Still Waiting on Spring 2012

Dear Kristin,

If we'd started Suno's Spring 2012 show with this look, I might have fallen in love:

Suno Spring 2012.  All runway photos from style.com

In the past, I've found myself attracted to their prints in a kind of distant fangirl way.  Fan being the key word, I guess.  I'm a fan, meaning I love, but from a distance.  They were simply too loud for me to wear myself.  I'm sure I'd flip if I passed a gal on the street wearing all Suno, but I couldn't myself.  And, yet, I've been feelin' louder prints lately.  And Peter Som showed a floral pantsuit that almost shouted to be seen - and I'd absolutely wear it.  Today, tomorrow, to bed:

I enjoyed the electricity at Peter Som.  My favorite was a slightly boxy crop top over a waist hugging, floor length skirt.  Slit to there, Mediterranean  blue.  The colors were magic, the Charlotte Olympia heeled loafers both day & night, and the shapes were newish and largely flattering.  There is a fine line, though, between sweetly boxy and linebacker shoulders.  That third look, I'm afraid, is perhaps a little too close to crossing it.  But, as separates,  yes please.

Maybe my fashion wants are changing (they are) or maybe it's that Som's pantsuit matched.  Much of what Suno is known for is mismatch, and while it was there in this collection, it was tempered.  It didn't shout, but I kind of wish it had.  That yellow wrap dress was the brightest spot for me, a little lemon - actually as sunny as the collection got - and a robe to boot.  Because I think I'm developing a thing for robes:

Costello Tagliapeitra.  My notes were these:  1.  Satin!  So much like a fifties robe my Grandma MJ once owned, but shorter and flirtier and superbly tailored.  Something about the arms, the tight, pushed up sleeves, makes it lunch to dinner appropriate.  2.  Draping, draping everywhere.  And those white shoes.  3.  How is hangs.  4.  Pop!
Only disappointment: though not featured above, the theme was "City Flowers" and, sadly, I found most of the florals rather dusty, too much mothball.

And, oddly, white shoes.  Even pointy white shoes.  Ah, the circle of life!  So we meat again pointy shoes!  Remember how we loved them once, ten years ago?  And now I own not one pair of truly sharp edged shoes (almond toed, but not sharp toed), which means I'll need to purchase a pair, which is exactly what they want.  "They" being The Man.  Or men: Mr. Costello and Mr. Tagliapeitra.  Love them and their white shoes.  Here's another pair of great whites:

Photos from InStyle.com.  The two on the left are both Prabal Gurung with white Manolo Blahniks.  The street wear jacket is L'Agence, which I hunger for, with nude Jean-Michel Cazabat, and the last is Chanel with those Manolos.

Jason Wu was lovely, but largely disappointing after last spring's spectacular showing:

I actually love these, the pink especially.  But last year there was this spark, some happy innovation, the new classics.  And this year.  Well, I had that exact chartreuse dress in mind for my trip to France.  Granted, I couldn't find it anywhere.  But if I can dream it, Jason Wu should have to dream it better.  Because he is better.  The shoes and general styling, though - a touch of welcome danger. 

I know.  It's pretty!  But I expected so much more.  I was also a bit let down by The Row, though they did feature a robe and had a show stopper of a show stopper.  There final piece, pictured on the right, is gorgeous:

Snooze.

Everything else in the collection reminded me too much vanilla incense and cleanses and haute yoga and Orientalism.  And the layers the Olson ladies are known for, especially off the runway, felt forced here.  Like they were afraid of just hitting one or two notes at a time, rather than layer upon layer.  As if we might be bored with the samey colors and textures.  Maybe, but I doubt it.  I wanted something simpler, I think.  Their final piece hit just two notes and it was a winner.  And I certainly could have lived without the scaly pants creeping out from under that robe/nightgown at left, though I do love me some scales and am certain they're striking on their own.  On their own. 

Another disappointment not wholly disappointing:

Definitely a step up from last spring's collection, which I almost hated.  Which is why I didn't go into it here, on Make Me Happy.  Because it did not make me happy.  And although I'm not exactly smitten with Rag & Bone's newest collection, I do feel like we're getting back to good here.  Maybe even great.  At the very least, it reminds me of greatness (a tiny drop of Proenza Schouler Spring 2011, perhaps).

Speaking of reminders!  My favorite collection thus far is a bit copy cat, a bit catnip. I can't put it better than Style.com: wantable, buyable, right now.  The odd thing is, outside of Celine and Rodarte red (though they can't really copyright a whole color), I can't quite recall what it is they're copying.  I feel it in the colors and sizes and shapes, even in pattern - but for all my searching, I can't find the original source.  I'm not sure if that's because I don't have the proper internet search tools, or if, instead, the collection is a new classic.  It feels older, but isn't.  Little groundbreaking, but fresh enough to feel fresh, and classic enough to remind me of something, something:

 Great Interpretations. 

Can this be as good as it gets?  A collection that feels like a brilliant rehash, even if it's not? Stay tuned, my dear Kristin.

Love,
J. Benny