 Trovata is known for its preppy, coed looks, but the O.C. brand drew a decidedly boho crowd Tuesday night at a party celebrating its spring collection on the roof of Palihouse in West Hollywood.
Folksy singer Robert Francis (at right, holding the drink), performed live with his band, underscoring the '70s-era Joni Mitchell/Cat Stevens vibe. Women donned long, flowing wraps, floppy hats and -- in their artfully disheveled coifs -- hippie headbands, feathers and oversized silk flowers, while a few full-bearded Devendra Banhart clones wandered around, swilling keg beer in ripped jeans.
 Among the revelers were Samantha Traina, Magda Berliner, Billy Zane (bucking the boho trend in a crisp black suit) and a curious Matt Dillon -- who wandered up from the bar downstairs, clad in a black T-shirt befitting Superbowl Sunday. "I just came up to see what was going on," said the original "Outsider."
-- Emili Vesilind
Photos: Free spirits roaming the Trovata party. Photo credit: Emili Vesilind / Los Angeles Times
Monday night, North Hollywood design darlings Elmer Ave presented their spring collection at Smashbox for the second season in a row. Simple suiting with a handworked edge lends the line a rock star-meets-gentleman aesthetic. And that vibe was well reflected in the collective’s latest line of tailored tuxedos, polished peacoats and a show soundtrack featuring the ultimate spruced up singer himself, Frank Sinatra.
Fashionphiles predicted a style revolution before Elmer Ave’s major league fashion show debut last season. And though the March presentation was a valiant effort, it fell short of expectations.
This time around, the program promised guests “more of the same.” And a gentleman never lies.
Despite their dapper efforts, Elmer Ave failed to bring anything new and exciting to their latest runway show. Instead, jackets and vests featured the same spray-painted stripes, sayings and crosses that littered the pieces in their last show.
A hunter green military jacket nearly mirrored an item shown on the group’s Gen Art runway in 2005. Longer, leaner and without attached war medals, the latest military coat did look less like a Col. Klink costume than its predecessor. But the style still looks Halloween party-appropriate. Guess we won't be seeing it on Army Gen. David H. Petraeus’ modern day troops anytime soon.
One innovation was Doll Fit, Elmer Ave’s official foray into female-sized pieces. The collection of androgynous vests and blazers borrowed similar stripes and symbols from the menswear. You can’t help but wonder if they used the same can of spray paint on both lines. 
Shrunken blazers perfect for skimming curves were the highlight, and there were a bevy of well-tailored options to be found. Unfortunately Elmer Ave’s spray-painted signage marred each one. A simple black tuxedo jacket would have been elegant and versatile without three thick gray lines splashed across the front. A gray tweed number looked stately and academic until the model turned around, revealing Elmer Ave’s nameplate. It’s hard to look intellectual with a street sign plastered on your back.
One wearable womenswear winner was found in a pair of slouchy tuxedo trousers with satin side piping.
But even the loose, sexy pants weren’t that remarkable.
Hopefully next season, the boys of Elmer Ave will put down the paint can to let their simple, structured silhouettes really shine through.
Because no one wants more of the same.
-- Erin Weinger
Photos by Jay Clendenin / Los Angeles Times
The designers at L.A. Fashion Week love to show a lot of skin in their collections. And since it’s the spring/summer season, you bet they’re gonna bring it.
Two shows of bikini collections have already happened in these first couple days. Monday it was Beach Bunny swimwear -- which is exactly as it sounds, but worse. And today, D’Amore by Marceau, a swimwear line designed by model, DJ and pizza parlor heiress Caroline D’Amore. The leggy L.A. cat walker wasn’t at the show though. She is stuck on an East Coast set where she’s filming a movie with her pal Rumer Willis. That adds actress and swimsuit designer and two more slashes to her growing list of career titles.
The Beach Bunny Swimwear show had a front row of Playboy playmates, two of whom are Hugh Hefner’s new girlfriends. They’re twins. I was placed next to them until being asked to move because apparently I was in Drew Carey’s seat, which officially made me understand what those people on “The Surreal Life” must feel like. Carey never showed.
The swimwear looked like lingerie trying to be swimwear, made for ladies who like to look like they are always in their underwear.
Lots of lacey trim on super skimpy bottoms and barely there triangle tops. I am not convinced that the suits are even waterproof -- though there were certainly a lot of flotation devices.
Today at D’Amore by Marceau, the suits were actually really cute. A lot of creative one-piece styles with side ruching and bold '80s patterns. The best group was the snake print metallic suits that looked well-made and figure flattering.
In a battle of Beach Bunny versus D’Amore, I’d have to say D’Amore takes the prize for cute swimsuits. The bunny bunch can keep their bikinis for lounging around the grotto.
-- Melissa Magsaysay
Top photo: Beach Bunny Swimwear. Photo credit: Jay Clendenin / Los Angeles Times. Bottom: D'Amore by Marceau. Photo credit: Chris Pizzello / AP
Half an hour before his “Street Fame” show at the Culver City tents, master showman Christian Audigier was backstage in a scrum of video cameras, air-kissing friends and well-wishers.
“This collection was inspired by the street, by the famous people I know –- the colors, the bling,” he told us before posing for pictures with a cadre of kids who would soon be busting serious break-dancing moves on the checkerboard runway –- and be clad from head to toe in Christian Audigier kids wear.
You see, Audigier has expanded his Ed Hardy tattoo-inspired line to include dagger-stabbed skulls, roses and leaping tiger tattoo art on kids hoodies, T-shirts and shoes. He’s also added swimwear, underwear, neck ties, faux-Ugg boots, foil-printed slip-on sneakers and even air fresheners and eau de toilette to the Ed Hardy-branded empire, and he seemed to throw it all on the catwalk in what felt like a full half-hour show (most last in the neighborhood of 10 minutes).
Audigier did seem to borrow liberally from the world of celebrity kids in tulle skirts reminiscent of Madonna’s “Like a Virgin” video, and models in shutter shade eyeglasses a la Kanye West’s “Stronger” video. The collection itself also seemed to borrow signature riffs that seem familiar from elsewhere. Swooping white paint along the back yoke and pockets of blue jeans like Evisu’s stylized white sea gull logo, the soles of women’s high heels were covered in tattoo print designs the way Christian Louboutin’s are a signature red.
Overall it was a cacophony of color and tattoo-art designs, ankh-peace signs, crouching tigers, top-hat-wearing wolves against a backdrop of bright oranges, teal blues and mostly raw denim. Multiple embellishments, embroidery, screens and foils layered upon one another made it seem like after four years of plumbing the archives of tattoo artists Don Ed Hardy, Audigier feels constrained rather than inspired by the conceit, and sees his only option to burn through as many designs as possible as quickly as possible.
It hardly seems possible that a master showman like Audigier -– whose stable of brands has gotten so big he recently held his own trade show in Las Vegas and who has adorned a Culver City building near Smashbox Studios with wall-sized banners bearing his likeness -- could go off the rails in the shameless self-promotion department, but when a male model in Ed Hardy board shorts hit the catwalk cradling a 2-foot-tall can of Ed Hardy energy drink, we couldn’t help but think that even Audigier would have to admit his lifestyle branding juggernaut had jumped the runway shark.
-- Adam.Tschorn@latimes.com
Photos by Kirk McKoy/Los Angles Times
 L.A. designers Sophia Coloma and Marissa Ribisi, known collectively as Whitley Kros, love big-and-bold prints. And they employ them well: emblazoning quirky, original artwork on oversized T-shirts (Ribisi's husband, Beck, has done some of the neon illustrations) and creating whimsical prints for fabric from the ground up for their easy-fitting silk tunics, dresses and separates.
But in past collections, the young brand has mixed more tailored, solid-colored pieces in with its breezy, boldly patterned looks -- to lackluster effect. But at their spring show Sunday night at Smashbox Studios, the duo seem to have finally found their niche, presenting a collection of easy-fitting printed pieces obviously made for upper-crust fashion girls, but appropriate for almost any woman (there's a "Golden Girls" vibe to some of their unstructured tops that I love).
With their hair gathered in a lopsided top-knot on their heads and their faces nearly makeup-free, models marched out in louche jumpsuits, rolled baggy cotton pants, little silk floral dresses, and a bevy of cool tops, in prints that included fat colored stripes, abstract flowers, cartoon animals and a lovely pink-and-blue pastel plaid that looks like a washed-out watercolor (the fabric was also used for a sweeping floor-length dress with knotted straps, pictured below). The loosey-goosey looks were tempered by some great chambray denim pieces, including paper-bag waisted shorts and a blazer I could envision throwing over all kinds of dresses and tops (pictured above).
Paired with most of the tops were pastel-hued cotton bloomers that intentionally fit a few sizes too big (not sure what the deal was with those; are they supposed to be worn outside the love shack?).
Inspirations for the collection, stated the program, included Allen Ginsberg, Morocco, Bob Dylan, African safaris and sunsets in Greece. And it was all in there, culminating in a sunny, optimistic-feeling show -- exactly what the world needs right now.
-- Emili Vesilind
Photos: Jay Clendenin / Los Angeles Times
When you have dresses called “Garbo,” “Crawford,” “Ziegfeld,” “Hepburn” and “Lucille” in your collection, your audience is gonna get it. Kevan Hall’s old Hollywood inspiration was crystal clear and a perfect way to showcase his knack for making a beautiful vintage silhouette.
His daytime looks came in black and white silk dupioni, with 1940s zoot suit-style pointed lapels on a neckline and a graphic chevron pattern on the front of a blouson dress. The classic contrast of color and Hall’s spin on a day suit felt strikingly fresh.
And then it was time to get down to business. And by that I mean playing to his increasing presence on the red carpet and his celebrity fans, a few of whom were sitting in the front row. Garcelle Beauvais, Rachel Griffiths and Dana Delany all clocked the frocks they could envision themselves wearing to the next round of award shows. Most of which are not far off -- kudos to Hall for taking the opportunity to get his gowns in front of the right people. We’ll see if it pays off come show time.
There were gowns aplenty. Hand-painted cheery yellow flowers were fun and optimistic. And a group of aquatic-tone chiffon such as sage, navy and aqua kept things fluid and light. But included was a heavier sea foam number -- and nothing really looks great in sea foam, especially taffeta.
Hall didn’t just play to the screen sirens, he also gave a shout out to the chorus members, making kicky little apple green “Tap pants” or as we might call them today, hot pants, paired with a green and white gingham “dance tunic.” One could just picture a young Judy Garland reporting to the set in such a get up, ready to rehearse, which makes sense since Hall stated in the liner notes that he was inspired by Adrian, who famously did costumes for “Wizard of Oz.”
The gingham didn’t stop with the chorus and thank goodness, since one of the strongest looks in the collection was a black jersey bodysuit worn beneath a black and white, large-check, gingham floor-length skirt.
Hall’s nostalgic collection gave a nod to Hollywood’s old screen sirens while giving a wink to the town’s new stars, who he hopes will wear these gala-ready gowns in the months to come.
-- Melissa Magsaysay
Photos: Top: Frazier Harrison/Getty, bottom: Jay Clendenin / L.A. Times.
Los Angeles Mayor Antonio Villaraigosa, accompanied by his daughter Natalia, were among those trekking out to Culver City for Kevan Hall's show yesterday afternoon, the first show on the Mercedes-Benz Fashion Week at Smashbox Studios calendar, the first trip to the tents for both. Villaraigosa's presence was notable not for his support of the city's garment industry -- he's been spotted at BOXeight shows in the past and is slated to speak at "Downtown at Dusk," on Friday evening, a fashion event at the California Market Center on Friday, which marks the kickoff of L.A. Market Week -- but because in March, when we buttonholed Hizzoner at a fashion industry mixer on the back lawn of the official mayor residence (co-sponsored by the Image section), Villaraigosa said that though he was determined to have a Los Angeles Fashion Week in Los Angeles proper, he hadn't darkened the doorstep of the event, held at Dean and Davis Factor's Smashbox Studios on Warner Avenue in Culver City for one simple reason -- it was in Culver City.
That seems to have changed now that Smashbox co-owner and Fashion Week organizer Davis Factor announced in an exclusive interview last week that he was looking for a venue in the Hollywood area for next season -- the first the Factors will be helming solo since they partnered with IMG five years ago.
"They've decided to bring Fashion Week to Los Angeles," said Cynthia Ruiz, president of the Los Angeles Board of Public Works who accompanied the mayor. "That's why we're here." Asked for a comment, Villaraigosa slowly bobbed his head and smiled.
"That's why," he said, before the crowd in the VIP lounge headed for the seats.
-- adam.tschorn@latimes.com
From left: Davis Factor, co-owner of Smashbox Studios, Los Angeles Mayor Antonio Villaraigosa and Adam Paige, Department Manager Brand of Public Relations for Mercedes-Benz, in the VIP lounge at Smashbox Studios on Sunday afternoon. Photo by Adam Tschorn.
 This past weekend, Sarah Palin ditched the uppity bouffant and the bizarre French braid hair styles. She looks different. More carefree and less like that efficient diner waitress who always tops off your coffee just when it starts to get tepid.
But most importantly, she now looks nothing like her impersonator, Tina Fey on 'Saturday Night Live.' Clearly, Palin is either trying to change her image or she's suddenly self-conscious about her ear lobes.
The N.Y. Post reports today that some political scientists believe that political spoofs damage a career. From the article: "Presidential impersonators do influence elections, and in this one, Tina Fey is well on her way to ruining Sarah Palin's political career," said Jerald Podair, a professor of American Studies at Lawrence University.
The story also cites a Washington Post poll that revealed that voters are crediting the "Tina Fey effect" for turning them off to the GOP ticket. If SNL skits have such sway, one can't help but wonder how George W. Bush got elected while Will Ferrell impersonated him. (Though I can imagine that more liberals and Democrats watch SNL than right-wingers.)
I have my own theory as to why Palin decided to ditch the librarian bun. Cindy McCain wanted to wear the bouffant this weekend. (See lower photo.)
Do you think these two women talk in the morning to make sure that they're not wearing the same color blazer or shoes? Do they fight over which one gets to tease her hair higher?
Seriously, do you think that Tina Fey's Palin spoofs are hurting the candidate's image?
Weigh in, people.
-- Monica Corcoran
Photo credits: Top, Getty Images; bottom, AFP
 The U.S. auto industry has a potato in its pipe. According to the WSJ, J.D. Power reports that car and truck sales are stalling fast and are expected to be down 16% this year, compared to 2007. The forecaster even suggested that the global auto market "may experience an outright collapse in 2009."
Over on EBay, Bentleys are for sale. A 2005 Bentley GT is selling for $77,750 -- with less than an hour to go. I can't help but wonder who is buying a Bentley on a Sunday. A 2007 one has 18 bids and the price is at $33,200 with 12 hours to go. This 1961 Bentley converted to a Rolls-Royce -- selling without a warranty or air conditioning in Wilmington, N.C.--reminds me of Mick Jagger and bygone decadence. Or Dudley Moore, as Arthur, swilling a glass of scotch on the rocks in the back seat. It's at $11,000 with 11 hours to go.
The cars selling for over $100,000 aren't getting any bites. Maybe even the richest of rich are on their own relative budget?
-- Monica Corcoran
Photo credit: EBay
 Full disclosure: I've always been partial to so-called BCGs, or "birth control glasses" -- the chunky, squarish eyeglass frames that got their name from the standard-military-issue specs worn in the '60s. I wear a pair of goggle-like black ones from L.A. Eyeworks called, daintily enough, "Hedgehogs." (Palin's frameless glasses might as well be contacts, people.)
But prominent eyewear is definitely having a fashion moment. Last night at the Gen Art "Fresh Faces in Fashion" event at the Petersen Automotive Museum, I spotted at least a dozen revelers in vintage or retro-feeling specs: from Bjorn Borg-style tortoise-shell and metal frames to Ray-Ban-esque shapes to those round, colored '70s models the size of teacup saucers. (Julia Gogosha, owner of the new Gogosha Optique eyewear boutique in Silverlake, surveyed the dense crowd from behind magnificently chunky, glittery-black frames.)
BCGs have also popped up on the runways -- models at Michael Kors' fall show affected "sexy secretaries" in heavy, tortoiseshell frames, a la "Mad Men". And hip L.A. labels Rose and Mike & Chris both outfitted their models in chunky specs for their spring look books.
Who says guys don't make passes at girls who wear glasses?
-- Emili Vesilind
Photo: Bespectacled hipsters at Gen Art's "Fresh Faces in Fashion" last night Los Angeles Times /Emili Vesilind.
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Men's fashion critic Adam Tschorn has been covering men’s wear since 2004 and wearing it much, much longer than that. He holds degrees in philosophy and journalism, which perfectly prepares him to watch fashion shows and ask: “Why?” He covers the runway shows in New York, Milan, Paris and Los Angeles.
Emili Vesilind is a staff writer for the Image section, covering retail, beauty, street style and the intersection of music and fashion.
Melissa Magsaysay is the Fashion Market editor and assistant style editor for Image. She covers trends in fashion and accessories and produces and styles the section's photo shoots.
Staff writer Erin Weinger covers shopping, fashion news and trends for the Image section.