Whisking our imaginations to lofty new levels, a fantastical narrative permeated many of the runway shows. Thom Browne, whose presentations are already notorious spectacles, used a surreal 1920s tableau of an all-girl social gathering to underpin his presentation of whimsical, menswear-inspired outfits. Similarly, Marc Jacobs, who showed on the last slot of fashion week, showed off his boundless creativity with hyper-realistic embellishments like shards of colorful plastics as trims, metallic surfaces as panels and cellophane-like encasings on skirts. While Jacobs was drawn to the superficial, other labels like The Row, Ralph Lauren, Gregory Parkinson and even Bebe (with Emanuel Ungaro vet Charles Benton as design consultant) seemed enamored by the ethereality of white.

Although white once again reigned as the season’s most prominent color statement (or subtle lack thereof), some designers reacted against the trend with intense look-at-me  hues. Marc by Marc Jacobs lined up a parade of strong colors, opening the show with an eye-catching orange shift that affirmed the citrus shade’s prominence throughout the week. Orange also set the tone for Ohne Titel’s graphic outing, proved a fantastic complement to Thakoon’s use of turquoise and was used in its faintest iteration at Calvin Klein. Mark Fast’s Faster line gave his signature seductively taut dresses an even racier appeal with pink, while Vera Wang’s use of highlighter yellow and Yves Klein blue made her uptown take on dressing seem younger and Peter Som displayed exuberantly warm shades of yellow, pink and orange in his flowery leggings.

The interlink between flowers and colors was readily apparent from the week’s earliest shows onward. Along with Som, we previously noted the optimistic motif everywhere from Cynthia Rowley to Karen Walker. Carolina Herrera seemed to exult in the fantasy of a pastoral summer picnic with clean prints against crisp designs. Prints varied from bright yellow and green birds to sharp primary color lines, but the silhouettes possessed a liberated air. Jason Wu had his most elegant outing yet, proving to be the premier designer for ladylike dressing that manages to be simultaneously prim and sexy: high-collared shirts were paired with svelte shorts, subdued grays contrasted with pastel shades of pink and cleanly tailored separates exuded a swingy ease. In his most experimental outing, Prabal Gurung played with everything from sheer fabrics to geometric cutouts in unconventional lines, but tempered these edgy designs with innocent purples and detailed floral prints.

The activewear and sports theme proved to be a big trend this season with classic and unexpected labels alike taking on the American style tradition. Y3 is already a pioneer and master of athletic wear, but the brand injected an air of debonair to its collection. Although models emphasized Y3’s sporty vibe with sneakers and active designs, the collection also featured exaggerated menswear-style vests and grungy plaid prints across both genders. Lacoste introduced a more ready-to-wear interpretation of the genre thanks to new artistic director Felipe Oliveira Baptista’s updated vision for the brand. Though usually more of an elegant, uptown designer, Victoria Beckham managed to make sporty sexy by using the anorak (itself a popular piece this season) to describe her collection. 3.1 Philip Lim’s pastel outing balanced delicate silks and organza with a sporty motif seen in nylon anoraks—proof that there’s such a thing as activewear you can look chic in without having to sweat in. Alexander Wang opened his show with a seemingly all-encompassing mesh fabric overlaying his subtle designs. The hint of color peaking through the holes (and pockets!) made for a peek-a-boo effect that was both playful and dramatic, while blatant zippers, deep pockets and bandanas brought home the power of statement details. Like Wang, Altuzarra knows how to mix sportswear, which he cleverly integrated into classic daywear, as seen in pairings such as ribbed nylon vests with a flouncy skirt.

Above all, NYFW yielded a decidedly wearable array of options for next summer’s fashionistas. M.Patmos kept things simple with reliable knitwear that varied from sweet cardigans to long and loose ponchos and the occasional sheer top. Tim Coppens, a Belgian designer now based in New York, showed meticulously constructed menswear with a sporty touch, which has already won over Barneys New York. Proenza Schouler took a truly eclectic approach with everything from accessible tribal print details and slim-cut jackets to eccentric bondage-style pieces and ’70s retro-inspired shapes. Sophie Theallet somehow adopted both the white and bright color themes of the season with floor-sweeping dresses as well as smart, knee-grazing pieces that could easily transition from day to night. And Brooklyn label Creatures of the Wind presented a charmingly vintage-inspired collection that managed to be nostalgic yet fresh with contrasting prints, bold colors and gem-like hues.

At Monique Lhuillier, VPL and Helmut Lang, a subtle approach to the common trend is seen in body-conscious pieces where athleticism and physical fitness served as the foundation for snug, body-hugging and midriff-baring pieces. Jen Kao used street-smart sneakers to coquettishly address the fad when paired against floral frocks and feminine corsetry—an obvious imitation of the urban athletic aesthetic. Other collections embraced the elegant side of this recreational motif with overstated innuendos seen in Alexander Wang’s dresses in technical fabrics and Altuzarra’s jackets fit for a skiing holiday in Aspen. Elsewhere, jockey jerseys and polo dresses were shown at Ruffian, rugby shirts were featured at Lacoste and DKNY dramatized the runway with tennis-inspired dresses. Appropriately so, sport-themed lines like Y-3 are easily in tune to the latest signature.

The trend effortlessly blurs the line between work and play with truly elegant renditions of sport-couture references. Functional and fantastically fashionable, this active look is sure to carry on suitable momentum next year.

What’s hot right now?
I’ve always loved the combination of masculine tailoring with feminine touches, and this fall it seems I’m not alone. Coco Chanel was the originator of the ultra-androgynous la garçonne look, which is equal parts elegance, sophistication and boyish charm. This look always works for me. I find myself constantly looking to Emmanuelle Alt. Her edgy personal style always feels current and never feels trendy.

What do you think the most coveted fashion item will be this fall?
I’m definitely investing in a few pairs of loafers. I love the Alexander Wang Lizard Oxford, and last fall I practically lived in black Repetto lace-ups. I also think you can’t go wrong with a Rick Owens leather jacket and a tailored blazer. My favorite blazers are from Stella McCartney and Balmain.

What are your favorite websites for inspiration?
I have an extremely extensive selection of blogs I follow that range from interior design to architecture, fashion and travel. I get a ton of ideas and inspiration from images. jjjound is a site I can get lost in for hours! Here are a few I’ve been obsessed with lately: Hush Magazine, Inventory Magazine, Tenue de Nimes, Citizen Couture, The Wonderlust Journal, Portable.tv, Lace & Tea, Closet Visit.

YSL was ever-mindful of its traditional fit with waist defining blazers in slim tailored navy blues and grays. Neutrals were introduced halfway through the show as a khaki rendition of military-meets-tribalwear looks surfaced in male corseted shorts and python printed blouses. The collection represented balance in cross-culture and cross-gender dressing as the classic male suit touched on the beauty of ambiguity in a conventional society. Ann Demeulemeester also represented the androgynous with nude sheer tees and masculine tunics with black patent-piping. Reveling in vests, waistcoats and three-quarter length sleeves and pants, her rugged sand-inspired collection had notes of a modern-day black tie affair gone awry as well as hints of Asian influenced cuts and cloths.

Rei Kawakubo’s collection for Comme des Garçons featured a similar cross-cultural reference within its “tailoring for punks” theme. Perhaps the most paradoxical of the shows, Kawakubo sent tattoo covered models down the runway in perfectly tailored pinstriped blazers with biker zips that revealed the classic Prince of Whales check underneath. Color was intentionally placed in orange buttons and pink cuffed socks, while slimming skirts—think Gothic kilts—refined the punk-meets-prince look.

Skirts were also featured in Riccardo Tisci’s surfer-turned-fashion-boy collection for Givenchy, where tropical printed skirts, pants and shorts were bejeweled in sequins and crystals that glistened under the runway lights. If a fairy tale came to life in the fashion world, Tisci’s male models would likely be the warriors of its fantastical realm. At Acne, Jonny Johansson’s ‘70s-inspired denimwear line dazzled in leggings, biker shorts and mini shorts paired with patent evening shoes.

Other flesh-wielding menswear pieces were seen in Maison Martin Margiela’s collection, where unbuttoned and transparent shirts were paired with straight-legged pants rolled up to reveal rebellious undertones. Thierry Mugler took “skinspiration” to a whole new level with a collection suitable for a frat superhero party. Opening the show with a modernized take on a Grecian god, Mugler’s models revealed more and more skin with each piece. With realistic items like stonewashed skinny jeans and surf rashguard tees, Mugler’s body-conscious collection was ever aware in spite of its bare-all underbelly.

If June Gloom were ever a theme, Dries Van Noten’s weatherproof collection was the rainbow of the storm. With nylon parkas, polyester jackets and slim tapered pants, his dew-finished pieces dominated the runway in dark navy and burgundy hues as manufactured brights lightened the streamlined look through saturated stripes. Meanwhile, Raf Simons’ collection keyed into the same prevailing midnight theme of other designers, while also featuring neon plaids and flower-hybrid muscle tees that flirted with femininity and the idea of nudity. With confidently coiffed models, uniformity ran rampant as carbon-copied hair and pant suits ascended and descended amidst a stage of escalators.

Uniformity was seen in Lanvin’s multi-faceted collection as each model embodied Alber Elbaz’s admission that “a man in uniform is always a hero.” Rather than mutually agreeing on one look, the designer released characters at the beginning of the show. Likewise, Alexander Wang reinvented his classic womenswear line in a coordinated sportswear themed debut of track suits, running shorts, hoodies, sweatshirts and varsity jackets for men, while other designers captivated the comfort of sport-prep ensembles as pajama pants and blazers were seen on Louis Vuitton and Hermes runways too.

Just as ’90s fashion saw the rise of Yohji Yomamoto, Jean Paul Gaultier and Commes Des Garçons, so too did legions of women witness Lisa Bonet’s status as a style icon come full force. Her mix of vintage dresses, Marithé François Girbaud baggy pants (with matching bolero, of course), heavily fringed motorcycle jackets and signature round glasses truly embodied the movement. Now, on the heels of the resurgence of the plaid shirt as a wardrobe staple, the reinvention of grunge as a harder and edgier style (a la Balmain) and the laid-back vibe of Alexander Wang with his popular T line, street style has embraced a funkier, brighter spin on the decade.

A veritable mishmash of styles that hark back to the days of characters from shows like The Cosby Show, Living Single, A Different World and Fresh Prince of Bel Air are popping up everywhere from booted American Idol contestants to Bonet’s own icon-in-the-making daughter, Zoe Kravitz. On one end of the spectrum, Willow Smith, with her braided hair and neon printed outfits, is leading the pack and ushering new sounds and fans along the way. On the other end, Lauren Hill, a ’90s icon in her own right, made her comeback at the Alexander Wang after party this season, marking a true return of the decade’s bohemian presence.

Dreadlocks mixed with long, knit dresses and combat boots are street style staples of late, while the resurgence of neon colors, stripes and headgear proves that fashion is having one more go at the inspirational decade. And while Vena Cava referenced the ’90s as a muse for its autumn/winter ‘11 collection—and even published a ‘zine dedicated to friends’ ruminations on the era—other cultural movements also seem to be shifting in that direction. Beauty trends are leaning towards undone hair, IFC’s Portlandia has playfully proclaimed that “the dream of the ’90s is alive in Portland” and the Sundance Channel recently picked up the entire series of My So Called Life—and not just as a memento of nostalgia. The ’90s are back in a big, Lisa Bonet kind of way.

Designers adopted dramatic hemline lengths to dictate a departure from skinny minis, a trend that was echoed on the city streets with skirts ranging from urban romantic (long and languid over sturdy boots) to sweetly feminine (ankle length chiffon). Mandy Coon featured a floor sweeping iteration in black, Gregory Parkinson adorned his in dizzying prints, Y-3 channeled Yohji Yamamoto’s ’80s-era fullness and Thom Browne’s eccentric collection yielded bold skirts in bulbous shapes and graphic, geometric layers. While Browne heavily translated his menswear approach into this womenswear outing, other designers translated the equally androgynous, fashionably disheveled looks of early ’90s grunge. Richard Chai’s contemporary line Love featured long and lean skirts paired with slouchy tops, Jeremy Laing’s floor-length chiffons seemed slightly worn-in and Band of Outsiders layered skirts over additional skirts as well as trousers. Marc Jacobs, who was famously fired from Perry Ellis for promoting the grunge look in the early ’90s, interpreted the long skirt trend with a high-wasted, lean and conservatively cut silhouette.

Dresses also took some cues from this prim approach to skirts, but for the most part cultivated a separate stylistic message. Prabal Gurung’s devil may care take on glamour produced washed silk dresses with worn-in appeal, while Erin Fetherston’s new contemporary line, Erin, is designed to ensure that her sweet dresses are available in more closets. Victoria Beckham, on the other hand, is sticking to her upmakret clientele, which this season will have some beautiful, minimally rendered marigold and red dresses that are perfect for red carpet and cocktail affairs. Kevork Kiledjian also had sexy short frocks with fringes in velvet and leather, while Jason Wu produced polished dresses perfect for conservative formal dinners and red carpet flashbulb glamour.

By contrast, American outerwear also received serious attention this season. Alexander Wang worked tough looking jackets into cape-like proportions and placed padded panels into jackets, a technique that was prevalent throughout many collections. Rad Hourani, who has been forging an androgynous look with severe geometry, loosened up his lines to produce delightfully angular coats with wide lapels, while Altuzarra paired utilitarian parkas with floral printed skirts and slip dresses. Moncler Grenoble’s flash mob presentation at Grand Central Station, meanwhile, gave slope-ready apparel a decidedly urban appeal. Elsewhere, Rodarte’s long, quilt-like coats had a quiet elegance, Reed Krakoff modernized the toggle coat, Calvin Klein distended overcoat shapes and 3.1 Phillip Lim featured some cool lapels (one of which looked like a bow).

Rag & Bone’s winterwear begged to be noticed, but the label’s mixture of bright blue and orange into several paneled pieces was the most visually compelling. Similarly, Suno told a high contrast color story with grandma-chic designs in artfully mismatched fabrics that will be utterly irresistible to in-the-know urbanites. Edun’s abstract prints in rich saturated colors exceeded its humble sustainability-based roots, and Thakoon’s use of bright Masai plaids (a big trend this season) in a belted jacket and dresses was a perfect fit for city slickers. Proenza Schouler, however, created digitally rendered Navajo prints to make beautiful patterns that showed up on many of its achingly cool, yet luxe pieces. Preen dabbled in prints too, exploring a cubic theme that proved most winning in knits.

Libertine, which has been on hiatus, is back with tailored suiting that was splashed with shocking, electric hues like blue and pink. By contrast, ever-present Ralph Lauren turned out masculine trousers, suits and pinstripe workwear pieces, which exuded the inherent utility at the heart of American fashion. Narciso Rodriguez, meanwhile, lent his predilection for taut, architectural dresses to mannish jacket and coats.

Alexander Wang had a particularly wondrous selection of oversize sweaters that came huge with cuts on the side and worn over silk dresses. His technical talent was best seen in varieties that were padded on the arms as well as two sweater dresses that gradually morphed into silk at the hem. At N. Hoolywood, Daisuke Obana was inspired by photos of Yosemite National Park, sending out mountaineer-manicured models replete with facial sunburns and climbing tools such as lariats. To sartorially communicate this thematic conceit, Obana showed Aran jumpers alongside copious heavy knit vintage-looking vests worn over shirts as well as tucked in.

The designers at Altuzarra, meanwhile, paraded two sweaters with an elaborate pattern that included triangular skin peek-a-boo, one of which was worn with an olive skirt bearing thigh high slits. If this was emblematic of a raffish collection, then Ohne Titel’s outing was filled with futuristic appeal. Flora Gill and Alexa Adams, the designers behind the label, were inspired by the space suit and offered a bevy of pieces that easily will be the most covetable of the season. They came ribbed in a zippered up number that created subtle undulations, geometrically paneled in a dress, while skirts were loosely knitted to create a swingy effect.

Marcia Patmos, formerly of the now defunct Lutz and Patmos, launched her eponymous M. Patmos label this season. She didn’t stray too far from the covetable practicality of the Marcia Patmos label, which produced chunky shawl collar cardigans, box cut sweaters with singular lapels and a variety of sweater dresses. TSE also understands this functional aspect of knitwear, and their minimal approach yielded a series of versatile cable knits that can be worn over pants, skirts or a blouse and fitted pencil skirt combo. By contrast, Jeremy Scott’s decidedly zanier take on the trend produced a pink sweater with a skeleton outline woven into it, a blue and orange striped dress with a cut-out that revealed the stomach and an alpaca sweater worn with a purple kilt.

Marc Jacobs first introduced the grunge aesthetic to the runway with his spring/summer ’93 collection for Perry Ellis’ ready-to-wear womenswear line. While Seattle’s unkempt alternative artists like Nirvana and Pearl Jam became commercially successful, Jacobs translated their anti-fashion in plaids, thermals and loose fitting dresses. Ana Sui also paid homage to the trend’s apparel trifecta with a collection of ’70s print frocks paired alongside army fatigue jackets. At the time, Jacobs and Sui’s vagabond-chic pieces captured the beauty of what might have otherwise seemed like an identity crisis amid Doc Marten-stomping teen culture.

Mercedes Benz Fashion Week is now taking us back to that bygone era as designers channel a new interpretation of grunge chic. ADAM’s collection featured black lace tees over plaid skirts and prom-esque tulle dresses with chunky socks and high heels, while Thakoon took to the plaid parade with a red and blue puffer bustled and set atop skirts with pants. Joseph Altuzarra found a place for army parkas and dresses to coexist in his Kate Moss-inspired collection of classic bomber jackets and t-shirt dresses sprinkled in fringe and beading.

Neon infused graphic prints were captivating at both Edun and Libertine, while designers like Chris Benz and Daryl K used black mesh, leather and velvet to poke at grunge texture. Y-3 and Rag & Bone walked to the beat of ’70s mod styles with braided hair and utilitarian outerwear like varsity jackets and trenches. Lastly, Alexander Wang and Richard Chai Love mixed grays, blacks and neutrals with layers and tailored jackets over long skirts. All quintessential elements of the ’90s grunge-glam cool of Seattle’s finest fashion.

Despite a reputation for being slow to adopt technology, the fashion industry’s digital initiatives are becoming increasingly common. Girl about town Lauren Santo Domingo and former Gilt Noir executive Aslaug Magnusdottir are set to launch Moda Operandi, a members-only site that lets consumers order clothing within 48 hours of designers’ shows. The site’s initial launch partners will include Thakoon, Prabal Gurung, Alexander Wang and Proenza Schouler for this season. Over at eBay, the world’s largest online marketplace, the mega site continues its collaboration with Derek Lam by asking shoppers to vote on their favorite items from the new collection via its new crowdsourcing platforms.

In the online editorial sector, POST, the first independent, multimedia publication specifically for the iPad will host a celebration at Soho House, while Tumblr, which is fast becoming the fashionista’s blogging tool of choice, will fly in 24 bloggers to attend Oscar de la Renta’s show. If that’s not enough, Nina Garcia’s investment in Fashism further illustrates the ways in which technology is becoming fashion’s new best friend.

And perhaps the most news-worthy technological initiative of the season is Shopstyle’s essential new phone app, which allows you to follow every moment of NYFW via your mobile. A collaboration between Shopstyle and Mercedes Benz Fashion Week, this must-have app delivers full coverage of a/w ‘11 thanks to its mobile-optimized site, featuring up-to-the-minute runway news, photos, Facebook, Twitter and website profiles along with exclusive event coverage, maps and location details.

Speaking of collaborations, Erin Fetherston, who has been working at Juicy Couture as guest designer, will translate her whimsical aesthetic into a new contemporary range called Erin. And while girls with a penchant for flirty wares may rejoice, Opening Ceremony’s latest womenswear-only collaboration with MM6 Maison Margiela is sure to have their hipper counterparts sated. Meanwhile, Richard Chai, who debuted an eight-piece teaser collection for Original Penguin, expands the offerings into a full line. And Christopher Raeburn, the British designer with an ingenious namesake collection of reclaimed military fabrics, lends his stylishly sustainable talent to Swiss brand Victorinox.

One of the main things we look forward to each season are the new entrants to the city’s fashion fray. Of particular interest this season is Canadian-Angeleno Stacey Clark, who debuts her fall collection for Odilon at New York Fashion Week with a presentation on February 14th. Named one of Women’s Wear Daily’s “12 new designers to watch around the globe,” Clark began soaking up the fashion junket as an equestrian competitor at the tender age of five, but her latest collection is inspired by Greek goddess Persephone’s metamorphosis from “a young, naïve girl into the womanly, unwilling queen of the underworld.”

Elsewhere, Ann Sofie Back, who has worked as head designer for Cheap Monday, comes to New York for the first time to show her minimally conceptual wares at a by-appointment only showing at Goethe Institute, which will also feature Emmanuelle, a new womenswear line by Thakoon alum Thomas Chen. Meanwhile, Sofia Sizzi, who has held posts at Gucci and Calvin Klein, is launching Giulietta, a womenswear line that promises to balance conservatism and sexiness. Dominic Louis, a line by Louis Mairone that’s a favorite at OAK, launches dark, romantic wares that are cleverly gender neutral. And Co, a new line of knitwear essentials from Stephanie Danan and Justin Kern, an LA-based duo with artsy film backgrounds, offers an introductory teaser of its upcoming wares with a beautiful video starring Elodie Bouchez.

For something decidedly different, surfer and artist Tin Ojeda will host a much-buzzed small exhibition. This Argentina native’s trendsetting tees are one-of-a-kind and hand-dyed in an array of pigments that pay homage to the classic old school period of surfing. Made exclusively from his very own garage in Montauk, Ojeda has recently been picked up by both Barneys and Dover Street, and is a growing trend among celebrities and various artists.

While a Chanel tweed or Chloé blouse has been a sure-to-please present since time immemorial, this year’s crop of buzzed-about uni-monikered designers beginning with “C” deserve equal footing in the gifting circuit. Easy-to-wear yet bold printed pieces from Cacharel bring a bit of color to the lives of the LBD-addict on your list. Calla’s unique brand of ornate but understated womenswear, meanwhile, is equally inspired by her own artsy Parsons background and her time with Olivier Theyskens at Nina Ricci and Rochas. And old-school tailoring and structure make a major comeback with revived Paris fashion house Carven.

Go the semi-classic route with a bit of bling under the tree, but opt instead for something with a bit of edge to provide the perfect foil to the season’s sophisticated ready-to-wear. Everyone loves Pamela Love’s brand of apocalyptic glamour, and her signature Eagle claw earring is a classic example thereof. Go darkly romantic with upscale voodoo bijoux from Bernard Delettrez in the form of gemstone encrusted skull rings. Gaia Repossi’s collaboration with Alexander Wang has yielded jewelry that looks like it’s survived through the ages in a fabulously distressed way.

Giving a coat says that you want to keep someone warm and chic all winter long. And while the ones we love most may not be goose-down filled Thinsulate, they pack a fashion punch that’s sure to warm every hearts. This rufflicious New Romantic Marni Short Leather Jacket in particular makes an ideal middle layer. Alternately, take a break from the menswear “trend” in womenswear and go full-on-men’s with the Damir Doma Torsade Coat—she may fumble with the buttons, but it’s a small price to pay.

It’s the little extras that’ll have them thinking of you on a daily basis, so practicality can be a perfect approach. Guy de Jean Long’s umbrella at Opening Ceremony is a hip-to-be-square bandana print version of the classic. A gift that’s both fashion and tech-savvy is the signature Emilio Pucci laptop case, which makes working remotely supremely stylish. And don’t forget Linda Farrow Luxe’s cold-weather cat-eye sunglasses, which come pre-wrapped in sumptuous snakeskin.

Stocking stuffer alert! Who doesn’t love a little beauty boost? Eau Serge Lutens, the eponymous scent by the in-the-know favorite parfumeur is clean as can be with a sleek bottle to match. For the more colorful recipient on your list, the limited edition Jeff Koons body collection for Kiehl’s mixes modernity and moisture to great effect. And for the girl who has everything, say it with blue lipstick—not the sheer stuff we’ve seen in years past, but true bubblegum blue from Doe Deere’s Lime Crime. It’s sure to be a hit on the New Years soirée circuit.

Alexander Wang led the pack with a collection of airy garments that billowed down the runway with a lilting ease. His masterfully simple use of drapery and volume translated into overlapping layers, loose embellishments and the occasional use of effective tiers on busts and shoulders. Models were adorned with shimmery face and body makeup that accentuated the otherwise matte knits, feathery cotton and occasional silk, giving an overall feeling of crisp simplicity.

Preen also gave into the allure of white—albeit with somewhat more variety. Creamy ivories and pale taupes were subtly contrasted against stark, starched hospital hues and sheer fabrics in a surprising range of anti-colors. With its usual dexterity, the label balanced the minimalistic aesthetic with superb tailoring that flirted with inventive techniques such as pleating and layering.

Rad Hourani used white as a source of contrast among his architectural shirts and jackets as well as with geometric paneling, making for a sharp overall effect. Wes Gordon, by comparison, used the contrast effect as a subtle accent to pale shades of yellow, camel and gray.

Thakoon, meanwhile, emphasized the color in a variety of items—from a twill jacket to a shift with chiffon sleeves—and Wayne flirted with its optical illusion potential in a series of asymmetrical shirts and dresses. Derek Lam rounded out the bunch with a few knockout items, such as a double-breasted, belted coat and a slit-sleeved short dress.

White-hot indeed.

In the last few months, the growing cityscape has seen the opening of The Royal Tulip, Rixos Hotel and JW Marriott, which join the glossy likes of the Intercontinental Almaty, Hyatt Regency and the chic Dostyk Hotel (the latter is also currently displaying a photo gallery of Almaty). Hot bistros Afisha, Marrone Rosso, Biskvit and the first floor of the Gogol complex and bar/lounges like the Cosmopolitan bar, GQ bar, Di Wang, Rooms and Fame are ground zero for the oil-rich, Chanel and Alexander Wang-clad Kasak set as well as international travelers. These are all signs that the once clouded Asian country has firmly ascended in rank to a Russian-style market economy.

And, like boutiques in Moscow, Almaty stores are stocked to the gills with a diverse selection of luxury brands and products from around the world. Gucci, Zegna, Moschino and Max Mara all have stand-alone shops on Gogol, Furmanov and Abylay Han Streets—the Almaty version of Madison Ave, Ave Montaigne and Bond Street but it’s the multi-brand boutiques that are the real indications that fashion has arrived in the capital.

Opened in 2006, Rush stocks a wide selection of designers—including Rick Owens, Marios Schwab, Jean Paul Gaultier, Balmain, Issey Miyake, Christopher Kane, Vivienne Westwood and Rodarte—throughout its two-floor, 700-square-meter space, which also boasts a café. In addition to being a place for fashion parties and art showings, sister store Sauvage (run by the same secretive owners of Rush) sells upscale brands such as Christain Dior, YSL, Prada, Bottega Veneta and Balenciaga.

Two-year-old Prima Studio is a worthy competitor of the Rush group, offering Vera Wang, Martin Grant, Bionda Castana, Judari and Alexander Wang at its central downtown location.  For creative types with style to burn, Bureau 1985 sells  well-edited  buys from the likes of Yohji Yamomoto, Dries Van Noten, Haider Ackermann and Sharon Wauchob. French House, meanwhile, has a beauty spin, selling heaps of cosmetics and perfumes, but also French ready-to-wear like Vanessa Bruno and Isabel Marant, along with accessories and jewelry. The most recent addition to the local multi-mark retail category is 4 Rooms, which just opened last month and stocks Yigal Azrouel, Sophia Kokosalaki, Gabriele Colangelo, John Rocha, Francesco Scognamiglio, and Antonio Marras and offers a different shopping experience by showing exhibitions of local artists as well as new cutting edge designers.

With its own fashion week and considerable buzz in knowing circles, it’s easy to see why fashion brands are now finding Kazakhstan a worthy market to stock their products.

—Aigerim Akenova