The top 10 Spring 2011 colors for women are:

Russet

CMYK 44-67-76-9 GOE 21-4-3 PLUS 876

Info FashionTrendsetter

Taking a closer look at the tones, falling on the more vibrant side of the spectrum is turquoise, a cool, tropical hue; bright Amparo blue, a navy-esque tone with warmth; romantic violet; greenish-yellow aurora; bold and provocative fusion coral; and tangy tomato puree, the season’s classic red.

Among the neutrals forming the season’s color backbone is the delicate, wispy pink champagne; Tuscany, a warm beige; dried herb, the ultimate green neutral, which will pair well with all other colors; and cool eucalyptus, a classic, practical gray.

PANTONE®
Fashion Color Report Spring 2010

Pdf File – 2.58 MB

Front-of-book ads in the September issues of  ogue, Harper’s Bazaar, W, Glamour, InStyle and Elle spotlight designers David Yurman, Michael Kors, Diane von Furstenberg and Donna Karan with models decked out in metal-only designs.

In David Yurman’s ad, a model wears the designer’s collar-skimming cable-chain necklace, while a second page shows a model donning simply his braided gold bracelet.

The creative at Donna Karan presents jewelry wardrobing that’s just as stark, with a model wearing a statement necklace crafted of multiple silver spheres from designer Robert Lee Morris.

Editors also brought attention to sculptural metal jewelry as well as classically elegant 40s-style pieces in the form of collar-circling necklaces paired with brooches and understated earrings.

Editors at Harper’s Bazaar pointed out the season’s edgy attitude by saying, “In a season of urban armor, the easiest pieces are the toughest looking. Fall’s must-have hardware, however, is the cuff–like those Nicolas Ghesquiere did in gold and silver for Balenciaga. Wearing one of them puts all the elements at hand to complete a look. Slip on two and consider yourself both adorned and armed.”

Editors at Elle appeared to concur, with stylists decking their models out in single cuffs as well as gold bangles stacked statement-style to the elbow. And at Glamour, editors advocated recycling old fall clothes via jewelry, pointing out that throwing on one of the season’s cuffs could make a little black dress seem like new.

Vogue, weighing in at 584 pages, didn’t spotlight jewelry until nearly 500 pages in, with cover girl Charlize Theron showing up bauble-free. When jewelry made its appearance though, it was attention-grabbing. Stylists dressed actress Eva Mendes in bangles piled to mid-arm, while models in an editorial on fall coats wore collar-style necklaces, bib-style necklaces paired with chains, and smooth mirror-like bangles on both wrists.

While gemstones didn’t appear to get the greatest amount of play in the magazines, editors at InStyle were fans of citrine and smoky quartz, stones featuring earthy hues prime for pairing with fall’s palette of mustard yellows, deep browns and greens.

Perhaps not surprisingly, given the prevalence of 1940s-style fashions (the counterpart to the season’s edgy, tough fashions), pearls were a pervasive find. While the consumer magazines tended to show a variety of glass and faux versions, Lucky advised readers to stick to the genuine thing, saying, “There is a wealth of great costume jewelry out there, which means you don’t have to splurge on the real thing. That said, skip the faux pearls. They tend to peel and show their age.”

Stylists at W layered long strands and spotlighted chains with pearl stations, while editors for Vogue accessorized models in a 40s spread with short single strands and pearl studs. Ears, while largely ignored, got plenty of attention in this spread, with editors showing a wealth of studs and short, lobe-hugging versions.

Stefanie Schaeffer, winner of the 2007 edition of Donald Trump’s The Apprentice, can now add the title of jewelry designer to her ever-expanding resume.Prior to becoming “The Apprentice” and working with the Trump Organization overseeing a project in the Dominican Republic and concurrently serving as vice president of sales and marketing for Trump International Hotel and Tower in Las Vegas, Schaeffer worked as an attorney defending employers against workers’ compensation claims.

She has since become a television host for such projects as “Know Your Rights,” where she uses her knowledge as a trial attorney to enlighten people about legal ways in which to resolve everyday issues, and “The Hidden Jewels of Golf,” as well as guest hosting stints on TV Guide Channel and The Golf Channel.

An avid golfer, Schaeffer reportedly started having dreams about jewelry after getting hit in the head with a golf ball and decided to start designing and making her own line.

According to a media release, all the earrings and necklaces in the line are handmade by Schaeffer, taking between four and six hours to make. The gemstones, all of which are natural, include amethyst, aquamarine, citrine, garnet, lemon quartz, peridot, purple zircon, scorpolites, topaz and turquoise, and are intricately held in place by delicate 14-karat gold coil.

The collection is priced between $75-$350.

For more information, visit StefiJDesigns.com

Model and reality TV star Heidi Klum is crossing one item off of her loaded resume: jewelry entrepreneur.

In a recent interview in the Los Angeles Times, the German supermodel acknowledged that she no longer does her jewelry line with Mouawad USA Inc.

In the interview, Klum gives a few reasons for abandoning the line, which was called simply “Heidi Klum,” including the  rademark-infringment lawsuit filed against Klum and Mouawad by high-end jewelry house Van Cleef and Arpels Inc. in 2007.

Van Cleef, which is owned by luxury goods giant Richemont, claimed in the suit that Klum’s lines copied the vintage clover design featured in its “Alhambra” line.

Last year, a federal judge dismissed the suit without prejudice (meaning it could be brought again in the future) after the two jewelry houses opted to settle the controversy themselves without any admission of liability.

“I think when you’re a small company, which we are, we’re not a Van Cleef–they have a thousand lawyers. I’m a small fry next to that,” Klum said in the interview.

And soap opera veteran Judith Chapman hit the red carpet in oversized hoops featuring layer upon layer of concentric circles.

But it was drop styles that got the most play at the Sunday evening event, which honored the best in talk shows and soaps, among other daytime programs. From classic diamond styles to pearl and gemstone numbers, the style proved to be an understated, flattering look, drawing attention upwards to the face.

Classic diamond versions abounded, with everyone from Ugly Betty’s Vanessa Williams to Better off Ted’s Portia de Rossi to the actress called “Daytime’s Leading Lady,” Susan Lucci choosing them.

Neil Lane was among the favored designers for the evening, with General Hospital’s Julie Berman and Kirsten Storms, 90210 actress Jenny Garth and Entertainment Tonight correspondent Thea Andrews each choosing diamond and platinum pieces from the go-to designer.

Michelle Stafford, AKA Phyllis Summers on The Young and the Restless, chose white gold, diamond and crystal floral earrings from Spanish brand Carrera y Carrera to match the motif of her black and white gown.

The Young and the Restless alum Heather Tom, currently starring on The Bold and the Beautiful, went with pearls in her drop earrings. Though she did a quick-change from a short flapper-style number on the red carpet to a long silver gown to present on stage, Tom wore the same silver-tone Yvel pearl earrings and ring.

Emmy winner Tamara Braun, who received a nod for her role on Days of Our Lives, chose color for her drops, selecting Neil Lane’s coral earrings also featuring black and colorless diamonds set in platinum.

The most common companions for earrings were bold cocktail rings or diamond bracelets, with many stars choosing to balance their looks with a single large ring.

Breaking from the evening’s trends, yet right on trend with the runways, was talk show host Tyra Banks, who scooped up an Emmy for “Informative Talk Show.” The former model triumphantly raised her award while wearing a single metal cuff bracelet on each wrist.

It’s given him the authority to respond to the times with a relaxed elegance that many women will identify with. It boils down to simple suggestions: an easy-fitting blazer to slip over a blouse and fluid pants; a draped day dress; a sweater to wear over a long skirt for evening. The show opened and closed with belted camel coats (an item that might turn out to be the sartorial symbol of this recession’s sudden shift in aesthetics), but the strange color combinations in between threw off any feeling of dullness. Van Noten had taken the shades of Francis Bacon’s paintings—shrimp pink, beige, ocher, orange, and mauve—and deployed them in a way that gave life to pieces that might have seemed boring in other hands.

While there was nothing overtly retro in it, the undercurrent was of the day-to-day glamour women in Europe and America mustered for themselves while facing the privations of World War II. It was there in the horn-rimmed sunglasses and the Eisenhower jackets, and the template of making the best of oneself in “good” simple clothes, with a slash of orange-red lipstick to keep up morale. All that was subtly reinforced by the long, streetlike runway, which was reflected in a two-story-high mirror that gave an angled overhead view, as if from an office-block window: an impression of a legion of city women pressing on with their lives, come what may.

There was no misunderstanding the opening, at least: the MGM signature tune and Lara Stone strutting petulantly in a leather trenchcoat, beehive, and giant pout—it was Bardot to a T! Jean Paul Gaultier always lets us know where we are at the outset, and for Fall, we were off on a movie buff’s coach tour of the gracious wardrobes of Hollywood heroines. Ostensibly. In fact, it proved a bit of an elastic theme that at times meandered off-script. It ranged so widely—from a Louise Brooks flapper dress and gilded fur coat to an ultrashort gold T-shirt under a black leather vest that looked like a possible choice for Lindsay Lohan—that it was sometimes hard to see where the designer was going. (Geometric-Deco meets sci-fi was a particularly odd patch.) Still, theme fashion shows are a dusty old concept in the first place. All that matters in haute couture is a strong voice, incredible workmanship, and whether a balance between timelessness and timeliness has been struck. Gaultier did all that by working in his stock characters and garments: the matelot, the androgynous lady in the pantsuit, the trenches, the smokings, the corsets. No one in Paris can top his tuxedo coat with velvet revers, the just-so cut of a pantsuit with a double collar, or the funny showgirl things he did here as an excuse to spotlight the kind of corseting he’s been doing since before Madonna was a star. As for the timeliness, he threw in a nod to sporty-casual chic (a notion that’s raising its head with persistence this week) via overalls in both amethyst velvet and gold paillettes. Goodness knows where they came from, but they seemed kind of right.

Before rating Chanel’s Fall couture, let’s consider what Karl Lagerfeld has already done for the house in the last six months. There was the indelible, incredible high of his all-white couture show in January. Then, a matter of weeks ago, the staging of an unforgettably glamorous Resort collection on the beach at the Venice Lido. All this supremely heart-lifting fashion, delivered in a year that is technically the most depressing in living memory.

Back in Paris again, was it going to be humanly possible to top that for a third time? As it turned out, not quite. The Chanel couture for Fall, shown in the Grand Palais on a stage set with giant white N° 5 bottles, had a comparatively toned-down atmosphere. Lagerfeld’s single conceit was a play on graphic proportion—suits and dresses with a longer flyaway panel in the back, all shown with lace tights and stiletto-heeled booties. As the show progressed, he offered up some remarkable looks: a “smoking” redingote with a ruffle-necked blouse; a crinolined dance dress; pretty, light chiffon dresses in nude or midnight blue with ruffled trains. The outstanding look, though, was the one where the panel device was the least evident: a superchic spiral-cut dark blue dress with an asymmetric “tail” lined in red. All the Chanel craftsmanship was there, of course, and impeccably achieved. For all that, Lagerfeld didn’t manage to outstrip the genius of those previous two shows. That’s the annoying thing when you’re competing against yourself.

Dior sure knows how to keep the elite on the pulse of fashion. Dior Joaillerie released their royal ‘Kings & Queens’ collection by Victoire de Castellane, which features bejeweled skulls meant to be owned as a pair. The stunning collection is made out of diamonds, opal, jade, quartz and obsidian, which along with the skulls symbolizes “eternity.” Jewels are forever, unlike those who wear them: “We are moving, but they remain,” said Victoire de Castellane. The Kings and Queen pieces even have evocative names: Queen of Jadélénie and King Opal to dazzle the jewelry-lovers.

Below : Pendant King of Osumilie, in platine, white gold, diamonds and sugilite.

Ring Queen of Jadélénie, in platine, diamonds and jadeite. 

Pendent King of Crocidolior, platine, white gold, diamonds and quartz “Tiger Eye”.

Ring Queen of Crocidoline, in platine, diamonds and red crocidolite.

Pendent King of Sugilie, in platine, white gold, diamonds and sugilite.

Ring Queen of Labradorie, in platine, diamonds and labradorite.

Pendant King of Crocidolite, in platine, white gold, diamonds and blue crocidolite.

Ring Queen of Calcedonia, in platine, white gold, diamonds and blue chalcedony.

Pendant King of Quartznoir, in platine, white gold, diamonds and black rutile quartz

Ring Queen of Jasper, in platine, diamonds and “blood” jasper

Pendant King of Charoïte, in platine, white gold, diamonds and charoite

Ring Queen of Sugilite, in platine, diamonds and sugilite

Pendant King of Opalie, in platine, white gold, diamonds, rose opal and cultured pearls

Ring Queen of Quartzie, platine, diamonds, rose quartz and pearls

Pendant King of Crocidolia, in platine, white gold, diamonds and green crocidolite

Ring Queen of Chrysophrasie, in platine, diamonds and chrysophase

Pendant King of Rutilie, in platine, white gold, diamonds and copper rutile quartz

Ring Queen of Quartzor, in platine, white gold, diamonds and white rutile quartz

Pendant King of Obsidan, in platine, white gold, diamonds and « rainbow » obsidian

Ring Queen of Grenatie, in platine, white gold, diamonds and garnet

If Donna Karan didn’t invent uniform dressing in the eighties, she went
a very long way toward making the idea a sexy one. Now, with the economy
in a nosedive, she’s brought the clever, potentially budget-saving concept
back for Fall, and the result is one of her strongest-looking collections
in seasons. It starts with a jacket or a draped jersey top—all exaggerated,
sculpted shoulders with a wrapped or belted waist. On the bottom, it’s
either a long, lean skirt or tapered trousers. That powerful, triangular
silhouette came down the runway in all sorts of arrangements, each ready
to be pulled apart and reconfigured with any number of different pieces.
A caramel calfskin trench jacket, a white poplin button-down shirt, or
a black silk parka might be paired with a stretchy, below-the-knee jersey
skirt, while a portrait-collar alpaca jacket or turtleneck bodysuit might
top cropped pants.

But it wasn’t all about separates. Dresses, whether they came long-sleeved
or in a drapey goddess style, followed the same commanding lines. Karan
only abandoned the bold shoulder to reproduce on the runway a look that
she herself has been wearing for years. Made from satin jersey suspended
from a necklace of leather-wrapped rings, the halter-style “cold
shoulder” dress—as she calls it—has been battle-tested
not only for sex appeal, but also for ease. Who wouldn’t want to slip
into a uniform like that?

Leave it to Marc Jacobs to deliver a neon-hued, big-shouldered, crimpy-haired
eighties antidote to the gloom and doom of 2009. “I was thinking
about the good old days in New York,” he said after the show, “when
getting dressed up was such a joy.” By the good old days, Jacobs
means the nights he spent at clubs like Area, the Palladium, and Paradise
Garage. Maybe it was the recent Stephen Sprouse project he completed at
Louis Vuitton, or perhaps it’s the fact that he now lives in Paris full
time, but his Fall show was a big, juicy nostalgic kiss to a city that
doesn’t really exist anymore.

The show started simply enough, with a gray cardigan sweater and charcoal
trousers, but when the model walked past, you saw the back half of a kilt
and braces—Jacobs’ new uniform—and knew it was going to get
personal. He worked his way through little silver-and-black A-line shifts;
party dresses in metallic leathers and floral brocades with flaring, full
skirts and monster shoulders; velvet bustier tops and high-waisted over-dyed
jeans; and Crayola-bright jackets, capes, and hooded coats. The only filter
that separated these clothes from their East Village forebears was the
expensive, luxury fabrics they came in. Every girl had a different hairdo,
shellacked into Mohawks, flips, and bouffants, and the makeup was straight
off the album cover of Duran Duran’s Rio. The cumulative effect of all
that color, volume, and optimism? One editor called it “A Flock of
Seagulls meets Alexis Carrington.”

Will fashion as outrageously ebullient as this—in some cases, make
that just plain outrageous—sell in the harsh reality of the late
aughts? (And talking about harsh: More than 1,000 people were nixed from
the invitation list this season in a cost-cutting slash and burn.) Jacobs
insists that he wasn’t thinking about the economy when he was working
on the collection, and maybe he wasn’t. These days, wagering that women
will splash out on feel-good clothes is as good a bet as any.

Marc Jacobs ended the season at Louis Vuitton
in Paris as he began it with his own show in New York: with the eighties.
Different city, different accent, though, and this slice of the late eighties—ruffled,
ruched, and poufed as it was—looked as if Jacobs had pulled out his
1987 magazines and worked up a playful homage to Christian Lacroix. He didn’t
quite put it that way backstage, however. Jacobs said that, partly in preparation
for the Model as Muse exhibition at the Met and his role as honorary chair
of the opening gala, he was thinking of “all those great French muses
of the late eighties.” Specifically, he cited Marie Seznec (who modeled
for Lacroix), Victoire de Castellane (who worked for Chanel), and Inès
de la Fressange (who was virtually French fashion mascot in chief at the
time).Looking back on those days of chichi fashion extremes brought out a lot
of jeune Parisienne frivolity in the clothes, if not the staging, which
was done, pseudo-salon style, without a runway (albeit in a large transparent
tent parked, as usual, in a courtyard of the Louvre). The chance of a
close inspection revealed lots of puffy peplum jackets, tons of shirring
and ruching (in print or leather), bubble skirts, bejeweled satin leggings,
and a mini lace Marie Antoinette pannier dress with a saucy sheer balconette.
Jacobs’ take on big shoulders ran from grosgrain bow-smothered balloon
puffs to the widest short coats (in camel or red) on any runway—almost
as broad as they were long.

It was also a rich accessory fest for the leather goods company. Leather
necklaces and belts came fashioned like paper chains, and thigh boots
were topped with ruffles and balanced on pearl and glitter-covered heels.
The all-important bags had also acquired eighties pie-crust frills and
gilded monograms. If it wasn’t quite the fashion tour de force of Vuitton’s
Spring collection, this penultimate show of an often dour and cautious
season read as a welcome interlude of cheerful, flirty confidence in a
post-crash depression.