Bernadette
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Anna Sui S/S 2014 New York
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Bernadette
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Photos courtesy of wwd.com
Bernadette
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Photos courtesy of wwd.com
Bernadette
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Photos courtesy of wwd.com
Bernadette
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Photos courtesy of wwd.com
Bernadette
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Photos courtesy of wwd.com
Bernadette
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September 11, 2013 New York
By Tim Blanks
The Pre-Raphaelites were Victorian England's rock stars: poets, painters, and lotus-eating romantics who exalted beauty in the face of the gray uniformity of the Industrial Revolution. Unsurprisingly, the rock stars of another century were drawn to them. In game-changing boutiques like Granny Takes a Trip, London's gilded youth bought into the languor and luxury of the Pre-Raphaelite legend. Jimmy Page did more than that—he acquired the tapestries created by Pre-Raph top gun Edward Burne-Jones. When Anna Sui saw them in the Tate's Pre-Raphaelite retrospective at the beginning of this year, she knew she'd found her inspiration for Spring 2014.
That's the way Anna rolls, layering epiphanies from her own life in her collections, such as falling in love with the way Masai men draped fabric round their bodies when she took her nieces and nephews on safari at the start of the summer. And a few months later, when she was in Indonesia, finding herself mesmerized by the crowns worn by Balinese dancers. Those elements were stirred together with the Pre-Raphaelite inspiration and a Victoriana-meets-Venice Beach Boardwalk vibe to create a typical Sui stew of upbeat, irresistible idiosyncrasy.
Knowing none of that, you might have assumed you were seeing a parade of the haute-est hippie chic. Alia Penner's backdrop was inspired by the artwork of The Fool, the psychedelic design collective in the sixties who painted Eric Clapton's guitar, John Lennon's piano, and George Harrison's Mini. True, that acid-spiked sensibility infected the collection's window dressing: Butterfly sunglasses and Erickson Beamon's butterfly jewelry, hair wreathed in flowers, and even the sunburst design on a linen hoodie felt mighty appropriate for a sun-drenched free concert in Hyde Park circa '69. But Anna is a much cannier magpie than that. Her attention to detail is inspiring—minutely researched but never so literal as to weigh her down. Today, it was clearest in her prints and fabric treatments, like the metallic jacquarded chiffons that she'd created to duplicate the mysterious iridescence of Burne-Jones' paintings. The lightness of her touch was also obvious in the way that the men on her catwalk—rare but welcome visitors to the world of Sui—sported tees with giant silver stars, more Mr. Freedom than Granny Takes a Trip. Meanwhile, the women floated by in crochets and chiffons as airy as a dream. Beauty exalted, indeed.
Source: style.com
By Tim Blanks
The Pre-Raphaelites were Victorian England's rock stars: poets, painters, and lotus-eating romantics who exalted beauty in the face of the gray uniformity of the Industrial Revolution. Unsurprisingly, the rock stars of another century were drawn to them. In game-changing boutiques like Granny Takes a Trip, London's gilded youth bought into the languor and luxury of the Pre-Raphaelite legend. Jimmy Page did more than that—he acquired the tapestries created by Pre-Raph top gun Edward Burne-Jones. When Anna Sui saw them in the Tate's Pre-Raphaelite retrospective at the beginning of this year, she knew she'd found her inspiration for Spring 2014.
That's the way Anna rolls, layering epiphanies from her own life in her collections, such as falling in love with the way Masai men draped fabric round their bodies when she took her nieces and nephews on safari at the start of the summer. And a few months later, when she was in Indonesia, finding herself mesmerized by the crowns worn by Balinese dancers. Those elements were stirred together with the Pre-Raphaelite inspiration and a Victoriana-meets-Venice Beach Boardwalk vibe to create a typical Sui stew of upbeat, irresistible idiosyncrasy.
Knowing none of that, you might have assumed you were seeing a parade of the haute-est hippie chic. Alia Penner's backdrop was inspired by the artwork of The Fool, the psychedelic design collective in the sixties who painted Eric Clapton's guitar, John Lennon's piano, and George Harrison's Mini. True, that acid-spiked sensibility infected the collection's window dressing: Butterfly sunglasses and Erickson Beamon's butterfly jewelry, hair wreathed in flowers, and even the sunburst design on a linen hoodie felt mighty appropriate for a sun-drenched free concert in Hyde Park circa '69. But Anna is a much cannier magpie than that. Her attention to detail is inspiring—minutely researched but never so literal as to weigh her down. Today, it was clearest in her prints and fabric treatments, like the metallic jacquarded chiffons that she'd created to duplicate the mysterious iridescence of Burne-Jones' paintings. The lightness of her touch was also obvious in the way that the men on her catwalk—rare but welcome visitors to the world of Sui—sported tees with giant silver stars, more Mr. Freedom than Granny Takes a Trip. Meanwhile, the women floated by in crochets and chiffons as airy as a dream. Beauty exalted, indeed.
Source: style.com
VersaceVixen009
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I love everything from around the 9th look on. I love the harem pants, the light, airy chiffon dresses. The accessories are great too. I love the boots and the necklaces. And the headbands 
.Its really been a long while since I've appreciated a collection from her. For a while, I felt as if she lost touch with the root of her brand, but this collection really brought it back. I've been disappointed deeply with many of the New York collections so far, but this one was great.
.Its really been a long while since I've appreciated a collection from her. For a while, I felt as if she lost touch with the root of her brand, but this collection really brought it back. I've been disappointed deeply with many of the New York collections so far, but this one was great.
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Not Plain Jane
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To me, there is no one like Anna Sui. She does what she does, and she does it exceptionally well.
The mixing of prints and colours in her collections is almost always bang on and her shows are fun!
Many of her designs are also timeless, in that classic "bohemian" way: you might imagine someone from the Bloomsbury group (say, Virginia Woolf) at the turn of the 20th century, wearing her dresses, just as you might imagine hip girls in the 60s and 70s rocking some of these looks, and someone in the throes of mid-90s grunge would look right on point wearing Anna Sui. And her clothes still look topical and relevant today.
She takes that classic bohemian foundation of her line and constantly plays with it to make it new again - repetition with a difference.
Kudos to her!
The mixing of prints and colours in her collections is almost always bang on and her shows are fun!
Many of her designs are also timeless, in that classic "bohemian" way: you might imagine someone from the Bloomsbury group (say, Virginia Woolf) at the turn of the 20th century, wearing her dresses, just as you might imagine hip girls in the 60s and 70s rocking some of these looks, and someone in the throes of mid-90s grunge would look right on point wearing Anna Sui. And her clothes still look topical and relevant today.
She takes that classic bohemian foundation of her line and constantly plays with it to make it new again - repetition with a difference.
Kudos to her!
simple_elegance
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Love! The prints are gorgeous.
TianSoFine
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I haven't liked an Anna Sui collection for some time now, but this one really is quite lovely. There are many enviable pieces here and I love the general mood of the show.
are you serious? anna is the queen of literal. most everything she does could walk straight from the 60's.
that being said,for all her boho redundancy over the last decade,it's a relief to finally see her evolve a little bit more this season...her boho tendency still prevalent but she did bring in some newer ideas to her line.
FashionFanatico
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it,s bit strange, but i especially like the mens outfits
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