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    Jason Wu, Sally LaPointe wow at Fashion Week

    A design by Jason Wu.
    A design by Jason Wu.

    NEW YORK – There was no escape from fashion at Lincoln Center on Friday, inside or out. Photographers chased women they mistook for C-list celebs down clogged streets. Runways were lined with socialites, celebs, and editors, all carefully appraising the work of designers including of Peter Som (crop tops), Lyn Devon (um, more crop tops) and others. Here’s a look a few big shows.

    Jason Wu

    He called his collection “a dialogue between construction and ease,” and if clothing could talk, that dialogue would have included whispers about glamor living in harmony with practicality. Wu’s bias cut dresses with metallic embroidery were occasionally topped with beige trench coats, leather cycle jackets, and cable knit sweaters. It was as if a chivalrous gentleman was there to save his shivering lady. A steady stream of neutral jumpsuits and dresses — including a stunning metallic nude evening gown — were deceivingly simple. The wow was in the details. Panels were cut into a black crepe dress to show skin under lace, and trousers sported corset lacing up the leg. Wu presented sex appeal, with a lot of taste.

    Sally LaPointe

    A dress by Sally LaPointe

    The Marblehead native is continually flirting with dark themes in her work, and her Spring/Summer 2014 collection was, in her words, “A beautiful and dreary simplicity,” partially inspired by those wilting flowers seen at the corner deli. That led her to mix egg shell-colored dresses with stark white details and create intricate folds and pleats that at times resembled kimonos and fabric origami. There was just enough intergalactic playfulness with spots of iridescent fabric (Lady Gaga is a customer, after all), but what stood out were party dresses in canary yellow and experiments in windowpane check organza that felt far from glum.

    Rebecca Minkoff

    A dress by Rebecca Minkoff


    Minkoff took her show south for Spring/Summer 2014. Latin influences were sprinkled delicately throughout. There was a modern, tailored jacket that, on closer inspection, looked like a distant relative of a Mexican blanket. To a live soundtrack by Janelle Monáe, models sported embroidered details on crisp white sweaters and blouses that could have come from another decade. At times it was all a bit too darling, but she found just the right balance when she layered her Central American-influences with jackets and dresses of dangerous black mesh.

    Christopher Muther can be reached at