Frida goes back to black – and there’s nothing somber about it! I’ll admit it: my friends and I have been dressing like clowns as of late. The all-consuming colorblocking trend has unleashed the tacky in all of us. It is time to take a step back, as Gucci inspires us to get back to our sophisticated black-relishing roots for fall. I am and always have been a die-hard lover of “black on black on black” – and I’m so ready to embrace my sense of dark chic once again.

In the capable hands of Frida Giannini, indulging your dark side doesn’t mean looking heavy and austere. Much like her work with lots of solid-gold fringe for Spring (which could easily have looked cheap if executed by a less competent designer), Fall 2012 is heartily delicate – transparent yet fiercely strong. When you’re dealing with monochrome midnight the key is texture play, and Gucci toys brilliantly: slinky velvet, multi-dimensional brocades, expertly cut wool, glossy leathers, touchable knits, gossamer sheerness, all set off by deep crimson lips and whisper-sheer stockings.

Color was imbued in the subtlest of ways: opulent and luxurious oversized smoking jackets and chiffon blouses were inflected with hints of bronze, yellow, and mauve. My favorite: the wash of feathers in midnight green and the delicate use of mink inlaid on chiffon. This marks Gucci’s triumphant return to bona fide elegance.

Searing pink lights blazed and horror-movie music hit menacing chords as Chadwick Bell sent models down his Fall 2012 runway. Roughed-up bouffants also set the tone. “A perfect woman in an imperfect situation” – his inspiration was clear. And doesn’t that apply to all of us? Try as we might to be perfect, our lives rarely are. But that doesn’t mean we can’t aspire to flawlessness through dress!

I love the edgy take on the uptown girl who lunches with purpose, the classy cocktailer who has a wild side. Not everyone gets it but no doubt they will catch on. Chadwick Bell makes beautiful clothes and he won’t pretend otherwise. No tempting trend, nor hip-factor enticement will lure him away from doing what he does best. But that’s not to say his clothes are at all mature. In fact, in his hands, ladylike dress – the fur stoles, tuxedo blazers, high-slit pencil skirts – is fresh, flirty, and relevant. Hmm…who does that sound like?! Why, Oscar de la Renta, of course! I’m calling it: Chadwick is a young Oscar poised to take over the Upper East Side.

The fox furs, python and leather pieces, tiers of feathers, much of it embellished, beaded, and handmade in India, all stand out, but the navy chiffon peplum-top is my number-one pick – I just need the model’s boobs to go with it and I’m all set for Fall/Winter 2012.

She pulled her ensemble directly off his Spring 2012 runway, topping it off with ingeniously hot pair of Nicholas Kirkwood for Prabal Gurung shoes. I’m already all about printed pants for the upcoming season (Zoe’s have Prabal’s new, offbeat wilted-flowers motif), but a dreamy aqua blazer, eye-catching and unexpected, now suddenly seems like a must! Here are a few options to get you in an equally uplifting color scheme:

Dsquared2 Taffeta Nylon Jacket
On Luisa via Roma for $1,280.

American Retro Belted Light Twill Jacket
On Luisa via Roma for $424.

Rag & Bone 42^nd Street Blazer
At Bergdorf Goodman for $450.

It started with Yigal Azrouël, a man who possesses a personality so charming, it matches the clothes in the beauty of their creation. At the presentation in his showroom, I fell in love with chic leather jackets, sexy knits, and scarves that every man needs. It was beautiful.

DKNY for me is a personal favorite, and the presentation showed me why this is. It’s urban, sophisticated, but completely accessible. What gets me is the DKNY Pure line, as it’s chic, comfortable, memorable, and more importantly, collectable.

Another show which struck me was Number:Lab, this strong collection was inspired by mountain climbing, and boy did I love it. Outerwear was the key focus, but it was durable and colorful. Meant for the modern urban man when he leaves the city. I found it to be a grand success.

Simon Spurr. WOW. Okay, so he may actually be one of my all-time favorite menswear designers. So unbelievably talented, he produces incredible garments, and I just covet it all. The tailoring was phenomenal, and the colors were muted, yet vivid. The patterns were fun, as was the cape. And of course, what’s Simon without a SICK (or should I say, the sickest) bomber jacket.

So the cool kid, AKA Patrik Ervell sent a hip and urban collection down the runway. Unbelievably fun, and felt satisfied by it. It has an undeniable pulse, and I can see why he has such loyal fans. That said, I wish he had more looks to develop this!

There’s the menswear blogger’s wet dream: Michael Bastian. Michael, is unbelievably talented, and he always seems to create an individual and unique collection that is always breathtaking. He is a master of color, and his pants always manage to be the perfection of pantness. Also, there was a french bulldog. That may be why I love this collection so much…

If I ever need a robe again, I’m going to Antonio Azzulo. The man sent such awesome pieces down the runway, that I truly believe he’s going to be something huge one day. In the mean time, I’ll be cheering for him.

Robert Geller sent a very interesting collection through the forest that harkened to a different age. I felt that this collection had a strong identity to it, and it tended to be fun. Not entirely practical, this is fashion that is designed to create an idea. Otherwise, bravo.

The confident, booted-up stomp of Proenza Schouler’s boyish models, their hair impeccably disheveled, said it all. Jack McCullough and Lazaro Hernandez were not just sending models down their runway. They released an army of warriors. The concept: “protection.” The theme: “Asian but in a New York way.” Taking direct cues from traditional Asian dress, Proenza showed they are capable of a spin on East-meets-West (a timeless idea in fashion) like no other.

The mannish cotton shirts and low-slung trousers, all oversized, read like armor, but with the spirit of Rei Kawakubo and Junya Watanabe of Comme des Garçons. Yet this play on national Asian dress could not have felt more modern, more of the moment and the future. And the future is now.

The collection is indicative of a revolution, and the show itself offered a complete evolution. Starting off with crisp white cottons, simultaneously free-flowing and hard-edged, it seamlessly segued into brightly colored kilts and loads of waxed black leather, some of it woven, that will shield you from harsh city conditions. Silk embroidery and brocade brought on the opulence; against a selection of obi sashes, woven etchings of peacocks and pheasants maintained a traditional Japanese mood.

Firm riding boots, socks pulled high, and tough ankle variations increased the sense of militaristic edge. It was as much about workmanship as it was about keen angularity – they are introducing a new kind of silhouette, one that turns classic notions of femininity and what a woman’s body should look like in clothing on its head.

Forget the showgirl, the showman has arrived! Ralph Lauren’s latest message is loud and clear: ladies, ditch your skirts and grab a pair of pants. Oh, and get your top hat on – and maybe even grab a walking stick! Channeling the quirky sensibility of Diane Keaton in “Annie Hall,” along with a dose of Charlie Chaplin, the show started off full of 1930’s tweeds, bowler hats, jodhpurs, and blazers complete with pocket squares. There is something so refreshing about the confident ambiguity of such style; I want to be the eccentrically chic woman with a three-piece suit, complete with tie and cane, at the next cocktail party I attend.

Herringbone cashmere jackets with glen-plaid trim and houndstooth coats got the full treatment, while splashes of ocelot, jolts of purples satin, and a few motorcycle influences (the beaded moto jacket is a standout) made the conservative checks and knit prints feel modern. Bright red and purple gloves also softened the suits and add a touch of femininity.

But it wasn’t all proper English gentleman. For all the playful masculinity, a womanly side presented itself for an even balance. Plush velvet suits moved into beaded-collar sweaters, jackets and dresses and shots of metallic gold. The slinky gowns, in fuchsia and black, dripped with languid movement. Because you can only enjoy the part of the boy for so long. When you’re done playing Victor, bring out the Victoria in an opulent golden and black feathered cape, tossed over a fluid satin dress.

You can’t help but wonder how Marchesa manages to outdo themselves season after season. Their ability to achieve new heights of beauty through dress is mind-boggling – the word “impressed” just becomes meaningless. Other terms come to mind: gorgeous, ethereal, dreamy, fantastical, breathtaking, and just plain fun to behold. I was blown away; this was my favorite show of the week and the perfect way for me to close NYFW (I ran for the door in order to make my flight after the show).

For the second time, they elected the Plaza Hotel to hold their show. The plush setting, from the red-carpet entrance to the plush Palm Court where it takes place, could not be more appropriate for Marchesa’s classical yet revolutionary sense of drama and decadence.

Intricate hand-embroideries and exquisite hand-draping hypnotized the crowd in shades of nude, cream, ivory, blue, all of it highlighted and enhanced every so often with blood red. The fine detailing and sense of delicacy, especially in the nude-illusion lace set on embellished bodices, are from both a different era and whole other world. Tiered tulle skirts gave the effect of floating on a cloud and bundles of lame shone like shooting stars. Marchesa made me like I’ve been transported to a world where there is only beauty and love – their designs are that magically romantic.

By the abounding amount of celebrities present, you can expect many of these to appear on the red carpet. Rachel Zoe was there to dress her clients for the Oscars, and I can’t wait to see which of these creations will walk down the carpet that night.

With precision-perfect craftsmanship, innovation of fur, evening dresses with endless sexy-louche appeal, J. Mendel presented one of the most beautiful collections of the week! Gilles Mendel has a rare eye for luxury that emanated out of every detail, from the feminine silhouettes, so natural and unforced, to the Art-Deco beading and geometric cutouts.

Creamy vanillas, from head to toe, set an uplifting winter-white tone and were a nice way to lead into the high drama of the incredible furs (showcasing ingenious treatments and techniques), hypnotizing gowns, and insouciantly seductive cocktail dresses, some drifting off the models shoulders in a most effortless manner. Different types of fur were seamlessly combined and mounted on chiffon (alpaca, swakara, long hair mink, shadow fox, Mongolian lamb, Tibetan lamb, and long-hair goat!). The blends break the tradition of heavy fur and offered a lightness of being.

Paneled alligator jackets – crisply white and worn with a shadow fox, Finn raccoon and ostrich feather tile word degrade skirt made for an incredible yet wearable work – and tough hides of crocodile tamed, crafted panel by panel and constructed into soft corset, were among the standouts.

Paying homage to Mendel’s mother’s Courreges suits from his childhood he offered flashes of unexpected lining. Details like these, along with the slinky dresses – gold lame sleeves! A classy kind of raciness! – were the immaculate cherries on top of a luscious collection.

The tone for the Fall season has been set: “Go big or go home.” At least that was the message Mr. de la Renta sent down the runway last night. To call the delectable array of dresses, suits, and gowns embellished would be a woeful understatement. Oscar delivered unabashed decadence with jewels galore. Embroidered blouses came to life with pearl and crystal brooches, and poufy, teased was hair barely tamed with diamanté headbands and tiaras. Black is anything but basic when it’s enhanced with spectacular adornments of all kinds, though uplifting pastels commanded the collection (Oscar said he “used a lot of colors you would not associate with Winter colors, but today’s woman doesn’t dress for seasons”).

It was one delight after another: fur the color of strawberry ice cream, suits the color of a sunny blue sky, fox seeping out from the hems of pants. Youthful fringe delivered flirty movem

ent; coats and stoles of sable and Chinese lamb are impossible to resist; and pailette embroideries and bijoux prints are full of allure. But it was the princess dresses that really caught my eye and stole my heart. They would look as amazing on moi as they would on a five-year old! And do we ever really stop playing dress up, whether we are little girls or grown women?

Fashion is all about the fantasy after all and nobody knows that better than Oscar de la Renta. Gowns with glorious explosions of voluminous tulle will bring out your inner debutante. My favorite dress: the ice-blue ballerina dress, enhanced with wisps of feathers, took my breath away. Pure Park Avenue princess! Glamour is back. Not that it ever left Oscar’s fantastical world.

Aside from a big, glamorous slice of elegant Americana fashion, there’s one thing you can expect from a Michael Kors show: they are always celebrity-packed. This time, Jessica Alba and Cash Warren, Angelica Houston, Debra Messing, Nina Garcia, Rachel Zoe, and Brad Goreski all made appearances. (Funny enough, as we were exiting Brad was in front of me and Rachel was behind, but the Kors PR team quickly whisked Rachel away.)

Kors took us all on the sexiest mountain camping trip you could imagine. The man knows how to bring the city to the log cabin. Ultra-flushed cheeks, exaggeratedly so, let us know this girl has an outdoorsy edge. Lumberjack plaids and thick cozy socks were juxtaposed against boardroom-ready power suits and intricate lace blouses that speak to throwback sophistication.

Bold checks and stripes in ivory, ash, and crimson were paired with warm saddle hues, shades of caramel, and glossy leather. Standing out most in my mind: Mexican blanket ponchos, massive furs, and beaded gowns. Heaping pelts were equal parts rugged-tough and cosmopolitan-chic. The final dresses brought us in touch with old Hollywood – gleaming with sequins and crystals in flapper and forties cuts these are red-carpet looks any movie star would love, whenever her era.

You can also always count on Kors to present a revolutionary new cut for jackets. This year, it’s the capelet-sleeve cashgora jacket – so good, so easy to wear in real life. This isn’t his usual slinky, sensual body; it’s a laid-back side of the designer, expressed through the hearty fabrics and hefty volume of the silhouettes. The milder structure left me feeling relaxed. With an air so upbeat and light-hearted, Kors has me fantasizing about Fall 2012, whether I’m embracing the wilderness or dressing for a gala.

A pale-aqua carpet ran the length of the runway, setting the mood of a luxurious hotel. No coincidence – the concept of Tory Burch’s Fall collection was “prim girl who’s under the spell of the wrong kind of guy,” a guy she has met at a hotel. Our lady is something of a rebel, and it looks like her man is the right kind of wrong! Going for a ramped-up, dressy look, Tory is clearly having fun breaking out from her staples.

An uplifting take on fall that’s at once ladylike and energetic, neutral and colorful, this Tory’s most vivacious collection to date. It’s the uptown we anticipate and want from her – appliqué-collar cardigans, all buttoned up, leather opera gloves reaching all the way up to thin biceps, and modest knee-length hems – but the widely varied show also had edge to its primness – blue leather, sequins set in Prince of Wales checks, flirty double-layer peplums, appliqués with chunk.

As polished and coordinated as it was, this isn’t the Tory girl we’re familiar with. Waxy, PVC finishes and bright abstract plaids are fabulous, but I’m not sure the girls wearing her flats on a daily basis will appreciate it. No matter – this is showy runway, but there’s an oddly impossible ease to Tory’s creations and her prints and fabrics will easily transition to department stores.

Vera Wang’s latest collection started off nude, nude, nude – gentle pantyhose-flesh tones – then segued into a rough sea of dark grays and finally splashes of orangey red hit the runway, fitting of Valentine’s Day.

We’ve been seeing a lot of structure this Fashion Week; Vera’s play on graphic architecture is countered by her trademark fluidity. She has a magical way with fabric and showcased it through chiffon, net lace, organza, techno-style bondage (found on dress and bra straps), and great big pieces of raccoon trim. The graphic prints hinted at a wild sportiness, but Vera’s abstract motif is actually the pattern of vaulted ceilings.

The drop-waist skirt – or is it a belt? Or both? – will accentuate the waistline and keep everything under wraps. Copious amounts of sheerness got the treatment of metallic appliqué and glistening, netted layers over bodices and skirts that read like delicate armor. Yes, everything was so sheer and surreal this is runway in its truest form, making for a difficult transition to retail, though Vera’s expanding edginess will garner a certain following.

The show’s coolest detail might just be the blown-away up-do – illustrating the picture of a girl fleeing from her old ways, her diaphanous skirt blowing behind her in a wind tunnel. Vera deserves credit for sending us on an intriguing adventure along with her on-the-lam character – even if it is just a fantasy.

Good versus evil. Superheroes among everyday people (a theme Phillip Lim began to toy with for Pre-Fall). Positive and negative space. A fog machine set the hazy, bleary tone for a show full of duality and deception. Though powerful as 3.1 Phillip Lim’s sense of design is, this was not an obviously potent butt-kicker of a show. His new super-heroine is all grown up.

A crisp, muted palette of black, white, gray, and camel (with quiet jolts of color here and there) set a rather stern tone that means business, as did the hard-as-nails pointy-toed pumps. But look closely: the sense of play lies in the details. A keen eye for graphics paved the way for the feel of a contemporary comic book, with our modern-day noir icon at the center of the story. Paneled black-front white pants spoke boldly of yin and yang – this heroine is evidently torn between two realities – while these clothes are made for everyday power dressing.

What makes the collection are all the small things: trompe l’oeil metal collars, jackets showing off decorative sleeves and hidden sleeves within them, splashes of sheerness, little slits at the hem of the slim-fit pants, and gorgeous hand-sewn pailettes on the dresses. Through a mix of boldness and subtlety, Phillip got the message across, one our superhero will agree with: it’s not all black and white.

Marc is back! Not that he ever went away – he certainly didn’t – but I’m talking about the old Marc Jacobs we used to know and love, fresh off his Perry Ellis days in the early nineties. The guy with a quirky edge who doesn’t give a damn.

I loved the whimsy of his Fall 2012 show: pilgrims gone wild with a big splash of Dr. Seuss. Literally! Friend, artist, and set designer, Rachel Feinstein said, “We were talking about The Cat in the Hat…American conservatism.” Also inspired by longtime fashion eccentrics like Anna Piaggi, the irreverent new explorers Jacobs set down the runway, which had been fashioned into a “broken castle” were kooky, wacky, and most definitely un-body-conscious.

Slouchy suits Coco herself would have approved of and padded hips that will make you say whoa!; three-dimensional appliqués, chubby knits, and tufts of fur you wanted to reach out and grab; cropped, narrow trousers (about the only slim-fitting element in the collection) and rhinestone-buckled pilgrim shoes, both flat and high: it was about the absurdity of fashion and why we love it. And then there were the hats! Impossibly to ignore and worthy of the Digital Underground in 1990, they didn’t just enhance the sense of humor and caprice. Covering much of the models’ faces they also added elements of anonymity and disguise. I walked away with a smile on my face, deciding I need a big purple hat – because why not?!

Strength and seduction merged at Donna Karan’s Fall 2012 show. She made the often-inconceivable unity look so simple, so easy. Yet her woman is anything but. “Don’t trifle with me she says,” with a coy and naughty smile, peeking out below a petite top hat all askew, which set the retro tone. Pinstripes and hardcore structure also laid the vibe: this is a woman in a man’s world and she’s doing it all a hell of a lot better than he can. And making it look even better than that!

This was not my favorite show so far just because it was powerful and dynamic. It actually started off with a high sense of camp. A few looks in, the whimsical jester – though asymmetrical dresses were deeply alluring all the way through – became the queen. High and angular slits, deep-V necklines (seriously, when is the last time a blazer without a shirt looked so potent?), sexy pinstripes galore, classic pointy pumps, and of course, bodysuits came into play. But this was Donna like we’ve hardly seen her before. The imposing structure of the suits and gorgeous structure of the dresses were built with New York City architecture in mind (the grandness of a skyscraper, the spectacular sight of a woman who commands a room), but her state of mind wasn’t just “New York.” These sharp double-breasted looks were countered, almost evenly, with the enticing dresses complete with strategically placed mesh. A standout: the ocelot-printed goatskin trench!

Our designer seemed thrilled by the prospect of a woman feeling empowered by these clothes – and trust us, Donna, the feeling is mutual.

Stacey Bendet is as much of an enchanting hostess as she is a savvy designer. Today, she lured guests into an adventurous atmosphere, before even setting foot in the presentation arena. The first stage of her Fall 2012 soiree: you are whisked up in a giant freight elevator (giant as in made for cars!).

Stacey is in a real party mood – in a decadent, “let them eat cake” kind of way. And isn’t she always? Bubbly and cocktails were a-flowing, and our treat this year was ice-cream bars. There was even a tempting dessert display worthy of a modern-day Marie Antoinette. It wasn’t for eating, but no matter: the clothes were appetizing enough.

Lush fabrications like bouclé, laser-cut leather, and jacquard embroidery enhanced the already-opulent feel of brocades and tapestries, furs and prints. Alice + Olivia managed to do it all in a strictly neutral and basic color palette. Which works for me – stark, graphic black-and-white patterns are currently grabbing my attention (also seen at Jenny Packham), and it’s my fave trend this week. A full, swirling skirt, frosted with a sequined top and matching jacket will speak to your sweet tooth, and far more practical: outerwear is of utmost importance and installed with tech-accessible pockets (thank you!).

Stacey wants you to have fun whether you like it or not – but really, what’s not to like?

Now that the Duchess of Cambridge is wearing her, the Jenny Packham show is an undeniably packed house. Always a cult red-carpet favorite, the designer is deserving of her newly heightened fame. Jenny is a rare talent with a soft touch; she has a keen eye for glamour without being obvious or overt.

Fall 2012 is her season to shine, and she delivered a modern femme fatale inspired by Film Noir. It’s also the season to get a little less ethereal and a little tougher, with “a little bit of a harder edge to the collection,” said Jenny. Smoky air set the tone for a dramatic show.

Crepe and crystals, sequined bodices and satin chiffon – her beading and embellishments are gorgeous, as always. And while the red, black, white, and pale pink body-hugging dresses and pencil skirt-and-shell combos projected an undeniable strength, especially in the shoulders, it is all still feminine and fluid. These are pieces for a very specific girl, one who’s fraught with intriguing contraction: she is mighty on the inside but a completely wispy femme on the exterior.

What does a rendevous mean to you? To Diane von Furstenberg, it was the muse for her Fall 2012 collection, and it means being “glamorous at a moment’s notice.” In a time of all too much casual laziness, I love the idea of impromptu glamour, and Diane’s touch makes it accessible for all.

An emphasis on the female form, with the juxtaposition of close fit and loose rouching. Think a slip of the shoulder, with necklines angled to emphasize the collarbone. Bold splashes of color – a palette (which Diane credited to her design partner, Yvan Mispelaere) that is at once neutral and vervy. It would not be von Furstenberg without at least a pale spotlight on print, and these surrealist patterns shone brightly. Swirls, chains, and off-kilter flowers added up to a collection that was high on spontaneity. Just like the concept of the rendevous itself, hence the emphasis on easy, big coats and statement-making dresses. Glamour you can toss on and run with? Mission accomplished!

Where shall I start? It’s hard for me to critique Thakoon; I’m completely and totally biased. Not a week goes by when I do not pull on something from Thakoon: a dress, a top, or as he says, a “dop” (a top as a dress).

I walked into The Plaza expecting what I always do from him, but instead, I was surprised yet again. That’s what I love about Thakoon: just when you peg him as a certain designer, he blows you away with something so out of the ordinary. His main muse for Fall 2012 was a 1980s art installation recreating Amsterdam’s red-light district – and you could sense it from his new brand of artsy sexiness. It’s all about making the grand entrance, and a grander exit.

Strips of neon emblazoned on satin and tufts of Mongolian lamb fur helped bring on the flash; mildly padded hips and lipstick-lacquer patent shine accentuated the femininity; and the appearance of hearts – both cute and biological – enhanced the erotic undertone. Citing sixties references (like Audrey Hepburn), his hourglass silhouettes took on a sterner, stricter structure than we’ve seen in the past. They are designed to bring attention to the waist and shoulder, for maximum sensuality. This sense of the classic womanly figure was set off by a youthful play on texture and a playful exaggeration of shape. A good amount of paper-bag waists kept a sense of humor at close hand.

The most notable looks, though, are the understated dresses. And there were a lot of them, some with unexpected cutouts and others with colorblocking, done Thakoon-style. But it’s the fuchsia duchesse-satin, strapless bow-back tunic that stole my, yes, heart.

With lots of black and a yellow taxicab as the backdrop, the message was loud and clear. Citing the Beat Generation as the inspiration, Donna stayed true to her city. “These are clothes for a true New Yorker.”

And the true New Yorker is, of course, a confident girl, swathed in lambskin, satin and silk-georgette – now sexed and amped up! The first look – a shearling aviator coat with a peplum skirt – was my favorite, and it set the tone. With “Poetic Rebellion” cited as the theme, it is an intelligent, even mix of both poetry – soft, rounded shoulders and almost-sweet peplums – and rebellion – “Matrix”-inspired leather coats and wide corset-belts offering tough structure. Suits are bonded and tailored with leather seams and bands, and with the kick of a bright-red Mary Jane every so often, DKNY shows us this dark soul has loads of energy. Even better, it reminded us that, even after all these years, it is THE New York brand.