Sartorial influences played a major role in the timeless, quotidian elegance of Brooks Brothers’ fall collection. Softly constructed blazers were worked in colorful checkered patterns or came embroidered with feminine floral motifs. Suits with front-pleated knee-length skirts were matched with floral blouses; impeccable belted coats were layered over cozy turtlenecks and cigarette jeans. Introducing a playful note, creative director Zac Posen printed a shirtdress with a wintery pattern of mini deer, while a cable-knit sweater was embellished with metallic details.

The Collection looked very festive, holiday mood, it veered toward more nocturnal dark tones with knits crafted from sparkling Lurex, draped velvet tops, feminine halter-neck frocks enriched with sparkling brooches and a covetable velvet tuxedo with a discreet tartan pattern in deep tones of blue, black and green.

Anna Sui is known for a twist with ladylike silhouettes piled under wonderful, bright faux fur coats or granny tweeds and embellished knit cardigans.

A nubby pumpkin-cord button-up skirt and jacket nicely offset a wonderful purple feather trimmed metallic jacquard floral frock. Floral blooms aplenty— printed on ruffled blouses and technical outerwear as well as in burnout velvet, sequins or metallic jacquard on modest but eccentric dresses — were a counterpoint to a few textural plaids, velvet, animal prints or solid offerings, like green mohair and faux fur coat.

The designer topped the girls off with vibrant tights, punky wigs, fluffy hats and chunky, buckled mary janes from John Fluevog to add to the cheerful, slightly campy vibe that was rooted in major sixties and seventies nostalgia.

A snowy wonderland was filled with new eveningwear styles, too, including a regal, asymmetrically tiered ballgown skirt styled with a one-shoulder, velvet sequined top, and an equally sophisticated white feathered skirt under one of many new reversible puffer jackets. She topped looks off with crazy headpieces she created just for show: a commendable factor that highlights her dedication to evoking a story. Of the collection, she added: “It’s very emotional, magical and a little sexy. There’s a lot of newness and richness and it’s fun!”

Gordon referenced the inspiration with a sunflower wall that was installed in the entrance of the New York Historical Society, where the show was held. But on the runway, the theme didn’t scream. Rather, he controlled his literal references in a smattering of prints. The most flamboyant: vibrant blue-on-yellow posies that opened the show in a billowing floor-length trapeze. He also showed an allover sequined floor-length T-shirt with a huge iris running up the front and another in back.

Otherwise, Gordon celebrated flora with color — vibrant oranges, yellows and pinks drawn from nature on her sunniest days —interspersed with smart respites of black and white. And he worked it all in a balanced dialogue between tailoring and flou, trim pantsuits, some with peekaboo waists, contrasting ethereal full-skirted dresses. Along the way, Gordon celebrated Herrera-isms, particularly the shirt, shown most faithfully in white tucked into slim black pants and sashed in pink, and more irreverently in oversized sheer tuxedo shirts in bright pink and yellow over trousers and a white shirt-cum-giant-tent-gown that closed the show.

The theme at the Alice and Olivia collection was Fantasia,” she said while taking a break from the paparazzi pit, adding: “We have golden magic mushrooms and crazy rainbow leaves and butterflies! It’s really beautiful.”

The collection was focused on glamour for fall and injected eveningwear with fresh, youthful charm. She swapped florals for electric butterflies on rich, burnout silks, and used statement tees instead of evening tops to go with a sequined rainbow skirt for a feeling that’s more relaxed. The designer added feminist slogans to emphasize the women power through slogans “Go Love Yourself” and “Strong Female Protagonist”.

The designer at the New York fashion week NEW YORK FASHION WEEK DATE AW 2019. presented the 40 looks, fewer than his typical 60-plus, to an audience far smaller than usual. He kept the show at the vast Park Avenue Armory, where he installed a reflective black glass floor and hired the American Contemporary Music Ensemble to perform live.

The trends were warp-print trapeze dresses; an austere schoolgirl sweater and skirt. The coats and capes were beyond, from sturdy solids and windowpanes to a feathered masterpiece, some nodding toward Balenciaga (Cristóbal), and some, the Salvation Army.

The fabrics showcased were of high luxury: luxe kinds of cashmere and wools; an allover sequined glen plaid; airy organza petals, made into dreamlike dresses. As for the millinery — feathered wonders by Stephen Jones, each starting with a humble knitted grunge beanie.

For the New York fashion week NEW YORK FASHION WEEK DATE AW 2019 trends they started with tailoring, not of the skirt-suit, feminine sort, but a pair of glen plaids over black pants. These featured a cheeky riff on the twin set — the jacket and coat were both worn over matching bra tops.

This introduced a fresh foray into men’s wear fabrics, often used in combination — gorgeous unconstructed cashmere coat, half plaid, half curry-faced herringbone; herringbone pattern dress with a huge arc of tweed check set into the skirt. And wisely, they made judicious use of the carpet theme, keeping the literal reference to a few, including a pretty long-sleeve dress and a puffy patchwork poncho. Such looks had an ease that felt very modern.

At night, the designers showed similar control. While a ballgown will, and should, always have a place on an Oscar de la Renta runway, Garcia and Kim showed only one traditional version, a black velvet-and-tulle gem of moderate girth. They offered plenty of evening alternatives, some richly embellished, some not. They got down to the chicest of basics in black and white: the former, a stretch wool gown with dramatic fringing, the latter, an impossibly chic velvet column, both stunners.

The designer used Fassett’s Sixties-era psychedelic florals on prints that were a collection through a line. But this wasn’t any hippie-dippie outing; 

Tailoring was a more significant part of the collection than usual, with mannish, rockabilly-style blazers balancing grungy-glam patchwork floral print dresses with swishy hems, and western booties or cool platform creeper sneakers anchoring everything in the now. Grandpa cardigans in a mohair leopard pattern or buttery-thin leather added to the layered look.

There was even an evening look in the mix a charming exploded-floral sheath edged in beads and finished with a grosgrain bow tie with silver tips. Other extras included bowling bags and attachés that picked up Fassett’s prints beautifully.

And as usual, outerwear was an emphasis, including an oversize patchwork floral coat with Bonnie’s turn-lock hardware, and a shearling hem with signature Coach c’s in case you forget who you are wearing. A cutout vest swinging black leather fringe felt tough but also light, which in a nutshell is what made this collection soar — no mind-altering substances necessary.

Want to get the detailed analysis? Check out our AW 2019 Catwalk Reports