Friday, May 15, 2009

Book Signing to Benefit CFDA

Mulberry Hosts Exhibition of Chris Craymer's New Book - Romance



London-born photographer Chris Craymer launched his first photographic book at Mulberry Madison Avenue store last night (May 14). The event, hosted by Mulberry's Creative Director, Emma Hill and Steven Kolb of the CFDA attracted a fun crowd, amongst who - numbered 175 people - dancing away to - you've guessed - love inspired songs. Fashion VIPs included: Alexa Chung, Elise Crombez, Katrin Throman, Kasia Struss, Amy Chan, Christian Roth, Selima Salaun, Bonnie Morrison and Kate Schelter.


CFDA Director, Stephen Kolb
The decor drew inspiration from the book images using hundreds of heart shape balloons, giant scrabble pieces, a super sized Romance book dominating the store front and a customized photo booth where guests could relive their teen years.



Also in the spirit of the book, the guests ate Union Jack decorated cup cakes and drank kir royals.



Boxed, 'Limited Editions' of the book, containing signed and numbered prints were sold for $200 and framed prints from the exhibition in a silent auction. The New York party donated all book and print sales to the CFDA raising $10,000.


Mulberry's Creative Director, Emma Hill

Titled 'Romance', the 200 page book is a personal project which Craymer has been working on for several years - an evocative series of photographs capturing moments which perfectly articulate the true meaning of romance.

The fashion brand, Mulberry, were so taken with the collection of photographs that they sponsored the publication of his book; are exhibiting the shots in their store windows throughout the world and hosted last night's event, followed by events in London on May 20, Paris on July 8 and Hong Kong on August 27 The final event will be hosted in Hong Kong on August 27.

Press for the evening was handled by KCD.

Thursday, May 07, 2009

“Don’t Rain On Our Parade”



Do you know why I didn’t have to consult with Al Roker to see what the weather would be like on Wednesday, May 6th? Or why, after a quick look at this week’s projected forecast, where one could easily see that umbrellas and rubber boots would be the order of the day, I was hardly surprised that the one bright light would come mid week, on the first Wednesday in May? Well, it’s simple; the first Wednesday in May has traditionally been the date for the Frederick Law Olmsted Awards Luncheon, better known as "Hat Day". Legend has it that it never rains on the FLO Awards Luncheon, hosted by the Women’s Committee of the Central Park Conservancy (whose mission is to restore, manage, and preserve Central Park, in partnership with the public, for the enjoyment of present and future generations), www.centralparknyc.org



Bette Midler

While yesterday’s event may not have met with magnificent summer like weather, as it has been in the past, it never actually rained, and in fact, by the early afternoon, one could actually see peeks of sun shine through (it was hard to remember what the sun looked like!) Oh, and by the way, Mrs. Al Roker (ABC Newscaster Deborah Roberts), and the Divine Miss M (Bette Midler), an avowed conservationist, were among the approximately 1200 (divinely clad) guests, who descended upon the glorious gardens. This year’s co-Chairs were Vicki Foley, Muffy Miller, Gillian Miniter, Tara Rockefeller, and Stephanie Winston Wolkoff.

While Glenda Bailey, Amy Fine Collins, Francisco Costa, Tory Burch, and milliner Eric Javits were among the attendees, this is not a ‘fashion’ event per se but a fundraiser attended by the city’s movers and shakers who are on a mission to help raise money to preserve this magnificent piece of heaven in our urban jungle. Still, it is a fashion spectacle nonetheless, and hats (the more extravagant the better) have always taken center stage.


Lookonline's Marilyn Kirschner (left) wearing a hat by Adrienne Landau and Patsy Tarr wearing Lanvin

Notwithstanding the popularity of hats and headpieces these days, (they were all over the recent runways for fall 2009, and Isaac Mizrahi even turned an empty handbag into a purse), they can admittedly be tricky to pull off, and many women never really feel comfortable donning a chapeau. However, this is one event where you feel almost out of place and positively ‘naked’ if you go hatless. You might look at yourself in the mirror beforehand, and have second thoughts about your choice, thinking you look a bit silly, but once you arrive at the entrance to the Conservancy and take in the spectacle, you see that it’s practically impossible to make too much of a statement. And hey, what’s so bad about having some much needed fun, not taking yourself oh so seriously, and adding whimsy to your wardrobe, particularly during these ‘down’ times?



While I fully expected to see the requisite and predictable garden variety (pardon the pun) floral prints, pastels, ladylike dresses, tailored skirt suits, and of course, Ascot and Kentucky Derby worthy big brimmed straw hats, I’m always drawn to those women who add an element of surprise, bend the rules, and break with tradition (by choosing menswear inspired pantsuits, by putting themselves together in an interesting way, or by using their imagination with regards to their headgear). This year, in addition to rakey fedoras, there were as usual, plenty of butterflies, birds, feathers, and colorful sky high and mobile like concoctions making arresting use of flora and fauna, some of which could do double duty as a table centerpiece, and which seemed like dangerous defensive ‘weapons’ and could conceivably poke someone’s eyes out, especially if you were trying to air kiss an acquaintance. (On second thought, with the Swine Flu epidemic as of late, we probably shouldn’t be doing all that ‘kissing’ anyway!)


Black and white persian lamb coat by Revillion

And because the weather was a bit cool, cloudy, and damp at the outset, there were not only more coats this time, but a smattering of furs (and not just fur trims). Unusual for May, to say the least. In addition to a fur collar here and there, I spotted a chic black broadtail cape coat trimmed with Mongolian lamb; but my favorite was a black and ivory Persian Lamb coat by Revillion (where the white fur was pieced together to make a pattern resembling a flower) which the wearer tossed over a bright, graphically floral fitted short dress by Nicolas Guesquiere for Balenciaga.


Guest with mini Birkin bag

As I took in the designer clad throng, it was easy to forget that we are in the throes of a major recession, what with all the Hermes Kelly and Birkin bags (in all sizes including an orange mini which was the chicest of the lot), and of course, various takes on the classic quilted Chanel bag with gold chain handle. But thankfully, the well dressed, well heeled guests didn’t just spend money on themselves: the Central Park Conservancy just got a little wealthier yesterday (to the tune of $2.1 million!) And that’s not chunk change.

-Marilyn Kirschner

Tuesday, May 05, 2009

2009 Costume Institute Gala

 Red Carpet Report


Kate Moss & Marc Jacobs (All photos Randy Brooke)

This year the Costume Institute of the Metropolitan Museum of Art celebrates "The Model as Muse: Embodying Fashion". The exhibition runs from May 6 until August 9, 2009. As mentioned in the press release, this exhibition explores the reciprocal relationship between high fashion and evolving ideals of beauty, focusing on iconic fashion models in the latter half of the 20th century and their roles in projecting, and sometimes inspiring, the fashion of their respective eras. The exhibit is expected to showcase how these models have served as designer muses by inspiring, defining and embodying trendsof the 20th century, and contributing to how fashion eras are remembered.


Liv Tyler, Stella McCartney, Kate Hudson, Kate Bosworth
In the past years, the public interest and fascination for supermodels has waned significantly. The gala held tonight served as an interesting view of what was yesterday and how things are today. Long gone are the Linda Evangelista and Naomi Campbell flamboyant display of personalities that had more to do with the superstar system than anything related to the fashion world. Today, fashion and its dictates have won, and the models have become not much more than clothes hangers that let the creative spirit of fashion designers be expressed. They merely display clothes, leaving their personalities behind a common mask of unexpressive faces and languid physical stance. The British model Agnes Deyn, who has been touted as "fashion's next supermodel" is an exception. Even she stays in the recesses of public scrutiny (so far), just lending her public persona for mostly fashion related events.


Anna Wintour

The two first VIPs to step on the red carpet were Marc Jacobs (Honorary Chair) and Kate Moss (one of the three co-chairs), clad in a single shoulder asymmetrical metallic dress by Marc Jacobs with matching platform heels and a metallic turban by Stephen Jones. Following them and in all fashion splendor came Heidi Klum (who is expecting), glowing in a Gilles Mendel dress made of layered and tiered midnight blue organza. Gilles Mendel was her proud escort.


Gisele Bundchen

After this, a succession of celebrities, models and guests followed on the red carpet amid the shouting of photographers claiming their attention, and lights flashing from every direction. Among the many seen arriving and posing for photographs, some more than others attracted attention whether by their status and/or what they were wearing. The models were out in force, of course, most showing long and extremely skinny legs in very short outfits.


Heidi Klum
Cindy Crawford, along side Donatella Versace, sizzled in a plunging and fitted electric blue Versace number that featured a thigh-high slit. Victoria Beckham in a Marc Jacobs polka-dot single shoulder mini dress with a train stood confidently in sky-high pedestal ankle wrap pumps.The only fashion tragedy of that evening was that Leighton Meester wore the same shoes! Jessica Biel stepped out in Christian Louboutin's, looking radiant in a red boned-bodiced Atelier Versace Spring 2009 gown complete with ruffled train.


Justin Timberlake
Boyfriend Justin Timberlake, a co-host of the night's festivities, looked dapper in a creation from his William Rast line. Gisele Bundchen went super short in a sequined blue Versace mini and peep-toe booties to match. Tyra Banks walked the red carpet in a metallic black strapless fishtail Badgley Mischka Couture gown accessorized with the designer's jet chandelier earrings, glass stone cuff, and couture shoes. The singer Rihanna sizzled in a black tuxedo, and edgy creation from Dolce & Gabbana.


Claudia Schiffer
Almost a flashback to her wild youth and shocking ways, Madonna turned out in an outrageous ensemble complete with thigh high black stripper boots and what could be the world's largest scrunchie. It was Louis Vuitton, so that worked for the "Material Girl," but not for the rest of us. Designer Stella McCartney in a lacy pant singlet showed off some of her design muses. Kate Hudson glistened in a gold keyhole halter gown with exposed back, Liv Tyler was superb in a blue plunging number, and Kate Bosworth was magnificent in a body-hugging lace gown.


Tyra Banks with designers Mark Badgley and James Mischka

Mary-Kate Olsen wore a fantastically full vintage Christian Lacroix frock. Diane von Furstenberg was seen going up the stairs in an elegant free flowing metallic dress. The singer Ciara looked beautiful in a black and white Pucci dress created by its new director Peter Dundas. If Anna Wintour looked elegant and classy in a black and white Chanel Couture dress, her daughter Bee Schafer and her Nina Ricci dress didn't fare as well. A special mention goes to Stella McCartney whose obvious talent was well displayed that night.


Paulina Porizkova
However, in my opinion, the five best dresses of the night were the ones worn by Heidi Klum (Gilles Mendel), Marion Cotillard in a dreamy blush pink Christian Dior dress, Renée Zellweger in a fantastic forest green long dress by Carolina Herrera, Liv Tyler in a blue metallic dress by Stella McCartney, Diane Kruger in a fantastic Chanel dress of white roses.


Renée Zellweger
As for the fashion faux pas, well, there were quite a few. The one that stands out the most has to be what Helena Christiensen was wearing. She was accompanied by Zac Posen and modeled one of the fashion designer's creations that looked more like a cheap Halloween costume than anything else.


Carmen Dell'Orefice
Kohle Yohannan, guest co-curator of the exhibit says that "We'reliving in an era, where there are 14-year olds running up and down the runway and Carmen at 77 walking the same runway. We have plus-size models, we have the skinny model, we've got everything inbetween, we've got every race, every blend, every exotic type. That's great, we've come a long way and I think it's awesome to celebrate all of these women's contributions to what fashion is, because it's more than a dress. It's the woman in it as well". Maybe, Mr Yohannan, however more than ever before, the high-end of fashion only chooses very skinny and unhealthy looking models. Tonight, seeing curvier women like Cindy Crawford, Cheryl Tiegs and Carol Alt (to name a few) was a reminder that models do not need to be just clothes hangers to display fashion the best way.

A final note concerning the technical side of the event. This year, budget cuts (?) resulted in poor lighting under the tent housing the red carpet. It's was quite unfortunate, as many photographers noted.

-Muriel Geny-Triffaut
I continue to be a ‘Muse’d

Warning! If you suffer from periodic bouts of self doubt and insecurity, and sometimes have self image issues, you might want to stay away from “The Model As Muse, Embodying Fashion”, exhibit, (www.metmuseum.org) which opens to the public on May 6th and runs through August 9th, 2009. Organized by Curator in Charge Harold Koda and guest co-curated by Kohle Yohannan, the exhibit seeks to explore the relationship between “high fashion and evolving ideas of beauty” from the 1950’s through the 90’s, focusing on “iconic models of the twentieth century and their roles in projecting and sometimes inspiring, the fashion of their respective eras.”

While in the course of yesterday’s press preview (more on that later), Mr. Yohannan may have enthused about the way in which this exhibit illustrates the ‘new’ inclusive diversity (as illustrated by a broader range of ages, body types, sizes, ethnicities, etc.), believe me, as I studied the divinely clad mannequins (my personal favorite period was the 60’s: and that image of Verushka, clad in the iconic YSL safari shirt, shot by Rubinelli in 1968, is engraved upon my mind), videos, iconic photographs, and magazine covers depicting the world’s most amazing creatures, both past and present, it was hard not to see that regardless of how you define it…it was all about a non negotiable, impossible to achieve, ideal of beauty. Who said life is fair?

And speaking of magazine covers, while the great majority were from Vogue (LOL, what a surprise!), of course, there were some notables from Harper’s Bazaar and a few from W. As a former senior fashion editor at Harper’s Bazaar, I not only recognized, but had actually worked on some of the famed pictorials (no…not the ones from the 50’s or 60’s!) and I was responsible for pulling some of the clothes that were featured. (FYI, according to Harold Koda, the reason most of the covers are from Vogue, is that Harpers Bazaar, as beautiful a magazine as it was, especially from an artistic point of view in the 50’s and 60’s, did not use the models on their - the Costume Institute’s - list. In addition about 30 of the covers, including a famed one shot by Avedon, came courtesy EBay!)

While I was among the many (the VERY many), who did not get a ticket to the attending gala last night, I did attend yesterday’s midday press preview, which while not the "Party of the Year", (don’t you just hate that term anyway?) nonetheless felt very festive and celebratory, thanks in large part to the wonderfully conceived, highly spirited, mixed media tableaux which even included the appropriate music to correspond to each era. For example, for the 70’s, there was a blaring disco soundtrack, and for the Grunge 90’s, we were treated to George Michael’s famous anthem, “Freedom”. Talk about mood music.

At approximately 11 a.m., we were all summoned back downstairs from the second floor Tisch Galleries, for a (thankfully) short and to the point press conference. First up was Thomas Campbell, the new Director of the Metropolitan Museum of Art. He spoke about this year’s exhibit which opens “upstairs with a series of snapshots from American Fashion and focuses on its inspirations (the models) over the recent decades from the 1950’s through the 1990’s. It is the models “who embody for us a particular era or aesthetic”, and who in his words, are “transmitters of cultural change”. He spoke of their roles in shaping society and design (“every era has its mirrors and muses”), and the way in which these elements inspired the Costume Institute’s Curator in Charge, Harold Koda, and guest curator, Kohle Yohannan. “The Tisch Galleries (on the second floor where the exhibit is housed) never looked like this”, he observed.

He went on to say, “I want to thank our sponsor, Marc Jacobs, a creative spirit who has had a tremendous impact on contemporary American Fashion. Thank you for your unwavering support. And many of you know that I’ve been Director for 4 months, and in this time I’ve come to understand the level of dedication, determination, and selfless generosity that Anna Wintour demonstrates towards this institution on an ongoing basis. Conde Nast has been a loyal supporter of the spring Costume Institute exhibition for many years and Anna Wintour has played an enormous role in that sponsorship as well as being an organizer of the benefit, that in one precious evening each year, funds the year round for the Costume Institute. This would not be possible without her. She is a consummate donor and friend. Thank you”.

Next up was Marc Jacobs, (he, along with Anna Wintour, and daughter Bee, who enjoyed a private tour of the exhibit with her mom, directly after the press conference), made a statement in tan knee length Macs. (It may have been damp and wet outside but I can assure you, nothing and nobody would dare rain on Anna’s parade!) Marc was informal, animated and spoke quickly. “Hi everybody. Good morning, I didn’t prepare anything to say. So I’m just going to have to wing it. I am just very moved, basically because I feel very flattered and thrilled and honored to be associated with anything that has to do with this beautiful museum, this wonderful institution that I grew up with as a New Yorker. And of course I’m very grateful to Anna because she invited me to participate. For me, this is a dream come true because I have attended this event since I was 25, working for Perry Ellis, and it was an incredible evening then, and ever since then its become even more incredible.”.

MJ also noted that he has learned so much from the exhibitons, he always makes use of the library, and he researches clothes, shoes and “all sorts of things”. “The museum has helped me to do my work certainly as much as the muses who have inspired my work. I’m full of gratitude.” Of course what Marc didn’t say, is that if things way back when, (when he was a lowly assistant), were as they are today, he probably wouldn’t have been able to attend the gala, because it’s not exactly ‘democratic’: there is no cocktail party and there is no longer, an after party. The Costume Institute Gala, thanks to Anna Wintour, has become increasingly exclusionary, restricted, and rarefied.

Harold Koda was up last and when he took the microphone, he wasted no time in singing the praises of his co curator, Kohle Kohannan. He stated that “this exhibit would not have occurred without Kohle, whose “knowledge of cultural and social history with regards to the model has made and animated the whole project”. “We are the one curatorial dept that relies on the fashion industry for support and it’s because of Anna’s unwavering support of the Costume Institute that has allowed us to be rather aggressive and ambitious in our projects. I don’t think we could begin to address some of the testy issues that we’ve been able to address.”

“Model as Muse occurred because Andy Bolton and I were looking through various publications and as were looking through publications of the 40’s, 50’s, and 60’s, we realized that there were certain women who have come to define our notions of idealized beauty in every generation. At that time, we didn’t think there was enough material for a show, but we did think this was interesting phenomena. And then Kohle pulled out a manuscript relating to the fashion models of Conde Nast. With Kohle’s knowledge of fashion history and the history of models, together with the Museum’s incredible archive of iconic fashions from the post war period, we thought we did have a show. But, still, none of this would have been possible without the unwavering support of Marc Jacobs from the very beginning. The only criteria that he had was to “please make the exhibition lively”. We have attempted to do that by working with Academy Award winning art director and production designer, John Myhre, who has informed the exhibit with period authenticity without being heavy handed. It’s light and playful.”

Mr. Koda admitted that working with mannequins is always difficult. But as he put it, “We were privileged for the third time, to work with Julien D’Ys, who has done all the heads and hair of the exhibition. As you can see, he is deeply routed in fashion history but he takes it a step further”. And then he spoke about the “big surprise”. On Friday, “as we were walking through the exhibit, Anna said “Well, this is Grunge, but it doesn’t look Grungy enough”. Julien overheard this and so he created the marvelous murals that happened on Friday night and Saturday, It’s extraordinary and I do want to thank him. (Marvelous they are). “I also want to thank our Co-Chairs. Kate Moss, who is iconic, and who has been able to transcend the decades and become someone who is viewed as a fashion avatar on camera and also off camera; and that is the important contribution she has made to contemporary fashion”.

“And we happen to have another Honorary Co- chairman, someone we know to have legs just as beautiful as Kate Moss. And that’s Justin Timberlake and we’re really thrilled both of them have taken time from their really busy schedules at the behest of Anna, to participate in what we know will be a really remarkable evening tonight.” So ‘remarkable’ in fact, that few of us will actually get to see it.

Marilyn Kirschner

Monday, May 04, 2009

"The Model as Muse: Embodying Fashion" by The Costume Institute at The Metropolitan Museum of Art

Some high resolution photos of the major installations by Randy Brooke. Click on each image to see the full sized matching photo.


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Marilyn Kirschner will soon file her report on the press conference held earlier today. And look for our coverage of this evening's gala red carpet by our reporter Muriel Geny-Triffaut and photographer Randy Brooke.
Tomorrow’s Designers on the Runway:
FIT on the Catwalk



FIT Runway (All photos by: Lorenzo Ciniglio)

On Monday, April 27th, The Fashion Institute of Technology presented not one, but two showings of the designs of their top graduating students. FIT on the Catwalk, their annual runway event, took place at the school’s John E. Reeves Great Hall. Those attending the evening presentation were invited to sample various chocolate treats at a reception prior to the show. While waiters passed trays of brownies and chocolate hearts, the names of the winning student designers in the competition for awards from Cotton Inc. were announced. Five students received $1,000 each in prize money for the best use of cotton in a garment.


Cocktail Dress by Kristen Kells

Just before 8 o’clock the guests began streaming into the adjoining venue for the runway presentation. They included such fashion luminaries as Zang Toi and Patricia Field, who were also serving as two of the judges determining other awards given to students for their designs. It was a standing room only crowd, which was impressive given the fact that this was the second showing of the student collections.


Lingerie by Breanna Nussbickel

One never knows exactly what to expect of a student designer fashion show, but this one proved to be surprisingly delightful. No less than 113 garments were presented on the catwalk. They included creative representations in the categories of sportswear, special occasion, knitwear, intimate apparel, children’s wear, and fashion-forward menswear designed for Fall 2009. Students were mentored and critiqued in their final semester by industry professionals Dennis Basso, Nicole Miller, Alexander Wang, Rickie Freeman, Wenlan Chia, Jerry Dellova, Deborah Marquit, Carolina Zapf, Tim Hamilton, and Italo Zucchelli. The influence of these designers was apparent in a number of garments presented.


Knit wedding gown by Josue Diaz III

While some of the pieces were predictably over the top, many were fresh takes on classic looks, like the perfect little black cocktail dress by Kristen Kells. The lingerie offerings were elegant, finely detailed, and long on sex appeal. Josue Diaz III managed to craft powder blue cotton knit into a wedding gown that was at once unusual and utterly charming (it garnered him the Cotton Inc. award). What did not work quite so well was the menswear, which was presented for the first time in this year’s shows. All too often these looks appeared boxy and somewhat ill fitting. This was also the first year that the models were accessorized with creations by FIT Accessories Design students.


Design by Sylwia Siedlecka

Ultimately the night belonged to a charismatic group of children who modeled the children’s wear with considerable aplomb. They stole the show, walking the catwalk in styles that ranged from hoodies and jeans to a multi-tone chiffon party dress with matching gloves.

- Rhonda Erb

Sunday, May 03, 2009

Good Golly, Miss Helen



Luxury, Russian-born fur and jewelry designer, Helen Yarmak is no shrinking violet; that is for sure, especially considering the sexy, no-holds-barred ways in which she handles her rich sables, minks, ermines, et al. So, it is a no brainer that her jewelry line would not follow suit. And, indeed, it does; big time. While some of the jewelry pieces here might come across as being a bit much and sometimes, a bit-too-over-the-top, the majority of the line is simply spot on and absolutely covetable by its very haute nature.



Thinking about the mantra of Marie Antoinette, “Let Them Eat Cake”, (which unfortunately, as everyone knows, did not bode well for the Parisian Aristocrat), it surely seems as if Yarmak’s, modern-day mantras might come across as, “Let Them Wear Haute Couture”, or as in the case of the jewelry collection, “Let Them Wear Heavy G”.



Perhaps these mantras fit perfectly with the designer because they state clearly the place where her M.O. seems to come across in a say-it-loud, crystal-clear and totally, right-on manner. Or, maybe these mantras serve to define Yarmak’s creative repertoire as being about the idea of unabashedly and unashamedly - even in today’s tough economic climate, no doubt - giving her well-heeled clients as much fashion, style and glamour as they can handle, even though prices for some of these sparkle-plenty pieces can range from the sublime ($750) to the stratospheric ($500,000). But, this is all good, especially given the fact that the pieces are exclusive enough to be available for purchase only through Yarmack’s Retail Boutiques, located at NYC’s Plaza Hotel and throughout Russia, as well as via her website (http://www.helenyarmak.com/).

The 2009 Jewelry Collection was previewed to the fashion press by Yarmak (who flew into town from Russia just for the meet-and-greet”event ) and her minions, over a recent, two-day period at the designer’s plush, Fifth Avenue, Crown Building Showroom, where not so coincidentally, Playboy’s offices are currently located.



The outrageous assortment of gems were in their place, all right, as lots of huge, multi-colorful cocktail rings, necklaces, brooches, earrings and the like, rendered accordingly in 18k gold (yellow, white and black, n’est ce pas), as well as sterling silver, (the latter definitely looking somewhat plain-jane and out of place at times), were all seen strewn purposefully around the room.

Not discordant nor undermined at all, the jewels themselves appeared to be right at home and quite comfortable, mind you, set amongst the showroom’s sweeping cityscape views (from nearly every window), the open-air, wrap-around deck, one of the coolest and most well-stocked bars imaginable in any nightclub, let alone any showroom, and all of the non-stop coffee, champagne and finger food on hand. One might worry that with so much eye candy to look at, the gems might get lost in the shuffle. Not to worry, though, mostly every piece stood on its own, for what it was worth.



Of particular note here: Yarmak’s unusual use of precious and semi-precious stones across a delicious, one-of-a-kind grouping, embracing Emerald beaded earrings, in 18k yellow gold with diamond and green garnets; Tanzanite, Sapphire and Diamond earrings and matching ring in18K black gold; Diamond Orchid earrings and matching ring, in white or yellow gold. A nice addition to the overall mix, but somehow more quiet and young than the rest of the bunch; the Enamel Collection comes across as quite fun and playful. For this part of her collection, Yarmak shows her girlish side. There are rings festooned with cows, bullfrogs, hippopotamus, and green leaves with ladybugs all over, as well as a very pretty, ballerina pendant for mixing and matching.

– Adrienne Weinfeld-Berg