Although it’s believed that Michelle’s choice was the first vintage premiere donned by a First Lady, it came as no surprise to Shannon Hoey, co-owner of New York Vintage, the NYC boutique where Michelle found her special gown. “It’s green, economical, personal and political all at once,” Hoey explains. Hoey also notes that the trend toward vintage gem for Hollywood red carpet affairs was bound to find its way onto the radar of the ever on-trend First Lady.

Once considered a symbol of low social status, it seems that any negative connotation associated with going second-hand has been completely eradicated in one fell swoop, courtesy of our First Lady. And walking into New York Vintage, you’ll understand that it’s nothing like the thrift stores you’re used to. The upscale shop features vintage Louis Vuitton, Chanel and Halston, hand-beaded gowns from the ’30s, authentic flapper dresses and countless classic handbags, jewelry, shoes and ornate hats you thought only Barbie had the privilege to wear. Yes, it’s like playing dress up in your mother’s, grandmother’s and great-grandmother’s attic all at once, only here you’ll need your AmEx to help live out your dreams.

With bright colors seen at many collections, the makeup message was one of inspiring simplicity. At Diane Von Furstenberg, James Kiliardos punctuated the clean complexions of his models with a beautiful fuchsia lip that was inspired by Warhol’s portrait of the label’s namesake designer. Diane Kendal elongated and extended eyes at Jason Wu with abstract colors by utilizing bright hues of purple, green and blue, but softened eyelids with soft vibrant tones of coral at at Carolina Herrera.

Spring ’11s retro-inspired looks were also amazingly fresh and contemporary. Francois Nars for Marc Jacobs created a beautiful “flapper-meets-glam-rock” look, while Petros Petrohelios for M.A.C. created a very fragile ’70s disco doll with soft pink lids and thick flirty lashes at Halston. For Derek Lam, Tom Pecheux created a fresh updated twist on ’60s inspired eyes with orange eyeliner, whereas Charlotte Tilbury was more inspired by Elizabeth Taylor for Victoria Beckham, covering lids in bright shades of purple that were complemented with sharp black eyeliner.

Like Belvedere, SKYY vodka has gotten in on the game in a high profile way, enlisting Sex and The City 2 costume designer Pat Field to create a movie-themed bottle. Whereas Williamson has paired with model/DJ Leigh Lezark to promote the current collaboration (Belvedere did likewise with designer Jonathan Kelsey and Estelle last year), SKYY has four ready-made muses. Anyone familiar with SJP’s cosmo-swilling penchants might consider this a savvy bit of marketing, especially given the fact that consumers who purchase the limited edition bottle will also receive a discount on tickets to the movie sequel. From a fiscal standpoint too, investing in a bottle of booze is infinitely less expensive than dropping serious money on a pair of Louboutins, which, even as the economy improves, still isn’t the purview of most moviegoers.

While film’s influence on fashion has arguably waned, the medium still holds tremendous appeal when it comes to product placement and promotional tie-ins. 2002’s Die Another Day—also dubbed Buy Another Day—is widely regarded as having kickstarted the film-as-infomercial trend with cameos from Bollinger, Omega, Samsonite and BMW. For its part, SATC 2 promises brand star-turns from Lipton Tea, Moët & Chandon, Swarovski and Hewlett-Packard, among others. Anyone surprised by Carrie’s decision to ditch Apple for a PC this go-round will be less taken aback by the Halston dress she dons in the film’s posters. Parker is, after all, Halston Heritage’s new designer, and an equity stake holder in the company.

Disney, meanwhile, invested big money earlier this year in partnerships with labels such as Stella McCartney, Furla, Tom Binns and Sue Wong to promote Alice in Wonderland. The goods understandably received a great deal of editorial attention, so, provided grown-ups still want a pricey piece of the fairy tale, we can expect similar branding trends to continue. On the flipside, Avatar reportedly inspired Jean Paul Gaultier and Donatella Versace for fall—albeit more subtly than Marc Jacobs’ Marie Antoinette-edged runway flourishes in 2007.

The same cannot be said for television and video, where many believe fashion’s influence will ultimately be most readily felt, primarily via in-your-face product placement (see Gossip Girl, 30 Rock and most notably, Lady Gaga’s “Telephone” video). Heavily branded, female-centric films like SATC 2 may prove this theory wrong, but many consumers are also now infinitely more discerning when it comes to pulling out their credit cards—something we know Carrie never worried about on HBO.

Marc Jacobs distilled his experimental, statement-making ways into simple, yet utterly beautiful wares. Having already built an empire conflating ideas, decades and references into cool American sportswear, Jacobs sent down easy A-line wool skirts and dresses, coats with sloping lapels and large buttons as well as serious three piece power suits. He hit on important trends of the season such as beige and grey colors, fur (as accents to many of his coats and bags) and velvet (in trousers, skirts and floor length gowns).

Ohne Titel was also in a pared down mood, resulting in a modern combination of commerce and creativity. Although trousers, military jackets and coats were relatively more wearable last season, there were unique flourishes such as silk dress made from different, randomly arranged materials and swingy dresses made from power netting. The duo behind the label, Alexa Adams and Flora Gill, also produced some of the most covetable accessories this season with geometrically paneled leggings and wide leather belts.

While Adams and Gill used leather as accents, Joseph Altuzarra used the material to make a loud and sexy statement. Leather dresses, pencil skirts and body suits evoked Catwoman with panels that seemed to be sutured together. Altuzarra’s fall collection is a departure from the softer, feminine wares of last season, but it is certainly a welcome shift judging by Carine Roitfeld’s approving nod by show’s end. Alexander Wang also recieved kudos for reworking the pinstripe suit into mini dresses with lace, long skirts featuring geometric, peek-a-boo cutouts (a huge trend this season) near the waists as well as tailored cropped tops. Nonetheless, the enterprising designer—whose business is already worth $25 million—had less than favorable responses overall.

Thakoon, meanwhile, presented a winning combination of voluminous fur, luxe wool and textured fabrics in carefully arranged layers for each eye-catching outfit. The beauty of this collection lies in Thakoon’s skill at making layers—an important trend when not overdone—look effortless. This dexterity marks his return to top form after an erratic last season.

After years at Bill Blass, Nepal-born Prabal Gurung proved that his aesthetically accessible take on high-end womenswear needs to be taken seriously by the gatekeepers of fashion. This coveted acceptance was also sought after by Victoria Beckham, who produced glamorous clothes that stand on their own merit rather than relying on her celebrity status.

After several seasons absent from the fashion scene, Pheobe Philo’s return to Celine was certainly welcomed by fashion folks last season in Paris. Philo has a way of designing what women want at a given moment, providing utterly chic and modern wares for her loyal customers. And, as Cathy Horyn pointed out in a recent New York Times article: “behind every good collection is Phoebe Philo.” Even designers such as Phillip Lim, Reed Krakoff and Derek Lam came a tad too aesthetically close to Celine’s spring/summer ’10 outing, hinting at percolating trends toward a straightforward, frippery-free manner of dressing.

The Olsen twins’s tightly edited collection for The Row was uncomplicated yet irresistibly hip—keeping in tune with this minimal design spirit. Marios Schwab, meanwhile, gave Halston’s signature draping a decidedly younger luster, and Matthew Ames used leather and soft colors to anchor voluptuous silhouettes.

Some designers, however, simply stuck to what they know best. Sophie Theallet didn’t veer away from the reliable femininity that helped her clinch the CFDA/Vogue Fashion Fund, while Francisco Costa for Calvin Klein used form and materials to convey his sculptural turn. Proenza Schouler’s J Brand collaboration yielded painted graphic jeans, which, along with updated American classics such as bomber jackets, toggle coats and cocktail dresses, have sustained the brand’s desirable status among the hip, deep-pocketed set.

American style can mean many things to many people, but New York Fashion Week’s varied new look is both grounded in its past and compelled by its future.

—Robert Cordero

While animal-friendly faux fur alternatives have increasingly appeared in more collections, the real deal was all over the recent runways. Derek Lam knit fox into a black and white cardigan, Halston’s Marios Schwab embellished the sleeves of a sweater dress and Marc Jacobs used it on the lapels of a see-thru trench. Fresh off his Swiss Textiles Award win, Alexander Wang experimented with a number of different fabrics, backing a zip-away leather jacket and criss-crossing lapels with mink. Many of these looks will show up at H&M and Forever 21 too, albeit in decidedly less expensive manifestations. The heretofore fur-free designer’s unfortunate use of pelts in his show makes sense given recent supported from Saga, but thankfully some of it won’t be produced for stores.

Leather was the most common go-to fabric for fitted, asymmetrical jackets. It was also used in more novel ways, as in the case of men’s leggings at both Maria Cornejo and Rad Hourani. To wit, Joseph Altuzarra held high-slit pencil skirts together with straps of leather, lending the pieces a vaguely S&M vibe. Threeasfour, meanwhile, paired it with wool to create a collared, almost hood-like coat and Ohne Titel’s Flora Gill and Alexa Adams coupled it with silk to fashion a chic, patchwork drawstring skirt. In addition to singular pieces, expect to see leather—both real and faux—used as embellishment or in conjunction with fabrics like wool, cashmere and twill.

Velvet’s sartorial connotations ran the gamut—little girl party dress, “festive” formal wear, hippie-chic topper—but there’s little doubt we can escape it for fall. Elise Øverland showed a velvet menswear-inspired suit and tuxedo wrap dress, while Carly Cushnie and Michelle Ochs fashioned a lace and velvet cap-sleeved dress for their semi-eponymous label. In keeping with his naughty schoolgirl vibe, Peter Jensen’s take was admittedly cheekier (tartan bloomers), while Zac Posen’s conjured thoughts of chi-chi late ’70s holiday parties.

Cutouts continue as a reining trend. When strategically placed they imbue basic black with some much-needed sex appeal, but not-so-gym-toned flesh might be better kept under wraps in any of the season’s other trends. Max Azria’s designs for Hervé Léger have never been a go-to for the faint of heart, so it’s little surprise that his sheer-paneled cutouts came courtesy of some killer mini-dresses. Speaking of itty bitty, Halston incorporated the technique into Grecian-style party gowns, featuring artfully exposed flesh and miles of leg. Preen offered what was perhaps the most wearable take in bandeau bra topped silk and cashmere dresses that revealed the areas above and below the décolletage—and leaving just enough to the imagination.

The cut-away pattern is one of the most noticeable trends in this season’s womenswear collections, allowing models’ skin tones to create patterns, rather than fabrics alone. This resourceful approach is in sync with a collective move from excess to necessity, from addition to subtraction―both in the fashion arena and the world at large.

Preen’s autumn/winter ‘09 collection offered the most jaw-dropping, eye-opening example of this look: short, black cocktail dresses transformed into avant-garde ’80s throw-backs with the help of some over-eager scissors. Models stomped down the catwalk like walking Rorschach inkblots, with moving patterns and textures appearing through the absence of fabric.

Alexander Wang offered a more geometrical variation with his Batman Returns-inspired collection, which displayed the cut-away trend with prominent, concrete shapes: square windows of flesh were visible on either side of some dresses, while trapezoidal pieces appeared on shirts and triangle cut-away patterns showed up on tights. Jonathan Saunders’ sharp, robotic cuts were similarly angular, featuring choice cut-outs in the most flattering places. Halston, Donna Karan, Elise Øverland and Cushnie et Ochs all used the look to play up the sensuality of shoulder and collar bones, succeeding in a suggestive sexuality.

While these looks are truly arresting, it’s hard not to wonder how the aesthetic is compatible with cold, winter weather. All the same, the cut-away method provides a relevant metaphor for the state of the industry: with missing resources, money and confidence, designers elegantly reflect the socio-economic state by taking away, rather than inserting. Just remember to stock up on sheer silk body suits before baring all next fall.

—Michael Miller

Fashion folks are typically anxious before the major fashion week agenda, a hectic, month-long global extravaganza that takes them to New York, London, Milan and Paris. But this season, the edgy feeling has less to do with the packed schedule and more to do with the pressure amid the worst economy of our generation. The effects on the fashion industry as a whole have been tremendous thus far, with no signs of leveling off in the near future, and fashion’s main players are feeling the growing heat.

Magazines and newspapers have cut back staff. Even respected and seasoned journalists aren’t safe, as with Teri Agins of The Wall Street Journal, who was has recently been laid off. Retailers such as Macy’s and Bergdorf Goodman have also let go of many employees, but continue to be nervous about the slow pace at which merchandise is moving. And for some designers and brands, such as Bill Blass and Obedient & Sons, the conditions were so dire that the only option was to simply close up shop.

But, if you’re a designer or a brand, what do you make of these dire economic conditions? Some have protected their bottom lines by not staging runway shows, as in the case of Temperley, Vera Wang, Betsey Johnson and Carmen Marc Valvo, or, like a true brazen New Yorker with chutzpah, they can stare these dangers in the face, and find creative ways to weather the unprecedented storm.

Following Viktor & Rolf and Marc Bouwers’ online showings of their collections last season, Halston will forego the runway in favor of a music inspired video to be distributed via the internet. Some are taking a collaborative approach such as Nicholas K, Mara Hoffman and Sergio Davila, who will combine three shows into one. Meanwhile, Camilla Staerk’s too-cool-for-school garbs will share the stage with the colorful menswear of Victor Glemaud. It’s not just designers who are finding creative ways to weather the storm, Vman and Ford models, for instance, will hold an ice skating party to celebrate its most recent issue launch. If not exactly for their bottom line, at least the activity will make people forget their financial woes temporarily.

There is something about New York that inspires people to face these challenges with unwavering aplomb, adding even more colorful to the already bubbling scene. Gerlan Marcel, the former print designer for Jeremy Scott, will show her chromatic and enticing sportswear collection at Patricia Field’s home, and art star Terence Koh will host Teddy Willoughby’s conceptual wares at Asia Song Society for the Bland show. Bodkin, is giving eco wear a chic boost, while Prabal Gurung, of Bill Blass fame, will embark under his own accord to create easy, luxurious clothes for the wealthy Park Avenue set. Nice Collective rock ‘n roll aesthetic will come alive at the Angel Orensanz theater, and last season’s darling rookie, Joseph Altuzarra, will present his sophomore effort to prove if his wondrously constructed and feminine pieces can help him expand his young, fashion forward fans such as Victoria Traina and Julia Restoin Roitfeld.

Despite a few runway shows missing this season, we’re feeling that this week will be business as usual. For Bryant Park, this is a particularly bittersweet moment as the shows will move to Lincoln Center starting 2010, but for the whole industry, this season’s impact will be a groundbreaking one that could change the whole fashion scenery.

—Robert Cordero