Last week I was invited to an event hosted by Josie Natori at her Park Avenue home to preview her new Natori Essentials collection. It was a beautiful cocktail party complete with champagne and pork buns! Natori looks amazing for her age (she started Natori in 1977, but she could easily pass for 15 years younger than she is, especially given her slender physique). The entrepreneur is wonderfully gracious (the best line of the night -- "Everyone needs champagne in the Natori house!"), and her wide array of talents are nothing short of jaw-droopingly impressive. Besides being the CEO of a fashion empire, she is a concert pianist (she played a number of songs at the event), and was the first female Vice President in Investment Banking years ago when she worked at Merrill Lynch. Savvy and chic! We were also able to get a peak into Natori's closet (no photos were allowed though!), which while it may not be as huge as one might expect, was so meticulously well organized that it motivated me to do some cleaning when I got home (my clothes -- spread across four closets: two wall-to-wall ones in my apartment, one in my parents' apartment, and one in Southampton -- are a jumbled mess!). 

As for the collection, I couldn't think of a more apt name than Natori Essentials. The looks are all black, made with sumptuous fabrics, offered at affordable price points and perfect for everyday day-to-night pieces for the busy woman on the go. Check-out more from Natori here!

Like no other designer, Jean Paul Gaultier loves a theme. But why stick to just one? For fall, Gaultier took his audience on a whirlwind tour of the globe, stealing cultural costumes and native references from here, there and everywhere. Call it a global melting pot if you will, but the haphazard layers worked in its own weird way what with the African wood-block prints and Japonesque blooms. Signature pieces and quintessential Gaultier tailoring--mannish pant suits, corsets, Breton-striped sweaters and reworked trench coats either cropped or featuring high-low dipped hems--were offset with eyelet-studded leather pants, track pants, tapered waders, harem pants, double-breasted tailored jackets and cheongsam-inspired pencil skirts. Accessories peppered the pieces throughout, including tribal collars, African turbans and Fair Isle over-the-knee socks.

Roland Mouret's response to the practical, daywear dressing emphasis of the season was to investigate hybrid clothes that can be worn a multitude of ways. The look was architectural daywear, balancing austerity with sensuality while avoiding a boring minimalist silhouette. No surprise Mouret tackled his forte--sophisticatedly body-conscious--with his signature square-cut drapes and folds. For fall, Mouret introduced two new transformable hybrid pieces: the "TTD," a tunic-top-dress and the "Carré," a top-cum-apron skirt. Other key items--mostly awash in hues like pebble and heathered greys, matt black, plum, lilac, bois de rose, magenta, ivory and peach--included wrap skirts, draped and pinched dresses, gilets, hooded jackets and capes, shirt dresses, cascade collared biker jackets, slinky jersey maxidresses and velvet stirrup leggings. The gathered silk jersey gowns featured form-enhancing fabrications such as power mesh, double crepe and stretch wools and silks. Silver fox and astrakhan upped the glam quotient with the occasional fur moments, but the real eye-catching element was the "hood" motif, which added an air of mystery to a stellar showing.

Nicolas Ghesquière may have pushed the boundaries with his extraordinary collection that spun fabrics and silhouettes into a new orbit in the fashion firmament, but the highly-wearable "futuristic couture" of his design (think short, square and boxy) will keep his fiercely loyal clientele happy straight into 2011. This was a collection all about texture, worked into the simplest and, according to Ghesquière, "domestic" shapes--hip-length round-shouldered jackets, short angled wrap skirts, cropped hint-of-a-flare trousers and knitted leggings, boxy shifts and pinafores, padded tops and sculpted knits.

The season's core color palette consisted of camel, grey, black and winter white--offset with a quirky mix of 50s-style pastels, hyacinth blue, peppermint green, apricot, peach and a dash of cobalt blue. What's more, however, was that Ghesquière so masterfully tackles fabrics. For fall, quite honestly, they defied description with their play on matte versus shine, plush against plastic, airy perforations against faux lace, bonded knits against metallic leather--all sculpted into flat angles and planes like futuristic armor. As it turns out, Ghesquière coupled paper, cardboard and aluminum paper with silk and cashmere to create his thick, squishy layers that were sculpted into simple silhouettes.

A jagged leaf-like motif and a vividly colored newspaper print--laminated and perforated and printed with words and slogans in French and English--were the two prints in the collection, while geometric angles, flat planes and mismatched fabrics and bound edges abound. Lest we digress, the shoes were c'est magnifique! Ghesquière has breathed new life into the nerdy-chic loafer, delivering a stellar--and already highly coveted--stacked-heel croc version constructed of layered cubes, angular Formica and resin heels which were stunningly backlit thanks to a specially installed runway inspired by the set of Stanley Kubrick's "2001: A Space Odyssey."

Sarah Jessica Parker's pale yellow Chanel Haute Couture gown aside, where were fashion's risk takers Sunday night? If Maggie Gyllenhaal in a Dries van Noten silk duchess fifties print dress with overprint hand painted in bright blue brush strokes was as controversial as things got, then, fashion wise, this might be the most disappointing Oscars on record--or at least since Joan Rivers started her scathing critiques.

Without a doubt, my best dressed of the night goes to Penelope Cruz. The "Nine" actress kept it safe with a custom Donna Karan Collection gown that was cut in the most tone-flattering Bordeaux hue. Penelope knows what silhouettes work for her and kudos to her for sticking to her guns and for wearing a dress designed by a woman who designs with true sincerity for her gender. On the other end of the spectrum, I admire Jennifer Lopez for having the chutzpah to don a mermaid silhouette Armani Privé gown that not only accentuated her curves, but was constructed with a crescent-shaped bustier that cascaded into a dramatic side train accented by Swarovski rock crystals. It couldn't been a train wreck, but Lopez's risk paid off. My other top picks? Cameron Diaz in Oscar de la Renta (retro glam), Tina Fey in Michael Kors (most improved), Diane Kruger in Chanel Haute Couture (so thin!), Demi Moore in Atelier Versace (very safe), and Carey Mulligan in Prada (although the shoes were a bit too chunky). Take note of Carey's dress: it features tiny forks, knives, bolts, watch gears and scissors covering the corset. In terms of kitsch, she's got this one won hand's down!

While I love every bit of Sandra Bullock, I found her Marchesa gown to be a bit mother-of-the-bride; I would've preferred her in a brighter shock of color. It was her night and I just didn't think that dress screamed "Oscar Winner!" (Kudos, however, to Georgina Chapman for fitting Gabourey Sidibe in a ravishing Marchesa number and proving all heavier-set women don't have to wear Tadashi). The same could be said of Charlize Theron's Dior Haute Couture: the color is divine and Charlize fits it like a glove, but was I the only one who couldn't stop staring at her chest? Perhaps that is the genius that is John Galliano's design, but it didn't do much for me besides make me want to buy a bra. As for high fashion, Zoe Saldana took a calculated risk with her Givenchy Haute Couture gown. The results were controversial to say the least, but I have to say I'm on Team Riccardo Tisci; I found it to be fascinating and equally fitting of a young ingénue as fine-featured as Zoe (that crystallized bodice was a work of art). It's no doubt a lot of dress, but fashion needs more risk takers. What's with all this vanilla on the red carpet--and I don't mean Miley Cyrus' horrid Jenny Packham gown. Also, Anna Kendrick needs a new stylist stat--one that can find her age-appropriate dresses.

Let me close my critique of the Oscars by asking: where were all the heavy-hitters? Angelina Jolie? Jennifer Aniston? Nicole Kidman? Cate Blanchett? Halle Berry? Am I the only one who thought there was a serious shortage of bold-faced names to walk that never-ending red carpet? Actually, nevermind the celebrities; where were the true red carpet gowns? Lanvin? Balenciaga? L'Wren Scott? My dream? To have seen someone try their hand at a custom leather gown designed by Phoebe Philo for Celine. But in this age of mediocrity completely devoid of personal style, I suppose it was too much to ask for.

John Galliano is in fine form for fall/winter, expounding on his January couture show to deliver a collection that harked on ever-so familiar territory for the showman. Sending out a historically inspired collection best described as "equestrian-meets-Marie Antoinette-in-the-boudoir romp" and inspired by 18th-century libertine poet John Wilmot and second Earl of Rochester, it was the perfect excuse for his signature light-as-air ruffled sheers and dressage style tailoring. Indeed, equestrian met historical romance (more references to legacy) in elegant ways--note the silhouette of fitted waists contrasted with a flurry of boudoir ruffles. The color palette--rustic browns and rich oxblood as well as a range of soft greys and rain-washed pastels--wasn't the only note of heritage dressing here, however. The key look was the redingote (or the French take on the classic English "riding coat), whereby the trench and tailored-waisted jackets were worked with insouciant ease and paired with cropped jodhpurs or casually thrown over a myriad of ruffled skirts and sensuous feather-light sheer dresses. Knitwear was a strong suit with oversized slouchy knits and jackets trimmed with boudoir slotted ribbons and frissons of fur, while simple silk "Johnny Depp" blouses and signature bias-cut chiffon show stoppers appeared for evening. And, naturally, leather was a heavy emphasis in everything from redingotes to ruffled empire dresses, contrasted with delicate chiffon, lace and velvet. Country checks and brushed mohair added a rustic touch and furs came with light-as-air feathered treatments while a delicate Fragonard-style floral print kept things pretty. All in all, it was femininity all the way, with eyelet slotted ribbons, scalloped edges and ruffles, gilded spangles and softly draped necklines. As for the accessories, while footwear came in the form of over-the-knee boots toughened up wafting chiffon, jodhpur boots and riding boots--think tall, ladies--the accessories were truly the crème de la crème: simply exquisite saddlery-detailed bags and delightful miniature fur bags are sure to be big hits this fall.

Simply put: it's amazing what the right designer can do for a once staid brand. Phoebe Philo read the mood of the moment and presented a perfectly judged collection of simple wardrobe pieces, full of covetable no-nonsense outerwear and go-anywhere separates. There were no frills or fripperies--just well-designed clothes that any woman--particularly those in professional capacities--will want to wear. Philo's look for Celine is morphing into the genre of timeless fashion, and there's nothing with keeping things simple and straightforward--as long as they're done masterfully. With a stable palette of hues (navy, black, camel, grey and winter white), outerwear proved to be the strong suit from Philo, with effortlessly simple lean-but-boxy coats and jackets with funnel necks and subtle asymmetric fastenings--all in no nonsense luxe fabrics from cashmere coatweights to bouclé and shearling, glossy leathers and silk crepe de chine.

It's no surprise that she showed at the Tennis Club de Paris, the same venue Helmut Lang used upon his return to Paris from New York, when one considers Philo's eye for clean, simple shapes. Trenchcoats came in glossy luxe leather and the season's hot item, the cape, in covetable winter white shearling. Separates also featured strongly with simple loner-line wrap skirts and the perfect ankle-skimming cigarette pant teamed with leather tanks and tees or classic white blouses. Knits had a casual appeal with forgiving and wearable tunic shapes or fine-gauge polo necks, and for evening the ultimate LBD came in matt-shine black with glossy paillette trim. Subtle details abound, including contrast facing, leather pockets and edging and gold buttons while accessories were spare and minimal: high-heeled loafers and ankle straps, as well as elegant knee-high riding boots paired with simple notecases and no-nonsense clutches.

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Mannequin-like faces and uniform wigs seemed to contradict Alber Elbaz's idea of "the many faces of womanhood" as his fall inspiration, but as soon as the first look stormed out onto the runway, it was clear the woman he was talking about was the kind who wore the clothes--and not the other way around. By essentially making his woman faceless, he allowed every woman to channel their inner power--be it boardroom dominatrix or matriarch of Africa. It was all power to the shoulder, blended with hourglass shaping and the soft drape of the toga dress Elbaz has masterfully conquered over the seasons. Tailoring was a strong suit in this collection with powerful shoulder-lines and waist-whittling jackets, while coats were architecturally simple. Short skirts and hip-hugging dresses added to the don't-mess-with-me appeal. The fur chubby coat added a sense of lightweight volume, while the sporty blouson and after-six dresses came with a myriad engineered pleats, tribal fringing and embroideries. Equally appealing was the color palette--rich deep and dark, with inky blues, charcoal and aubergines offset with a flash of red, intense poison greens and burnished bronzed metallics. The fabrics reiterated the collection's contrasting moods with matt felted wools working for sculpted silhouettes, offset with pleated lamé and crepe, seductive lace and marabou nicely balanced against tribal patterns through embroidery and beading rather than print. This being Lanvin, details and trims were key: bristling, short and stuff feathered fringes, tribal beading and embroidery, follow-me back zips, engineered ruching, heavy, geometric jewelry pleating and drapes were the hallmarks of this stellar collection.

A diving enthusiast himself, Riccardo Tisci looked to the sports world for inspiration this season, drawing on ski and scuba for reference. Mixing masculine and feminine, the colors referenced Bauhaus but with clean and simple results unique to Riccardo Tisci. Tailored and body-conscious silhouettes were the name of the game with Tisci's sports redux collection: all the signature components of his aesthetic were evident, including sharp tailoring with a masculine edge, gothic lace worked this season into slip dresses, and marabou worked for two organza T-shirts with feathered chests. Slim-cut pants and short skirts featured zippered waists that were folded back, while Alpine knitted sweaters were reworked into second-skin tanks (again with the folded details). Outerwear, in subtle Skandi patterns including snowflakes and Fair Isle border patterns, flipped between the cropped biker derivatives trimmed with broadtail and the bonded satin parkas with large collars. For evening, there were high-necked lace blouses trimmed with tight ruffles across the yoke and tabard dresses cutaway at the side and paneled in fine lace. Tisci kept his color palette simple: a base note of black was punctuated with flashes of scarlet, cream and sage green while neoprene, second-skin knits, fine lace, velvet, bonded satin, marabou, super-fine organza, wool, broadtail and smooth leathers completed the textures.