-focused scale. There was mesh, which became a sensible layering piece to throw on top of oversize-collar shirts or something to wear on its own, in the case of a color-blocked maxi skirt or a crewneck with slit bell sleeves. There was a literal translation of athletic garb, too, such as the BCBG version of a sports bra, which crisscrossed the torso or was worn off the shoulder. Though some of the bra-harnesses would be awkward to wear day to day, they did add some nice, curve-skimming appeal to men’s-style button-ups, and they could be an artful way to highlight the body in a loose BCBG peasant dress.
27 June 2016
There was plenty of glint to the clothes today at BCBG Max Azria—all of which combined bits ofDavid Bowie,American Bandstand, andFlashdance. “It’s the idea of performance, as a dancer or a singer,” said Lubov Azria. “The performer was our muse, so there are bits of shine everywhere.” Matching the onstage theme was the fabric du jour of all jigs: Lurex. Models wore the glittering synthetic fiber in the form of leggings, which were slashed up and down the legs—a little too Alex Owens on their own, but when peeking out from under a long skirt made from blue shirting or a black quilted asymmetrical skirt, they provided a cool contrast. When it came to the clingy Lurex long-sleeve shirts in burgundy or gunmetal, thrown over a silver bandeau top or under a blue crepe slip dress, the material made for good daytime layering pieces as well.There were also Azria’s signature earthy-hued bohemian pieces of outerwear: A cozy-looking striped wool coat with fur lapels, a patchwork alpaca robe, and an Afghan cream number with shearling-covered shoulders all seemed like they were begging to be snatched off the runway on this frigid day. A set of cropped bomber jackets added welcome varied proportions when worn over a simple chambray top or a deconstructed shirtdress. Azria also whipped up some great structured, denim pieces: A tight-fitting denim robe jacket with puffy mustard leather sleeves needed no sparkle to stand out.
11 February 2016
This season,BCBG’s Lubov Azria took her cues from Elvis Presley, both during his star-spangled Vegas era as well as the Nashville country music scene where he began his career. Azria’s interpretation of the King’s jumpsuit—shortening it into one of the most popular cuff cuts of the year, the cropped flare—was a perfect choice for right now. The length showed up in several pieces, including a ranchero-type denim jumpsuit and red cotton twill pants with studded seams. Azria’s dress shapes also looked like wearable hits. In addition to her signature baby doll frocks and long, sweeping bohemian silhouettes, there was a denim take on Spring’s runway mainstay, the slip dress, Azria’s fabric choice lending a welcome dash of durability to the typically slinky item.Elsewhere there was plenty of BCBG’s favorite adornment: fringe. Eyelash fringe traced a red varsity stripe on a pair of sleek wide-leg track pants, while nubby bits of the decoration outlined a huge star on a white sweater, eventually scattering down the arms to hang off the sleeve edges in mini tassels. For a jolt of movement, long, hairlike fringe was tacked onto the arms of a star print dress—an ode to Elvis’s fringed white jumpsuit. While some of the adornments had a little too much of that Sin City flash, the subtler nuances were easier to imagine making the leap into customers’ closets. Tiny nods to cowboy garb like the saddle-stitched front pleats on white cropped flares and the smile pockets (and slit sleeves) on collared shirts weren’t hokey, but rather a cool update on staple pieces.
18 December 2015
“Every season, we pick a destination, but this time, it’s Southern California, Los Angeles—we’re staying right here!”Lubov Azria, in gray, post-summer NYC, thusly granted a final blissfully warm day with her BCBG Max Azria lineup. “Surf, skate, music—the ways California changed the world, but a new proposal.”First things first: More than a few front-rowers were Snapchatting (though with limited cell service inside Moynihan Station) the patchwork bucket hats. Yes, Azria has made the bucket hat cool again. Below the toppers, it was all layers, like embroidered vests, lightweight knits, tie-dyed T-shirts, and floor-dusting pants, some in twilight-hued blocked gradients: Ventura, with polish and smart styling.At points, there was even a hint of Burning Man among all theCoachella, such as in the case of a metallic gold jacquard jacket. That may have been inspired by the Pacific’s bronze glow on one of Azria’s marathon training runs through Toluca Lake. With platform cutout-toe boots, cozy bits like knit leg warmers, and a few great beach dresses, it felt good to soak up the sun one last time.
10 September 2015
The artist Coco Fronsac, who paints colorful masks over the faces of subjects in turn-of-the century portraits, was Lubov Azria's greatest inspiration this season for BCBG. She beaded South American-inspired masks onto the front of peasant dresses and printed them onto silk pants, adding an unexpected element to what was otherwise a collection of greatest hits with a twist. Along with lace-blocked silk maxi dresses and tab-collar cotton shirting, there were drop-crotch khakis, plenty of beaded jackets, and a white leather bomber painted black. (The idea was that the paint would slowly wear off with time for an artful effect.) Instead of showing these bohemian pieces with the expected flat sandal, Azria enlisted Frye to create a roughed-up version of the classic Veronica buckle boot. The look nodded to the turn-of-the-century world half hidden by Fronsac's paintings. It proved an interesting combination: commercial, without feeling too generic.
9 June 2015
When you live in Los Angeles, it's easy to forget how miserably cold winter is on the East Coast. "When we got to New York, the weather just hit us in the face," said designer Lubov Azria backstage. Her solution? Layer, layer, layer. "Originally, [one look] was a turtleneck, a dress, and a bag. It became a turtleneck, a dress, a neck piece, a coat, an over-the-knee boot…"There may have been a concerted effort to warm things up, but husband-and-wife team Max and Lubov can't let go of California cool. Prompted by the handwork and beading they saw on a trip to villages dotting the coast of the Baltic Sea, the Azrias played the laid-back-bohemian thing once again with tunic and poncho shapes that fell away from the body. There were lace-up details, some truly unique embellishments—including laser-cut shearling that was applied to a camel coat in a lattice pattern—and a good deal of patchwork. But those pieced-together dresses and coats looked clean, thanks to the leather trimming that seamed it all together.To be sure, these pieces weren't all for the Arctic. The Azrias offered plenty of wisp dresses—layered with sheer turtlenecks—for the customer who lives in warmer climes. It would certainly take more than a lot of layering to make it through a New York winter in this collection, but the folksy, crafty vibe will appeal no matter the temperature.
12 February 2015
Travel often inspires Lubov Azria, and a recent trip to Barcelona conjured images of Catalan artist Joan Miró's surrealist mosaics. "We were inspired by the playfulness of his work and the use of color," said the designer. Azria riffed on those pieced-together works, printing vintage lace dresses and embroidering cotton jacquard blazers and skirts. She also worked hard to emphasize the push-pull between masculine and feminine ideas. An oversize bomber jacket, for instance, was done in black satin with a lace accent, while a strapless military-pocket dress was worn over a blousy crocheted top. Azria has a way of tapping into trends without being super-obvious about it. This collection made good use of skirts worn over trousers and bohemian flutter dresses, two looks that could have read as overdone if they had not been so deftly handled.
17 December 2014
There's a new bohemian mood in the air this season, affirmed by BCBG's reverie of a Spring '15 collection. While the latest lineup successfully keyed in on that free-spirited look of the moment, the California-based contemporary label has always embodied a certain carefree vibe. Backstage before the show, designer Lubov Azria explained that a recent trip to ABC Carpet & Home, where she stumbled upon a stack of artisanal rugs that were beautifully faded by an overdying process called Color Reform, inspired the muted patterns and sun-bleached pastel hues here. The opening model stepped out onto the runway in a wisp of a plunging silk wrap dress cinched with an obi belt around the waist—a silhouette used throughout—that set the ethereal agenda. Focusing on longer lengths and gossamer fabrics, Azria whipped up gauzy blouses and fluttery scarf-print frocks, which were often teamed with quilted cotton biker jackets that added a bit of structure to the mix but occasionally felt a bit too rigid for these lightweight looks. In the end, the simplest styles were the most successful, as exemplified by a white apron-back jumpsuit as well as a flouncy baby blue number that conjured up a modern vision of Julie Andrews' metamorphosis inThe Sound of Music.
4 September 2014
Max Azria was born in the port city of Sfax, Tunisia, and he was recently honored at that country's fashion week, where he staged a show celebrating BCBG Max Azria's 25th anniversary. So it was fitting that Resort was all about Azria's Tunisian heritage. "I can almost smell the jasmine in here," said Lubov Azria, the brand's chief creative officer, amid the scarf skirts, embroidered tunics, and capes inspired by Hammamet, the beachside town where Elsa Schiaparelli owned a home and Paul Klee painted.Conveniently for the Azrias, the look of Hammamet is on trend right now. (Walk into just about any clothing store this summer and you're bound to find a piece—or several—fashioned out of those inexplicably irresistible hammam towels.) The most energized BCBG styles mixed the old and new. "I love a woman in a man's shirt," Lubov said of a collarless blue style, embroidered with white thread on the front and worn with an ivory faux-wrap skirt. A cape was done in engineering stripes; blue banker stripes were mixed with floral motifs on a tunic dress; and yes, the hammam towel was well represented. Topstitching on a white, double-face cotton shell and skirt gave the set texture, which Azria is craving right now. "It's so easy to do flat," she said.BCBG is best at capturing a moment in fashion and making it wearable for the rest of us. It just so happens that this moment has a lot of meaning for the Azrias. Maybe that's why this collection worked so well.
2 June 2014
While BCBG Max Azria's twenty-fifth anniversary show wasn't a retrospective, designers Max and Lubov Azria did use the occasion to revisit many of the signatures they've developed over the years. "I can't believe it. Our first runway show feels like yesterday," said Lubov backstage. Graphic color-blocking, asymmetric hemlines, and mixed materials were just a few of the label's recognizable tropes in heavy rotation here. There was an emphasis on longer lengths and relaxed silhouettes, with kinetic midi skirts and culottes paired with knee-high boots, which gave the lineup a slight seventies vibe.Taking advantage of the endless layering opportunities Fall permits, the Azrias piled each look up with blanket-stripe ponchos, oversize biker jackets (a lavender leather style was particularly appealing), and plenty of fur. The fuzzy stuff—pelts of all types including shearling, fox, raccoon, and rabbit—was featured on everything from statement-making outerwear to playful clutches that doubled as hand warmers (why hasn't anyone thought of that before?). Occasionally, the fur flew too much, as in the case of a massive, teased-out Mongolian that seemed like a Fendi diffusion. Eskimo coat aside, BCBG's milestone collection was carried out with the characteristic confidence that has defined the contemporary label as "bon chic, bon genre" for a quarter century and counting.
5 February 2014
Twenty-five years into business and Max and Lubov Azria still know how to stay ahead of the contemporary curve. Take, for example, their Spring BCBG runway show, which was full of fresh takes on the classic mens dress shirt—an idea that later emerged as one of the seasons major trends. The designers continued to riff on the button-up for Pre-Fall, but treated it as more of an accent rather than the main event. The crisp staple was layered under several easy sweatshirts and tees updated in specialty fabrications. One novelty pullover came embroidered with delicate metallic chains and was styled with a pair of cool, camouflage jacquard trousers. Another dressy top—done in a stretchy floral knit splashed with black lace—made for a casual, modern evening look paired with its matching midi skirt.Utilitarian outerwear added an urban edge to the lineup. Highlights included oversized parkas and surplus vests lined in shearling, as well as a long olive coat that zipped off to become a jacket. That versatile topper was accessorized with a patchwork fur scarf featuring hand-cut and -dyed pelts carefully placed to echo the collections camo pattern.
18 December 2013
BCBG Max Azria is entering its twenty-fifth year in business. But judging by today's runway show, the brand isn't experiencing any kind of quarter-life crisis. At a preview of the new collection over the weekend, co-designer Lubov Azria said that she and husband Max approached this season by reflecting on their archives and identifying the pieces that felt the most meaningful. "In the end, we realized that it was less about particular pieces and more about the overall process."So instead of looking to the past, the couple decided to start with a clean slate, and reinterpreted classic men's shirts by deconstructing and reconstructing the crisp staple in a variety of unexpected ways—as though a woman equipped with scissors and a sewing kit got creative while rifling through her husband's dry cleaning. The cascading peplum on a chambray skirt was fabricated from a shirt yoke, for example, while belts were actually spliced-together cuffs. A tuxedo-inspired jumpsuit featured an untucked tail in back. Staying true to the label's feminine DNA, the Azrias softened up all that starched cotton and tailored twill with swaths of silk georgette and sheer mesh panels. In the second half of the lineup, floaty floral maxi numbers and an asymmetric black, beaded tulle gown felt more familiar for BCBG, but they didn't have the freshness as those opening shirtdresses.
4 September 2013
Lubov Azria made her first Coachella pilgrimage this spring, and the experience informed BCBG Max Azria's new Resort collection, which was full of festival-appropriate attire. "Over 150,000 people, of all ages and backgrounds, came together in Indio this year for one reason: great music," Azria said at a preview. "I think that's an incredibly powerful, inspiring thing from our brand's point of view, because we try to make clothes that appeal to a wide variety of women with a range of personal styles." The new lineup mixed long and languid bohemian silhouettes with utilitarian details and rocker-chick hardware finishes. Silk apron maxi dresses and fluid jumpsuits that billowed with each step ("It's a built-in air-conditioning effect," Azria pointed out) were shown with flirty bralette tops, while embellished-eyelet denim pieces and a studded leather biker jacket featuring a vintage floral print added a tough whimsicality to the range.
2 June 2013
This season at BCBG Max Azria, the fusion of two disparate influences—Istanbul and Phil Frost's gritty contemporary art—brought about a collection that was decidedly more street than sweet. "We wanted to take something that was centuries old and combine it with something modern," Lubov Azria said at a preview. The filmy silk slips that were the foundation of many of these heavily layered outfits had a slight gypsy feel. They were shown over casual T-shirts and cashmere pullovers, then topped with statement-making outerwear items like colorful patchworked fur vests, boxy leather biker jackets, and sporty jacquard hoodies with voluminous fox-trimmed hoods. It was refreshing when a few of the more pared-down pieces, including a clean mesh tuxedo tank, came down the runway. In general, this piled-up, coat-centric look advanced a tougher, more urban version of the BCBG woman.
6 February 2013
Last season at BCBG Max Azria, it was difficult to see past the Helmut Newton-esque leather harnesses shown with each look. With their new pre-fall collection, designers Max and Lubov Azria are getting back in touch with the label's softer side, and it wasn't just because they nixed the bondage styling. Sensual georgette ruffles (a major Spring trend) fluttered along the neckline and sleeves of mid-length dresses with nipped-in waists. That silhouette had a distinct 1940s feel, as did the cropped wide-leg trousers and flowing godet skirts here. While the Azrias touched upon the decade, they were careful to keep things modern. A black and white, flouncy miniskirt shown with a boxy coated leather jacket was totally twenty-first century.
9 December 2012
Fifty Shades of BCBG. On first look, it was hard to see past all the harnesses. "We have day harnesses, we have night harnesses," Lubov Azria said backstage. Leather ones overlaid most of the crepe dresses and gowns she and her husband sent out in their new collection, which traded the pop colors of last season for a more muted palette of talc, coral, black, white, and cream. They claimed Helmut Newton as an inspiration, which may help to explain the sex-forward theme. Backstage, Joanna Coles, the newly named editrix of sex bibleCosmopolitan, declared it "veryCosmo."And it was—though, Mrs. Azria said, "I don't think you need to show a lot of skin to be sexy." She didn't. Lengths were relatively long, even where they were sliced into high slits; the interplay of sheers and embroidery let snips of bare flesh show through. The dresses themselves, fluttering and ethereal, some sporting cape backs and leather details, should be recognizable to BCBG's cadre of fans. The workwear element introduced by chambray blouses and oversize jackets in silk cotton canvas, less so, even if fashion watchers may sniff references to other collections. That's OK: Those ideas belong to the ether now. The Azrias' own contribution to this season were all those harnesses. "When you have something powerful, it needs to come out," Lubov opined, "but you need to keep it in." Unbuckle all those straps and the mood changes, of course. "The moment you take off the harness, it's a completely different collection," she said, and one more comfortably in the Azria wheelhouse. Ironically, there wasn't much gray.
5 September 2012
Lubov Azria's starting point for Resort was the Hotel Il Pellicano. Not the place itself, but a beautiful tome that illustrates the glamorous life of jet-setters in Tuscany. Azria had quite the job on her hands bringing the book's pages to life, but that she did with kimono-style dresses, easy-to-wear shifts, and ethnic embroidered pants that evoked a mix of cultures from India to Peru. Drawing from her vintage library, she revived a patchwork lace top and a rock 'n' roll leather jacket accented with studs, both of which were accessorized with color-blocked shoes featuring a metallic cone heel. Maxi dresses, a staple for the brand, were also part of the picture. Some came with slits and others with mesh cutouts. Either way, the woman who wears them will fit in quite nicely at the Hotel Il Pellicano.
3 June 2012
The show notes at BCBG Max Azria cited the geometric abstraction of the Bauhaus, but that only told you half the story—that of the surface. The shapes that underpinned the collection relied heavily on the loose-limbed look of seventies American sportswear. There were belted trenches, languid wide-leg jersey trousers, and loads of midi-length color-blocked and paneled dresses, either flaring with pleats or cut straight like a long T-shirt and slit up the sides. In fact, as has been the case for several seasons, Max and Lubov Azria placed most of their chips on the frock sector. Practice makes perfect; there were many here that will appeal to their customer. The sporty color-blocking is a trend the Azrias have been riffing on for a few seasons, and here it was given depth by colorful contrasting pleats, though the new direction didn't feel as identifiably their own.Whether intentional or not, the dress-centric nature of this collection cast other categories into supporting roles. But the smattering of outerwear made up for its rarity by really laying on the luxury. And who needs a sweater (there were none here) when you've got coats with leather and fur sleeves? BCBG has vowed to weather a pair of recent credit downgrades, and here was evidence of heads held high.
8 February 2012
For the past few seasons at BCBG Max Azria, designers Max and Lubov Azria have been emphasizing a floaty and streamlined, often floor-sweeping silhouette. They described pre-fall as "Slavic soul meets bohemian spirit," and there was a folkloric feel to the collection's most distinctive piece, namely, an accordion-pleat printed wool skirt with intricate embroidery and grosgrain accents.In general, this lineup picked up where Spring left off. BCBG's now-signature cutout shoulders, handkerchief hemlines, sporty drawstring details, and pops of neon appeared here again. At times, the combination of these elements erred on the overwhelming side. Only a girl with the sartorial audacity (not to mention killer bod) of Abbey Lee Kershaw, for example, could pull off look 17: a racy halter maxidress with denim-printed silk and peekaboo lace panels running along the bust and up both legs. But more often than not, the Azrias combined the aforementioned motifs in a way that was fresh and wearable.
8 December 2011
Max and Lubov Azria have been banking on the fabulously foolproof nature of the dress for a few frock-centric seasons now. This Spring was no different. The Azrias carried on last season's idea of the silky, endlessly wearable color-blocked number, adding a measured dose of athletic chic. Some dresses came with hoodies. All were spliced and pieced in various techno-bright shades tempered by planes of putty and gray and sheer panels, zigging and zagging around the body. The sporty didn't, however, preclude the sexy. High side slits and tacked-on panels of chiffon pleats made for flirty flutter while nearly every look exposed a slice of shoulder.The need-for-speed look was tempered by the organic nature of the wooden platform sandals with bronze embroidery worn with every outfit. They hinted at the tribal turn to come at the far end of the show—a section where there was a bit too much going on in a single dress. Though this collection wasn't as tightly focused as their recent Resort outing, it was a welcome development to see the Azrias move past minimalism.
7 September 2011
Chanel Iman showed up at Monday night's CFDA Fashion Awards on the arm of Lubov Azria and wore a look from the designer's Resort collection for BCBG Max Azria. Sure, the model could make even a burlap sack look amazing, but the dress itself—an aqua number with a high slit, deep keyhole neckline, and peekaboo shoulders—stood out on its own. Azria looked to seventies muses including Marisa Berenson and Margaux Hemingway for inspiration this time around, and that was evident in the free-flowing silhouettes and intricate hand embroidery. But the designer managed to keep it modern. An acid yellow maxi dress, for example, had a rope halter neck and a sheer inset that zigzagged around the knees. And a billowing jumpsuit in crimson came with cool, crisscross straps. Only the Chanel Imans of this world could pull off some of the sheer caftans shown here; regular girls will opt for the simple, sky blue tunic dress with a trendy but not too scandalous, mid-thigh slit.
5 June 2011
For the past few seasons, Max and Lubov Azria have not only shown a minimal look, they've also taken a minimal approach: fixating on a single idea played out over the course of 30-something outfits. Today's focus was the polished but fluid silk dress layered over an almost-sheer white turtleneck bodysuit with black cuffs. Slim belts were slung low on the hips, lengthening the torso to match the long proportion of knee-obscuring hems. The Azrias leaned further into the seventies vibe of color-blocked tunics and halters by adding stacked-heel, knee-high boots that had a glam flash of thin gold piping.We're all grown up enough to not be shocked that fashion trickles down. (See Miranda Priestly, cerulean.) If the kernel of today's ideas inevitably began with Phoebe Philo, there were some solidly stylish options here for a realistic price. A more interesting matter for debate: Will minimal and midi serve as a lure for the decidedly youthful (or certainly youthfully spirited) BCBG customer?
9 February 2011
Serenity now? No, serenity then. AfterBCBG's light, whiteSpring offering, pre-fall was anything but neutral: Inspired by the blazing colors of Guy Bourdin's photography, Max and Lubov Azria put together a collection of mostly long, loose frocks in blocks of vivid gem tones. Many were tiered and paneled, with aprons and cowls floating over crepe and georgette sheaths. In some cases, the piled-on colors, layers, and textures (several looks contained peekaboo levels of sheer) looked a bit busy. But where it worked, it worked, as in a navy and cream shift shown with a cropped sweater, and a geometric-print halter dress whose asymmetrical pleated skirt flirted with the new, ladylike mid-length.
7 December 2010
Sheer simplicity. At BCBG, Max and Lubov Azria continued the exercise in functional minimalism they began last Fall with a Spring parade of airy silk dresses and jumpsuits, both short and long, so light they very nearly threatened to float away. The show opened with a grouping in white that imperceptibly shifted to an ash gray and then cycled through a neutral rainbow before landing on black. Anything bright was relegated to a cameo appearance: a tiered overlay here, a single shock-pink frock there. These hot spots brought a point of difference into a potentially repetitive collection—as did the touches of femininity added by tonal embroidery and lace. The latter was a standout on the finale dress, a long sheer tank that was foreshadowed by a lacy image printed elsewhere on silk. For a brand that can occasionally take a head-scratching direction, this was a happy little moment of serenity that seemed to please all assembled and that definitely has commercial legs.
9 September 2010
The BCBG Max Azria Resort collection has plenty to offer the shopper who wants to experiment with the still-going-strong tribal trend without abandoning her urban uniform. A series of silk dresses—some in neutral shades, the prettiest in colorful shibori—were elaborately draped and pintucked, then layered over the brand's best-selling long-sleeve knit shirts, shown this season in bold, graphic prints. Shorter, more structured dresses, meanwhile, featured intricate embroideries covered in sheer chiffon cut at irregular angles. All in all, this felt like a follow-up to ideas that Max and Lubov Azria first proposed for Fall, but that's not a bad thing. It's these twists on familiar designs that will keep fans, city slickers and otherwise, coming back for more.
6 June 2010
Entering a BCBG Max Azria show, you're never entirely sure what you're going to see. Designers Max and Lubov Azria have given themselves the creative license to take their big-business contemporary line in whichever direction they might be feeling, whether that's avant-garde, bohemian, or ladylike.But this season found the Azrias in practical mode. Backstage, Mrs. Azria explained that the Fall collection was her answer to the recession. "It's made us realists," she said. "It's not about our fantasy. It's about the customer."On the runway, there were endless variations of a simple, sellable, and yes, chic idea: color-blocked silks in clean geometric silhouettes layered with whisper-thin black knit tops. Dresses had a T-shirt-level ease and often came cinched with wide elastic belts. The layering of lightweight pieces was another customer-centric strategy. These dresses, as Mrs. Azria explained, can be worn right away when the Fall delivery goes into stores—i.e., in high summer—and then can transition into chillier months.All in all, a smart play for the bottom line. The Azrias did allow themselves to dream a little, though, with occasional lashings of sequins and pieced-in panels of sheer pleats. After all, all practicality and no panache would make fashion a dull industry.
10 February 2010
A healthy front-row bloc of PYTs du jour at BCBG Max Azria usually sets off the fashion season's first paparazzi swarm. Today it was sister act Theodora and Alexandra Richards happily braving the flashes alongside Leigh Lezark, Solange Knowles, and teen queen Amanda Bynes. Appropriately, the clothes on the runway could have gone by the name of the latter's breakout movie,What a Girl Wants.What does a girl want? Well, for many, particularly the sector that follows the It-party-girl lead, the checklist is still short, body-con, and sexy in the eighties vein that has made stars out of Alexander Wang and today's Balmain. The husband-and-wife team of Max and Lubov Azria worked the look like a collage, piecing and tucking bright abstract florals into solid blacks, navies, and the odd Pepto pink. Ruched silks and tulle were tightly bandaged around the body, the effect made sexier still with sheer black insets. On the looser side, dresses that riffed on the T-shirt made a coherent and welcome counterpoint. Every model carried a glossy metallic clutch, as if poised to stay out all night at a moment's notice. Sure, their proposition wasn't quite new, but the Azrias' trickle-down timing is right on. And after last season's concept-heavy offering, the show was a youthful breath of fresh air.
9 September 2009
Lubov Azria designed the BCBG Max Azria runway Resort collection for "girls on the go." Said Azria, "I live vicariously through those young socialites who are constantly on the lookout for something new, and want to stand out and to be seen and talked about." They'll certainly have lots of looks to choose from when these clothes hit the floor. Built around a watery palette of blues and white, the collection didn't jettison BCBG's signature draping but combined it with a strong scuba influence. So there were zips and straps and mesh inserts on leggy body-conscious dresses and a tight, sporty jacket. A few tutu details appliquéd onto easy slip-on dresses kept things fun.
15 June 2009
At BCBG Max Azria, designing couple Max and Lubov built their Fall collection around the bold geometric abstraction of constructivism. Logically, shapes were of clear importance, both with respect to silhouette, as in the volume of blouson coats; and to construction, in, say, the sleek panels of velvet and silk pieced together on dresses. With robotic-looking metallic tights, bands of trapunto stitching, and jutting sharp lines on shoulders, the effect was often a bit "beam me up," even with mitigating crafty touches of shibori tie-dye and pleating. Things did loosen up a touch with a group of slinky little jersey dresses, high-necked in front, sexy and skin-revealing from behind, but overall, this collection skewed too serious for a line that's billed as a contemporary younger-sister brand. Perhaps it's because the Azrias' newest line, BCBGeneration—an even more casual (and less expensive) addition to the stable—is now a year old, making this label the middle child. Still, that probably doesn't change the fact that the BCBG girl—like Lily Collins, Amanda Bynes, Joy Lauren, and the rest of the starlet-stocked front row—doesn't really want to think too hard about the future when she goes out. She still just wants to have fun.
12 February 2009
Powerful women are much in the spotlight these days, and Lubov Azria, backstage this morning at BCBG Max Azria, counted Hillary Clinton among her inspirations for Spring. But while she mused about politics and fashion, Azria also characterized her collection as "things that every girl wants to have"—words that aren't usually applied to, say, the average convention-speech saffron pantsuit. The heart of the lineup was the T-shirt dress in multiple variations, cut in colorful fluttery silks and sporty, spongy jerseys that draped easily around the body. You could argue that sartorial comfort engenders confidence, which in turn allows a woman to realize her full potential…or you could just say that these were some very wearable dresses. In the spirit of wear-and-go, she also showed several rompers and jumpsuits. Sure, in theory, nothing says independence like a jumpsuit, but somehow that idea still smacks of a late-disco-era conception of liberation; and when was the last time you saw a girl on the street wearing one, anyway? (Though we may be eating our words before the end of the week.) Lubov and her husband, Max, apparently also counted Beijing's Olympians among their heroes this season: Sporting details like shrunken anoraks and undershirt tanks peeking out from under a silk frock kept the mood buoyantly tomboyish. Most of the looks were a success, in fact, a little repetition and a few too-weighty evening options aside. Ah, well, early to bed and early to rise only helps a girl conquer the world.
4 September 2008
What a difference a year makes. In 12 little months, BCBG Max Azria has blossomed from a girl into a woman, with a Fall collection of elegant jersey dancer dresses and (admittedly, a bit more awkward) Katharine Hepburn-style tailoring—all in a restrained, dare we say sober, palette. "BCBG has evolved so many times," says creative director Lubov Azria backstage. "This is a direction that feels wearable and clean." All of New York seems to be growing up this season, actually, as—at least judging from the early shows—body-conscious sophistication is finally toppling the cult of the sack. Here, every look was cinched at the waist with a rugged leather and wool belt, which also added a needed edge to soigné silhouettes. Details like trapunto seaming, cartridge pleats, and sexy flashes of skin did the same. As the show progressed, the girlishness that is still a necessary component of a contemporary line finally reared its pretty little head in minidresses of colored satin and pleated silk crepe short enough to qualify for the "Dress or blouse?" guessing game. Just the dose of fun the doctor ordered.
31 January 2008
"We just decided to strip everything away," said Lubov Azria backstage after the BCBG Max Azria show. "Last season was very dark, so we went toward the light."And so, out went the slightly witchy trappings of Fall, and in swept yard upon yard of airy organza, sheer tulle, and liquid jersey. The Azrias played with a familiar feminine dichotomy: the lady and the tramp. The former was a real grown-up in belted silhouettes—no infantile tent dresses here. She demurely kept her hems below the knee and often wielded an envelope clutch. The latter favored minidresses with bustier tops and flippy skirts (some veering dangerously close to lingerie territory) that nodded to the grand master of sexed-up fashion, Azzedine Alaïa. According to Mrs. Azria, customers will want to tag-team the looks depending on their varying moods. It's true enough that we dress to suit our mindsets each morning, but here the two extremes were a bit jarring.The fresh new mood chez Azria did shine through in a palette of breezy pales and cool, washed neutrals. However, the show's grander themes of "luminosity" and "layers of transparency" at times got the best of them. It's safe to bet that a sheer, layered trench with printed patch pockets won't ever see the fluorescent light of a department store. Still, come spring there will be more than enough of the pretty dresses that are the collection's bread and butter to please its fans, no matter who they might want to be that day.
4 September 2007
There have been big changes in the Azria empire over the past year. A more luxurious niche line called Max Azria was spun off last fall. And—as the company brass tells it—even the long-familiar contemporary line, BCBG Max Azria, is a wholly new incarnation these days, one that's only in its second season. To clear any lingering confusion, Lubov Azria (wife of Max) attempted to define the two collections in terms that fashion folk could more easily digest: "The BCBG Max Azria girl is Sienna Miller or Kate Moss," she explained backstage before the show. "Max Azria is more Cate Blanchett."While the Azrias did have a front-row smattering of socialites (Fabiola Beracasa, Olivia Palermo, Bettina Zilkha, and Byrdie Bell), neither Sienna nor Kate was anywhere in sight. No matter: It was clear that the raffish, magpie style of those British It girls was being mined on the runway. And yes, you could imagine Sienna pulling on a pair of tights and grabbing BCBG's smoke-chiffon trapeze dress, topped with a cream knitted-fur vest, for a winter's night out. And Moss could certainly put to good use one of the hooded jackets, particularly the version in a stylishly crinkled cotton. There were also the sort of swingy frocks with a touch of detail that are bound to appeal to the BCBG customer, though the dresses were occasionally weighed down with copious amounts of appliqué, crocheted trim, and chains. It's hard to imagine any girl, It or not, opting to look quite so tricked out.
1 February 2007
This season, Max Azria erased the BCBG name from his runway collection, saying that he wanted to distinguish the higher-priced clothes he shows during fashion week from his more commercial line. The designer is clearly trying to stretch himself, and on the evidence of this presentation, there is some strain involved in that process. The show was nominally about beatniks, but as the intricate invitation hinted, it was also intended to be an exploration of the ways origami can be applied to fabric. Azria was thorough in his studies, applying the technique to everything from spaghetti-strap dresses with puckered bodices worn over turtlenecks to a snappy gray wool jacket with intricately formed pockets. At times, though, he got lost in the folds. This was partly due to how the girls were styled. The worst offenders were the ungainly knee-highs and the layered, droopy knits of indefinable shape, a no-no in a season where defined volumes are key.
5 February 2006
Max Azria is a busy man. He recently opened a new Los Angeles boutique, dressed Sharon Stone at Cannes, and sponsored Fashion Rocks. These divergent activities didn't, however, detract from his collection, which was more focused and polished than last season, despite the competition for the designer's attention. Azria has been obsessed with macramé for much of the 00's and he used it again for spring, this time more successfully, on top of soft jersey dresses. Long, vaguely ethnic cotton dresses had macramé details, which added some subtle interest.Textural elements, which are building into a bona fide trend, were present at BCBG in gold and wood beading or new applications for canvas, and a flax-embroidered linen jacket worn by Lily Cole worked the trend with finesse. Full silk peasant blouses with twill shorts were well balanced, proportionally. A creamy leather cape topped a long dress, belts chicly cinched curvy coats, and almost everything was worn with snakeskin flats (or adorable distressed-canvas or printed Keds for BCBG). While a striped series and the balloon hems fell flat, the collection as a whole felt more personal, and less forced, than what Azria has done in the past.
11 September 2005
Max Azria has built a thriving fashion empire that encompasses numerous apparel, accessories, and fragrance lines, with the jewel in the crown being the BCBG collection he showed today in the largest Bryant Park tent to a packed, faithful audience.For such a big show, the message was on the slim side. Azria continued to explore the light-hearted folksy theme he introduced for spring, citing Bloomsbury as an influence. But the decorative cross-cultural references, like the recurring fringed disks that swung from belts and were embroidered on coats and dresses, were oddly unspecific (American Indian? Bollywood?). The designer fared better when he stuck to simpler pieces. A Lurex-striped poet's shirt would be a great addition to any wardrobe, and his wool felt pea coats had a jazzy, youthful swing. When Azria translated the season's ubiquitous peasant skirt into dress form, as in a paprika-colored silk jersey number with delicate embroidery at neck and hem, the results were fresh and appealing.
6 February 2005
"I'm undercover," declared the soundtrack for BCBG's spring runway show. Hopefully that's just idle thinking, because Max Azria's collection deserves some attention—particularly the first half, with embroidered skirts, smocked dresses, sequined tunics, and embellished coats that were folky, pretty, and perfectly on trend. The accessories hit, too; there was a great oversize bag, crochet and embroidered belts, and charm necklaces.But it seemed Azria changed his mind right around the time the eveningwear appeared. Those rhinestone-embellished chiffon dresses in pastel colors had not onemotof peasant panache, but they're bound to delight Azria's starlet contingent. Quick switches like that make it easy to get lost in the vast BCBG universe, but this season the sporty separates will be easy—and fun—to navigate.
12 September 2004
After spring’s gently retro collection, Max Azria returned to a harder-edged feeling for fall, showing skinny pants, loose wrapped tops, draped dresses and generous blouson jackets that will help the young and the hip get through next season.Although he cited Jean Harlow as an inspiration, Azria’s cuts and colors seemed drawn more from the seventies; what other decade would have dared put a mustardy yellow leather blouson with skinny royal-blue trousers, or a brown top, piped in blue, over red pants tucked into navy boots? The designer breathed some Hollywood glamour into daywear by mixing jewel-toned velvet pieces with sportier opposites like a long, bulky wool scarf or a pair of trousers cut from cotton bengaline. Then it was into the nightlife, where he boogied down with fluttery, skin-baring chiffon dresses and tops worn under slim-cut tuxedos—all guaranteed to win over any reluctant doorman.
8 February 2004
It would be all too easy for the soft-spoken femininity that’s dominating New York’s spring collections to go wrong. A little too much lace, a few too many bows, and poof!—sugar has turned to saccharine. In one of the season’s more refreshing collections, Max Azria demonstrated a sure hand with the trend, showing a distinctive, individual take on what’s becoming well-trodden terrain.Instead of the same Easter-basket pastels, Azria chose an unusual palette featuring a twenties color scheme of deep rosy pink, aquamarine, pale chartreuse, black, and ivory. He added big floral prints reminiscent of Dagobert Peche’s Wiener Werkstätte designs, and balanced retro-looking fabrics like lightweight cotton voile and washed twill with modern nylon and Lycra blends. The silhouettes were clean and easy: A-line dresses that skimmed the body, cropped pants, short jackets with three-quarter sleeves, and thigh-length coats.Azria delivered charm aplenty—particularly via the tiny ruffles that he stacked on the pretty bikini tops and bottoms, scattered on a minidress, and used to line the edges of a camisole neckline or hem a pair of Clamdiggers. Like a good cook with a tricky recipe, the designer knew just when to stop fussing with his fashion.
14 September 2003
Who is the BCBG girl? For the past few seasons her identity has been murky at best, but this season she seems to have hit her stride. Music maven Michael Gaubert hinted that "she's groovy" when he opened the show with White Sport's song of the same name, and Max Azria's clothes lived up the soundtrack. Curbing his enthusiasm for chiffon in favor of canvas, corduroy and cotton twill, Azria showed a series of solid, workwear-inspired jackets and coats with interesting pockets and decorative studs. These smart basics were shown with more romantic and, yes, floaty, blouses and dresses, some of which referenced the ’30s by way of the disco ’70s.Who is the BCBG girl? She's young and yes, this season she's even a bit groovy.
9 February 2003
BCBG Max Azria is based in Los Angeles, the city of eternal sunshine. And with his pretty, feminine spring collection, it seems the designer was doing his best to translate those blue skies and golden rays into clothing.Fall's gloomy Goth looks have been banished in favor of Easter egg colors, skimpy dresses, A-line skirts and lingerie details, done in clingy lightweight fabrics like chiffon and silk jersey. Azria's silhouette follows the female form without stalking it, and he plays up the flirty aspects of his clothes by adding lacy trim; making deeply plunging necklines; and cutting dresses with layers of ruffly chiffon that swirl out at the knee.There were a few smartly cut sportswear pieces, like a sharp chalk-white trench coat and a taupe pantsuit, to round out the collection. And, for those rare occasions when it gets chilly, Azria's short gold leather jacket will provide a little nighttime shine.
18 September 2002
Max Azria, the founder and designer of BCBG, is a man who generally keeps a finger firmly on the fashion pulse. The company has been turning out smart takes on sophisticated trends for more than a decade, making loyal customers out of women who love fashion but whose budgets don't stretch to big-ticket designers.For his Fall collection, Azria seemed to be tuned more to a jungle beat than a style channel. With a few exceptions, every look consisted of layered, crinkled gauze or chiffon dresses, done in tones of brown, black or olive and weighted down with chains or studded leather belts. Asymmetrical hems and necklines were the order of the day, and there was enough shredding on the runway to pique the interest of the SEC.Highlights included a black wool three-quarter coat with fur trim, some well-cut pinstripe jackets and trousers, and a suede studded skirt. And knowing how much women love options, Azria created a great boot: With parallel zippers at two heights, it goes from ankle- to knee-high in an instant.
10 February 2002
Max Azria went for tough romanticism this season, presenting a nearly all-white collection of sheer overlays worn with plenty of defiant attitude.Azria's program notes promised visions of Saint Tropez and shades of the Riviera. In reality, the look was reminiscent of Zandra Rhodes' decidedly urban slashed handkerchief-point dresses. Fluid jerseys, supple suedes, dip-dye leathers and lightweight cottons were all layered, draped and wrapped asymmetrically. Leather cutout bustiers, short fitted skirts and skimpy crochet tops were all fun and youthful, though not particularly original. A short denim suit and an eggshell coat stood out as practical, everyday staples.For his accessories, Azria reworked some of the most important fall favorites, including long macramé belts with streamers and western-inspired leather boots.
9 September 2001
It's not hard to understand why BCBG has a substantial following all over the world—designer Max Azria has an uncanny ability to appropriate major currents in fashion and make them accessible to a general market.Accompanied by an earsplitting soundtrack of mid-'90s Prodigy techno, Azria sent out everything from moleskin trenches and trousers to leather strip jackets, scalloped minidresses and pleated bustiers that brought to mind Helmut Lang's Spring dominatrix-inspired collection. As if to make sure not to miss a single trend, Azria also included corduroy suits, flouncy chiffon dresses, glimmering Lurex tops and plenty of waist-sculpting leather cage belts in the spirit of Tom Ford's recent corseted Gucci collection.Accessories ran the gamut from simple black leather pumps and slides to punky ankle booties and frankly intriguing bags with thick chain handles and dangling adornments.
11 February 2001
Max Azria has built a substantial business translating the trends of the moment into accessible, easy-to-wear basics—the kind of clothes aspiring L.A. actresses quickly throw on before zipping off to casting calls in their sporty borrowed convertibles.This season, for example, there were sensible top-stitched cotton double-faced jackets and trousers (perfect for that last-minute agent meeting), pistachio silk chiffon printed dresses that are a cinch to pack, and an eye-catching rose-bloom tweed trenchcoat. For younger customers, there was also an off-white patent-leather trenchcoat, a cedar-brown patent-leather skirt, and graphic, two-tone wedge heels that should be a hit with die-hardBarbarellafans.
17 September 2000
According to designer Max Azria, Wim Wenders' 1987 filmWings of Desirewas the inspiration for BCBG this season. Literal interpretations included wing motifs on the backs of heather-gray wool jackets and black T-shirts. There were also more subtle references like embroidered chiffon tops with ties that fell to the floor, mud-fur jackets, and a color palette that revolved around pewter, porcelain and sable. Colorful pieces included shiny croclike coats, glitter suede jackets, and easy plaid coats and pants. Accessories were fun and playful: faux-mink wraps, fake-fur and feather-covered bags and tall boots in distressed metallic leather.
6 February 2000
For his Spring collection, BCBG designer Max Azria did just what he does best, distilling the season's major trends into fashion that's utterly wearable and accessible. Ecru, rust, raspberry, and mint green were the predominant shades, with floral prints and beading adding an ethnic touch. Suede skirts, dresses, and shells with appliqués looked great worn with lacquer boots and heels, while skimpy apron tops, layered multi-tulle skirts, and enamel cotton dresses embroidered with paillettes gave an extra spark to the sophisticated, sexy spirit of the collection.
12 September 1999