Lisa Perry (Q5038)
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Lisa Perry is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Lisa Perry |
Lisa Perry is a fashion house from FMD. |
Statements
Lisa Perry’s love of the 1960s is legendary. The designer has kept the spirit of modish fashion alive with her A-line shifts and primary colors, but this season, she decided to draw inspiration from a different decade. The aesthetics of the 1970s offered a new playground, with everything from boho chic and disco glamour to choose from, but Perry was careful to select only the themes that could mesh with her existing framework. Change doesn’t need to be jarring; the chic blouses and luxe evening dresses audiences have come to expect from Perry are still there, but they’ve been placed alongside new pieces with muted tones and a slinkier vibe. The shades of mustard and khaki that covered the sequin-striped column gown on model Julia Banas were a departure, as was the introduction of a series of skirts at midi-length.Though the time was right for the gradual evolution, Perry still loves her standards. “I’ll always gravitate towards that looser silhouette,” she shared at her studio, pointing to a pale pink gown. “I do think it’s important to have more options; that’s why we incorporated more of the pleating as a way to create [a look] that showed off more of the body.” Influenced by the decade’s Yves Saint Laurent collections and their liberated themes, Perry offered her own version of body-con. Neutral slip dresses offered in textured stripes and A-line crop tops offered subtle hints of skin. Likewise, a striking snakeskin version of the classic leather jacket came complete with cool-girl flair.With an eponymous book set to launch later this year focused on her dual passions—fashion and interior design—Perry seems to be expanding her horizons. The swingin’ mood may have dissipated, but the new verve may prove even more exciting.
7 February 2019
If you’re smiling the moment you put on one of her creations, Lisa Perry has done her work. “The best thing anyone can say about clothes is that they make them feel happy,” shared Perry at her Soho loft. “It may seem cliché, but I never tire of hearing it.” A designer who has never succumbed to the concept of gloomy, overly serious dressing, Perry’s strengths are uniquely attuned to Spring. With its floral motifs and cheerful energy, the season vibes with her upbeat aesthetic. For her latest collection, she built on the pieces that have become standards within her line, while expanding into new categories.From the start the punchy colors and mod shapes familiar to Perry’s fans were on display; a floor-grazing loose gown in shades of bright pink and turquoise provided an offbeat choice for evening, while A-line minidresses that seemed culled from the ’60s wardrobes of Jeans Shrimpton and Seberg provided flirty options for day. Adorned with felt flowers—a touch inspired by Martial Raysse’s 1965 neorealist painting,Tableau Simple et Doux—denim jackets and column dresses stood out. Staples like wide-leg trousers and jeans were given a hint of playfulness thanks to rainbow stripes and embroidered flowers accenting otherwise minimal pieces.There’s a chance that the charm of Perry’s output will be lost on those who don’t enjoy Pop Art and the visual cues of the 1960s. Certain pieces—a vinyl bomber jacket and the aforementioned felt florals—rely heavily on a specific kind of nostalgia, one that may not appeal to those whose idea of vintage skews more disco era or even early aughts. Still, failsafe pieces like a gauzy silver evening halter or boxy tailored overcoat have enough mass appeal to make anyone smile.
5 September 2018
With fashion—and the world—in a state of anxiety, Lisa Perry felt it was time for a little optimism. Keeping her Fall offerings light, sweet, and filled with her favorite shape, Perry sought to create an joyous vibe. “This collection is happy, upbeat, and fun, a mood we should all be trying to capture right now,” she shared post-presentation, and given the brightness and wearability of her pieces, it’s hard to argue with the sentiment.Sticking with the signatures of her line—A-line dresses with circlular pockets, cropped trousers, and color-blocked gowns—Perry kept things simple, yet covered in enough dots to please a Yayoi Kusama fanatic. “A dot is the perfect shape,” says Perry who wove them into crewnecks and placed them atop button closures. Even basic black furs were given a splash of color via contrasting patches of red, green, and gold.Mileage may vary when it comes to the appeal of playful add-ons like polka dots, but the collection’s high points required little embellishment. Straightforward pieces like a reversible jacket fringed with fur were instantly appealing, while a tangerine-hued column gown with a turquoise collar summed up the season’s happy-go-lucky mood with nary a dot in sight.
7 February 2018
For Spring, Lisa Perry had her favorite era, the late ’60s in London, as well as her love for vintage on her mind. There was more variation and prints in her prior collections, and Perry focused more on pared-back pieces here. The simple, age-old wardrobe staples worked well, such as a pair of cropped white trousers with a pleat down the front and a pert pink shift dress with the label’s signature circular pockets. A few sexy tie tops in the mix were a great way to break the collection up and appeal to different generations: A client who would want to cover up could easily throw a shirt on underneath the piece, while those more daring could tie the blouse as loosely as they wanted to show as much décolletage as they were comfortable with. Outerwear was strong: A colorblocked chubby was a head-turner, while a quintessential mod-style cropped white jacket and a longer black coat with zippers at the cuffs were age-old classics.The collection was one of Perry’s smaller ones, so she focused on details. A charming tank was fastened at the front with nautical rope and a knit top had a keyhole cut-out in the chest. For those looking to take a break from hit-you-over-the-head political slogan tees, Perry made a chic alternative with the wordfeministsewn on the cuff of a cozy black sweater. Customers still wishing for Perry’s more intricate items can look forward to her 10th anniversary capsule collection that will drop in October.
6 September 2017
Like many designers who experienced a surge of hopelessness after the presidential election,Lisa Perrywanted to overcome the somber feeling and make people happy with her Fall 2017 collection. But happiness isn’t a new theme for Perry: Her trademarks are primary colors and pops of contrast as well as references to artists. Continuing on this theme, Perry cited the Spanish painter and sculptor Joan Miró as her inspiration. As expected, there were the label’s signature mod silhouettes such as a duster coat in silk jacquard featuring the artist’s colorful prints and a sleeveless black shift dress with a circle-shaped pocket.Though, the brighter pieces are what will attract young women to the label, something that Perry has been striving to do for several seasons. Sure, they may not need the cliché-although-charming T-shirt that readsJe suis heureuse(“I am happy” in French), but they’ll want the off-the-shoulder silver top printed with Miró’s catchy abstract paintings. The standout leather bomber jacket boasting funky, geometric faces on the back—a riff on the artist’s sculptures—would be a stellar choice for the street style–minded women during Fashion Week. It would make the wearer happy and turn heads.
17 February 2017
Lisa Perry’s knowledge about modern art is expansive—and it’s typically the running theme in her collections. For Spring 2017, she looked at work by Brice Marden. He has the minimalist aesthetic that Perry favors, but this time, her palette was less focused on primary colors. The move away from the label’s standard hues lent a softer look to the mod silhouettes. A loose, long gown came in a sweet shade of powder pink, while an eyelet style with a pretty bustline turned up in light yellow; though the brightest piece, a dandelion yellow vinyl raincoat with cropped sleeves and a slick moto collar, was one of the coolest standouts.Perry also offered up some fail-safe black-and-white looks, like a shift with a trompe l’oeil collar that was fit for a modern-day Twiggy enthusiast. An A-line number had Perry’s signature circle pockets in a jolt of shocking pink that added a little pick-me-up to the LBD.Perry has been adding knitwear to her collections, and her cheerful “Hello” sweaters have been doing very well. “We try to get away from doing the ‘Hello,’ but we can’t,” said Perry. “It’s back by popular demand,” though this time in more subdued colors. The knits are a strong point for Perry and something that will keep young street style–minded customers returning.
7 October 2016
It’s a well-known fact thatLisa Perryis heavily influenced by art when it comes to her clothes—and this season was no different. The kaleidoscope-swirled geometric patterns used throughout the collection were inspired by the Ukrainian-French artist Sonia Delaunay. The colorful, Orphism aesthetic was energizing, especially on Perry's signatures like a swing dress, or a long crepe caftan. There was a sporty element, as well: A bomber jacket in the print was a refreshing casual topper, but could also be elevated with a pair of tailored trousers, while a red mock turtleneck had a nice touch in the form of a varsity stripe on its knit collar and sleeves.But the collection also focused on another aspect of Delaunay in a broader sense. “She worked from 1930 to 1960 at a time when there weren’t many women artists,” said Perry. “We look at her as a pioneer of that time.” That same pioneering approach was applied to the lookbook. It didn't include models, but rather a series of photographs that Perry shot herself on Polaroid film (“To capture the ’60s” she said), which featured a range of real women, like the president of Planned Parenthood, Cecile Richards and the founder of Salon 94, Jeanne Greenberg Rohatyn. Also included were a new generation of professionals, activists, and digital influencers like the associate online community producer of the Metropolitan Museum of Art, Kimberly Drew, and JiaJia Fei, the director of digital at the Jewish Museum. It was good to see how each woman made one of Perry’s pieces their own. Richards was styled in the crepe caftan dress, which appeared to fall perfectly, while Pari Ehsan, the founder and creative director of “Pari Dust,” sported a natty striped knit sweater emblazoned with the slogan “color” for a jolt of fun. One image featured Rohatyn and her daughter, Coco. Both women wore a version of stripes: The mother in a black-and-white striped cardigan spliced with shapes of primary colors, the daughter in a thickly striped circle skirt dress. It was chic for the whole family—as well as an interchangeably bold look for the powerful women of today and those in the making.
12 February 2016
There’s no better time than the consumer-focused season of Pre-Fall to introduce a new concept aimed at customers.Lisa Perryis taking the opportunity to realign her eponymous label by adding lower price points and broadening the offering of separates. She went back to the easel when it came to aesthetics, only this time she was referencing the Bauhaus movement of the early 20th century rather than her beloved Pop Art 1960s.“Bauhaus was about bringing modern design to the masses,” said Perry at her Upper East Side flagship store. “And that ties into what we’re trying to do. We are going into the contemporary space so we can share our world with more people.” Expanding her audience led to more experimentation designwise, especially on the cocktail frock front. Dresses were sleeker, and a patent leather double-breasted minidress added a new dash of sex appeal to the mix.Elsewhere, white T-shirts stamped with a Bauhaus palette of primary colors and geometric shapes looked an easy, basic sell. A black washed-georgette mock turtleneck paid homage to Perry’s oft-cited ’60s, but with a cooler, more beatnik appeal. An unexpected sporty element made a welcome cameo in the form of slouchy, navy blue sweatpant-style trousers with green elastic cuffs and a yellow waistband. There was even an odd, mix-and-match element of high streetwear, seen in a tight taffy pink cashmere sweater emblazoned withhelloon the front andgoodbyeon the back. Paired with loose-fitting black-and-white grid-pattern pants, it’s a look that might just make its way onto a new crop of downtown customers in the coming months.
11 December 2015
There’s no doubt thatLisa Perryknows how to create a summer-ready wardrobe, and today, with temperatures surging up into the 90s, her light dresses in punchy shades could not have been more appropriate. The collection was a direct response to the artist Robert Irwin's series of paintings "Who’s Afraid of Red, Yellow and Blue?" And Perry was evidently not afraid, with pieces like a shift dress in bold Piet Mondrian tiers of black, white, red, yellow, and blue, and a swing dress dotted with geometric shapes in the same color palette. Perry also used jewel tones in a set of cocktail looks: a royal blue décolletage-diving dress and a high-neck crimson frock.For those who prefer more toned-down hues rather than the standout color wheel, there was a charming set of little black dresses, including one with spliced sleeves and a dickey collar, and a midi dress with patent-leather piping. Minimalist adornments elevated the more pared-back pieces: A black linen tunic had large grommets on bell sleeves, while a white halter dress used the grommet as a loophole for the neck strap.In addition to the muted and primary color palettes, Perry didn’t forget her signature shock of hot pink. It was there in a long T-shirt dress—a perfect piece for anyone who fears nothing beyond the red, yellow, and blue.
10 September 2015
For the color-obsessed designer, what's a bigger challenge than sticking with just one story? Lisa Perry did just that for Resort, playing with different shades of blue against a khaki and white backdrop. Inspired by the work of Italian architect and furniture designer Giò Ponti, Perry color-blocked her blues to create a gradient on a long white sundress, a geometric inset on a cotton top, and a pattern that was meant to mimic Ponti-designed tiles on one of her classic A-line minis.The restrained palette worked well for Perry, as did the still-mod silhouettes that crept even further into the late 1960s than her Spring collection allowed. A pair of denim kick flares and an elastic-waist dress in buttery caramel leather were updates, not sudden departures. The real newness, though, was in the logo-ed snap Perry is using as a signature accent. It's a tiny detail that is solely hers, like finishing the inside seams of her pieces with hot pink bias strips. That final touch also let Perry sneak in just a little more color. Because she really can't help herself.
2 June 2015
Lisa Perry changed up her venue this season, forgoing her typical store presentation for a private residence with a heck of a view of the Queensboro Bridge. "It's about the view, yes, but it's really about architecture," said Perry of Fall's linear, geometric shapes. Her point of reference is almost always the late sixties, and this season's A-line mini was color-blocked with zigzags, uneven crosshatch lines, or two-way stripes.Perry brought another look from that era—a loose, smocked gown in emerald green—into her repertoire. "You could say it's vintage-y, but you could also say it's timeless." Paired with the right accessories, it will indeed feel modern. On the other hand, a vest made from pieced-together orange neoprene and gray jersey circles read too retro.All in all, the cocktail-heavy collection nicely complemented the house-party feel of the presentation. Perry stepped out of mod and into a more psychedelic look with a pair of swirling-print trousers worn with a strappy tank made out of fluffy—and very unexpected—alpaca. These were true feel-good looks, meant for champagne glass clinking.
11 February 2015
Lisa Perry often finds inspiration in the fine art she collects. For Pre-Fall, however, the idea was a bit more, um, basic. There is a lot of construction happening around the designer's Madison Avenue store on the Upper East Side, and the workers' brightly colored, reflective uniforms caught her eye. "It's totally not sexy," said Perry. "But it's so exciting, I can't breathe." Her fervor was generally warranted. The collection, sexy or not, was on point, taking her most famous silhouette—the exaggerated A-line circle dress—and rendering it in neon brights or black with strips of neon across the chest or back. A checkerboard decal decorated the skirt of a white tank dress, while chevron stripes walked up the side of a black version. Much of the collection was done in what Perry is calling "techie satin," including a pair of narrow trousers with a bit of electric blue peeking out at the ankle. Everything was fun and jazzy and not too serious, down to the unexpected—but far from absurd—crossword-puzzle print on an A-line windbreaker and matching dress.
8 January 2015
On Wednesday, Lisa Perry, forever inspired by art, transformed her Upper East Side shop into a runway with a backdrop made to look likeVir Heroicus Sublimis, one of Barnett Newman's most recognizable color-field paintings. (It's currently displayed in Gallery 16 on the fourth floor of New York's Museum of Modern Art.) "He's one of my favorite artists ever," Perry said after the show. "When you walk into the MoMA, it just takes your breath away."Perry drew from Newman's color fields—as well as Jackson Pollock's paint splatters—to create the collection's prints. A bright red Newman-esque gown was paired elegantly with matching silk georgette pants, while a boxy quilted top—covered in Pollock-like splashes—was worn with a pair of red Bermuda shorts. A white boilersuit, with painterly red details at the collar and sleeves, was a collection standout.Perry's silhouettes are almost guaranteed to be rooted in the mid century. This season was no different, with its trapeze dresses and exaggerated rounded shoulders. Vinyl, another 1960s throwback, was cut and sewn into a little jacket, but also used as insets on dresses and tops. While the asymmetrical ruffles on some of the pieces looked a little too forced, the side-zip detail on a gray chintz dress and a pair of chintz track pants was just the opposite: unfussy and chic.
4 September 2014
Lisa Perry never tires of the sixties, but for Resort she had a particular style icon in mind. "I love Françoise Hardy's chic, casual vibe," she said at her Pop-art Madison Avenue store. "Her energy is so cool."Hardy's tomboy influence meant fewer A-line shifts—a Perry standby—and more separates. White cotton twill jeans were worn with a sleeveless blouse with a teensy ruffle decorating its high neck; white textured flares went with a voluminous A-line top. Perry has been living in track pants, so there was a take on those, too. The black stretch Milano knit leggings with white piping up the sides were styled with a mini anorak in a black-and-white rosette print (a back pleat gave it a more high-fashion shape).A windowpane-print baby doll dress, smocked at the front, was another new silhouette. Yet Perry was sure not to let her trademarks fall by the wayside. She did a good job of incorporating her favorite circle pockets here and there. And the trapeze dress—a style she includes nearly every season—got a lovable update in an airy black cotton printed with upside-down triangles. "There are enough signatures in this collection without it being so literal," Perry said. "It still feels like me."
5 June 2014
Lisa Perry typically starts the design process by looking to one of her favorite pieces of artwork or an architect she admires. For Fall, her muse came from an unexpected place: Instagram. "His name is @donalddrawbertson, and he makes art out of gaffer tape," said Perry, sitting on a bench in the middle of her Madison Avenue boutique, which had been taped up by the artist, whose actual name is Donald Robertson. (He also happens to be one of the founders of MAC Cosmetics.)Robertson transformed Perry's boutique into a white lacquered space covered with lines of black tape that formed scattered geometric shapes. The boots and heels worn by the models, designed in collaboration with Manolo Blahnik, had a similar look. So it was wise that Perry stayed away from prints this season, save for a maze pattern that actually clashed quite nicely with the background.Instead, she focused on silhouette, creating exaggerated versions of her favorite 1960s styles. A Kelly green felt trapeze dress had a back so broad that it was more like a cape, and a purple felt tunic dress was given more shape with rounded shoulders and a deep V-neck. Fabric was also a big consideration. Along with that aforementioned felt—which took color very well, and was also used to make several pairs of nice-fitting wide-leg trousers—Perry used a spongy gray jersey and a black perforated fabric with zero stretch. A fabric foil in the vein of Warhol's silver clouds was used cleverly on an oversize sweatshirt. (It would have been too obvious on one of her classic shifts.)The final look—a bubble dress in the perforated black fabric—appeared more like a skirt being worn as a shirt than an actual party frock. But for that misstep Perry can be forgiven. All in all, it was a strong collection, one that didn't ring too costumey or overwrought.
5 February 2014
"What's the LPD?" Lisa Perry asks every time she develops a garment. The abbreviation stands for Lisa Perry Detail, and typically refers to one of the designer's mod signatures: the circle pocket, the A-line silhouette, the primary-color pop.For Pre-Fall, Perry nicely incorporated an LPD into each and every piece, and her standby silhouettes were well-represented. The swing dress got a menswear-inspired update done in navy wool pinstripe with cherry red accents, while the best-selling collarless coat was rendered in a subtle gray windowpane check that reversed into a solid cerulean blue. The season's standout print was an architectural zigzag, inadvertently inspired by Philip Johnson's Gate of Europe towers. (Perry saw a photo of the buildings only after she had already developed the pattern.) It's not a surprising coincidence, given her voracious interest in modern art and architecture.What was surprising—and more than welcome—were her more tomboyish ideas. A wool popover top and matching sweatpants, worn with a pair of white slip-ons, looked particularly cool. What's more, the top's circle pockets were the perfect LPD.
7 January 2014
Lisa Perry's Spring starting point was tennis. For her presentation, the designer transformed the grounds of her Upper East Side boutique into an Astroturf court, chalk lines and all. The clothes she sent out reflected that theme, although not in a way that could be expected from Perry, whose standby Courrèges-inspired shapes were few and far between."It's very different," Perry said of the all-white collection. Gone were the typical A-line silhouettes. Instead, she did a lot of long dresses. The most classic styles, in silk crepe or a tennis-appropriate cotton piqué, were sexy and easy to imagine on her clients. The others—which featured all different sorts of asymmetrical hems—were inventive, but somewhat confusing. Even if Perry wants to "mix things up," she must also consider what her customer wants to wear. And pulling off a long cotton-silk dress with three large cutout circles vertically dotting the torso (circles are a Perry motif) is no easy feat. No matter how thin or model-esque one's figure may be, seeing a belly button poke out of a big circle in such a way just isn't flattering.But all was not lost. On the minidress front, Perry was at the top of her game. A deep V-neck frock with inverted side pleats was cute and cool, as was a silk crepe halter with an open back. The swimsuit, paired with a silk-cotton skort, really did look worthy of the court. Or lunch courtside. To be sure, more commercial options—in rich colors and best-selling silhouettes—will be available to buyers. If this latest effort was less than perfect, you have to hand it to Perry: She's pushing herself. And that's ace.
3 September 2013
Lisa Perry begins the design process each season with a piece of art. For Resort, it was a Tom Wesselmann still life. She drew her palette from the pop artist's work—a fresh mix of primary colors paired with blush pink, rusty orange, and tan. Perry started by revisiting her hits: the A-line circle shift, the fit-and-flare dress, and the collarless overcoat. But what really drove this collection was her effort to appeal to a younger customer. "Girls in their twenties and thirties have been telling us they want to wear Lisa Perry, but they want to wear it in a different way," she said. A popover top and matching bubble skirt in a graphic seersucker looked fun enough to prove her point, as did an above-the-knee khaki trench with bright yellow piping and chunky Lucite buttons. The lineup was a welcome move forward for the designer; it proved that her retro-modern aesthetic can be just plain modern, too.
10 June 2013
Lisa Perry makes clothes for herself, and right now, she's very into separates. For Fall 2013, the mod-obsessed designer stayed within her aesthetic comfort zone—optical prints, houndstooth, pop-y dots—but mixed it up by adding plenty of slim pants, reversible coats, and even a sweatshirt to her familiar A-line shifts."I want to wake up on a Saturday morning and it be as easy to get ready as if I were wearing a dress," she said at her presentation, referring to the collection's cropped jackets and colorful sweaters.For the most part, she achieved that goal. There were still plenty of swing dresses—the two-tier dress in fuchsia double-knit wool was a particular favorite—and black jersey pants that looked like they'd flatter just about any body type. But some outfits, particularly the houndstooth looks, veered a little too referential. That's Perry's challenge: channeling her love of Courrèges-inspired clothes without getting too close.Perry's biggest success, besides that hot-pink dress, might've been a black faux-fur coat paired with a black stretch-twill dress, also trimmed in black faux fur. It was definitely vintage-inspired, but if styled the right way, it was also totally modern.
5 February 2013
One step through the door of Lisa Perry's Madison Avenue store is like traveling back to the sixties. Everything from the lounge chairs to the pictures of Twiggy and The Beatles on the walls is reminiscent of the designer's favorite era. But with a little nudge from her buyers, she's opted to expand her offerings for her first pre-fall collection. The bright hues of her Spring range were swapped out for pink and purple pastels mixed with neutrals like black and gray. The color palette wasn't the only new element here. Perry tried her hand at separates for the first time. Cashmere and wool blend knits were paired with skinny pants, and a taffeta cap-sleeve blouse gave modern flare to a flouncy miniskirt. A second taffeta blouse with a couturelike inverted pleat at the back was shown with chic wide-leg trousers. Perry's affinity for graphics—last season it was galactic stars and moons—appeared here in the form of arrows and circles, drawn from street signs like the ones outside her store window. A black crewneck sweater with fuchsia waist-defining arrows, and the form-fitting "intersection" dress with cross-body seaming, were most memorable. "I just want to make people smile," Perry said. A long tunic with the word LOVE printed along the bottom should do the trick.
8 January 2013
"Even though I'm always inspired by the sixties, it's important for me to stay modern," Lisa Perry said during a presentation at her Madison Avenue boutique. For Spring, that meant a new-for-the-designer print and formfitting dresses that stayed on the ladylike side of body-con. The print brought together this season's minimal, geometric color-blocking—a nod to Ellsworth Kelly—with galactic shapes like stars and moons, inspired, Perry said, by gazing up at the night sky from her beach house in North Haven, New York. Picked out in sequins, the colorful constellations also showed up on a cropped white jacket and a floor-grazing maxi dress.The designer's signature A-line silhouettes guaranteed a thoroughly mod mood, as did the lineup's saturated and ultrabright hues. Next to all the twinkling stars, though, a simple white trapeze dress in lambskin leather was refreshingly simple. Current-day Edie Sedgwicks would be smart to snap one up.
5 September 2012