Versace: Carnaby Street Rockin' Gents

There was a major change in focus at the house of Versace, where the models, mood, materials and method were all radically altered in the spring 2011 men's runway collection by this label.

Where before Versace's runway male models were like hunky, macho types, this Saturday in Milan they were nearer to Indie band guitarists, altogether artier more sensitive figures.

The collection presented in Versace's custom-built theater was also a long way from the biker chic of recent Versace men's shows. Featuring lots of skinny pants and short jackets, the clothes referenced the optimistic days of 1960s Britain, the kind of looks young men bought on London's famed shopping street, Carnaby Street.

Motorbike jackets with chains and metal frills, and rock band tuxedos with lots of contrasting piping on the lapels summed up the new mood. Pants were taught at the ankle, few models wore socks.

One also had to admire the completeness of the Versace wardrobe that extended to a snappy finale where graphic black-and-white zigzag prints were used in silk boxers, pajamas and patrician dressing gowns.

"I wanted a whole new casting and a fresher younger take for men," said Donatella Versace, attired in a black sleeveless leather sheath in the post-show backstage.

Also impressing were two-tone rocker shoes, in mixes of faux black crocodile and faded gray suede, cut in that pointy shape, which British shoemakers refer to as winkle-pickers. There were lots of silvery waistcoats, and red-and-black stripe jackets, very theatrical, but always plausible.

A faintly ruffian air wafted through the whole proceedings, with just the right amount of rebellious rocker looks to tempt a new, younger customer into Versace stores.

Ungaro hires Giles Deacon as creative dir.

Struggling French fashion house Emanuel Ungaro says it has hired British designer Giles Deacon as creative director.

The appointment comes in the wake of a wave of recent defections from the Paris-based label, which in recent months has seen the departures of its former CEO, the designers for both the women's and men's labels, and its short-lived artistic adviser, Lindsay Lohan.

Deacon is a graduate of the prestigious Central Saint Martins school of design and has had his own critically acclaimed label since 2004.

The appointment, announced Tuesday, makes Deacon the latest in a long series of designers to take a stab at turning around Ungaro, which has been bleeding money since the retirement of its founder and namesake in 2004.

Americans prove world-beaters in tennis fashion show

It's been eight years since America produced a French Open women's champion, but they're proving winners when it comes to turning heads with their wacky wardrobes.

Venus Williams appeared for her first-round match wearing a black, lacy outfit with red trimming, a plunging neckline and flesh-coloured underwear that kept photographers busy.

Many observers wondered whether the world number two had confused Roland Garros with the Moulin Rouge.

"The outfit is about illusion, and that's been a lot of my motif this year, illusion," explained the 30-year-old to mystified journalists, mainly men.

"These days I just have a lot of fun with my designs and designing and doing different things."

How many of these outfits does she bring to events?

"Probably about eight to 10. I do recycle. I'm not superstitious, but I bring enough just for the back-up plan."

Not to be outdone, sister Serena, the last American champion in Paris in 2002, once wore a black catsuit on court.

On her way to winning the Australian Open this year, the world number one donned a yellow dress with flesh-coloured underwear and said that she too was concentrating on 'illusions'.

"I just sketched it out. The whole idea is just about the illusion that I?m wearing a deep V-neck. Then the idea was to wear shorts that were like the same colour as my skin. It works very well, apparently," she said at the time.

But the Williams sisters have serious competition in the fashion stakes at the French Open in the shape of Bethanie Mattek-Sands, who once played at Wimbledon Centre Court wearing white football socks and a boob-tube.

She has also donned leopard print outfits while also once appearing with a cowboy hat, which cost her a 10,000-dollar fine from the authorities.

On Tuesday, Mattek-Sands played her first-round match at the French Open wearing a pink shirt, black skirt and knee-high black socks before springing to the defence of Venus Williams.

"She's got a lot of crap for it, but it makes tennis interesting," said Mattek-Sands.

"You can't say it's OK for Maria Sharapova but it's not OK for Venus.

"I think it's great. If you see two blonde-haired girls wearing the same outfits, it's really hard for the fans to tell them apart."

Mattek-Sands says she will be sticking to the socks for the rest of the year, but with different colours for different occasions.

She insists her style is becoming more conservative.

"Your dress often depends on which tournament you are in and who is the supervisor, some are more lenient than others," she said. "For a while I had to get all of my clothes approved."

Despite her colourful dress sense, offset by an extravagant tattoo on the inside of her right upper-arm, Mattek-Sands is married to an insurance executive.

'Sex and the City 2': Can 40+ dress fabulous?

There's a telling scene early in "Sex and the City 2" when 52-year-old Samantha, played by 53-year-old Kim Cattrall, spots a gold, beaded bustier minidress that she thinks will be perfect for a big red-carpet moment.

The saleswoman is the first doubter. "Is it maybe a little young?" she asks.

Carrie, Samantha, Charlotte and Miranda have fashion confidence like few others — on film or in real life. But the sequined armor these women wear along with their microminis, harem pants and stiletto heels suffers a few chinks over one issue: Do they dress their age?

Samantha's friends question the minidress, too. But an even more important movie moment is when Samantha rocks the dress, putting conventionalists and teenager Miley Cyrus, who is on the same red carpet in the same dress, in their place.

Throughout the movie the posse parades around in the most au courant clothes, seemingly not deterred at all by the fact that designers often use lithe, lean teenage runway models as muses instead of the 40-plus successful shopaholics the characters now represent.

Some of the outfits are knockouts and incredibly flattering — like the pleated, flame-colored sundress worn by Carrie (Sarah Jessica Parker) on the beach, and the plunging V-neck gown with metallic studs worn by Miranda (Cynthia Nixon) to a wedding — but there also are the misses.

It shouldn't be assumed, though, that Charlotte's (Kristin Davis) dorky strapless candy-cane get-up or Carrie's ill-conceived logo-T-and-poufy-ballskirt combination would look any better on a 25 year old.

"I think it's all about where the individual is in what they are comfortable and confident wearing," says accessories designer Brian Atwood, who crafted two pairs of 6-inch heels for Carrie's closet, including studded, purple-suede peeptoes. "I don't like to dictate boundaries to anyone. . I think it's the whole package. I've seen older women in their '80s-style rhinestone jackets with short miniskirts, but anyone would look ridiculous in that."

A chic, sophisticated stiletto is another story, Atwood says. "Some women just like high heels. They help give you great legs and they give you height. Women like how they feel in heels and what it projects."

An honest analysis of one's assets — and trouble spots — as well as lifestyle and personal style will get you farther in developing a flattering, appropriate wardrobe than counting birthday candles, say the experts.

"You need to know what parts of your body should be shown off," advises Deborah Lloyd, co-president and creative director of Kate Spade New York. The actresses in "Sex and the City" surely work hard at keeping their figures in good shape so they can pull off some daring things, she says, but they also stay true to their characters' fashion personalities.

Lloyd points to first lady Michelle Obama as an example of a woman who highlights her strengths — those toned arms, in particular — and maintains a youthful, modern look with interesting silhouettes and bright colors, while never trying to dress too young. "Fashion as you get older is about an evolution, not just about changing your look because you're older. You can't get stuck," Lloyd says.

"It will never be an exact science on how to dress to flatter as we age, regardless of lifestyle and budget," says Avril Graham, executive fashion editor at Harper's Bazaar. "However, women should always consider that elegance and good taste generally go hand in hand, regardless of age. And common sense should always prevail. The best dressed women, past and present, all seem to have embraced that sensibility."

Charla Krupp, author of the books "How Not To Look Old" and "How To Never Look Fat Again," draws a sharp line between fashion-forward and trashy. Tops that are too low cut, skirts that are too short, dresses that are too tight are fashion don'ts — period, Krupp says.

But, she notes, the reality of getting older is that what's considered the appropriate neckline or hemline is indeed a little more covered up.

"You don't want to be so obvious. I'm not saying you can't be sexy when you're older — Sarah Jessica Parker succeeds in this, and so does the Miranda character," Krupp says. "They are classy, grown-up, sophisticated and sexy women. What you don't want is to look like you raided daughter's closet."

Also, steer clear of anything too trendy, advises Atwood. "You've already done that in your life."

Graham, however, doesn't want women to be afraid of fashion or trying something new. "Strict guidelines and formality are very much a thing of the past. Women of every age and budget have more choices to have freedom of expression with their clothing choices and arguably it has resulted in women having a more youthful appearance than previous generations at the same age."

House of McQueen names new creative director

NEW YORK – The house of Alexander McQueen has named Sarah Burton, a longtime colleague of the late designer, to be the new creative director of the brand.

In a statement from London released Thursday, Burton said she intends "to stay true to his legacy" by turning out "modern beautifully crafted clothes."

The announcement was part of a series of shake-ups announced Thursday. At luxury label Hermes, womenswear artistic director Jean Paul Gaultier is being replaced by Lacoste's Christophe Lemaire. And Theory confirms a Women's Wear Daily report that Olivier Theyskens, formerly of Nina Ricci and Rochas, will design a capsule collection for next year.

McQueen, hailed as a creative genius in the fashion world, committed suicide in his London apartment in February.

Burton joined McQueen's company in 1996, a year before graduating Central Saint Martins College of Art and Design. She most recently served as head of design for womenswear.

Parent company Gucci Group said that because Burton worked so closely with McQueen she has "the vision necessary to take it forward."

"As a business we remain absolutely committed to the Alexander McQueen company which has proved to have a strong customer loyalty and has shown to be a resilient brand in the aftermath of the tragic loss of its founder," said Gucci Group GEO Robert Polet.

Susan Cernek, Glamour's senior online fashion and beauty editor, said hiring from within was respectful to McQueen — and kind to any designer who would be trying to fill such big shoes.

"It seems like a smart move to appoint someone who worked so closely with him," she said. "Someone from the outside might be in an uncomfortable position to try to channel someone who is so revered so soon after he passed away. ... Seemingly the vision that Sarah will bring will be really closely aligned, not his, but closely aligned."

She adds: "It's hard to reinterpret the legacy of a house when it's not your name and you don't have the padding of time."

Gaultier and Hermes are not completely severing their ties. Gaultier will oversee the spring-summer 2011 collection to be previewed in October, and Lemaire will take over for the fall-winter 2011 collection.

Hermes also holds a 45 percent in Gaultier's namesake house.

Calling their seven-year partnership fruitful, Hermes said in a statement the collaboration was ending to allow Gaultier "to concentrate on his own projects."

Gaultier has always toned down for Hermes the drama associated with his own line and the edgy costumes he designs for pop stars such as Madonna. But his collections for the former saddlemaker — still known best for its leather goods — garnered consistent critical acclaim.

Gaultier exiting Hermes, Lacoste's Lemaire enters

Jean-Paul Gaultier is leaving high-end fashion house Hermes' womenswear line, and Lacoste designer Christophe Lemaire is taking over as artistic director, the fashion company said Thursday.

Gaultier will oversee the spring-summer 2011 collection to be revealed in 2010, and Lemaire will take over for the fall-winter 2011 collection, the Paris-based firm said in a statement.

The move puts an end to "seven fruitful years of creative partnership" and allows Gaultier "to concentrate on his own projects," the statement said.

Much tamer and preppy than his own signature line, Gaultier's collections for Hermes consistently garnered critical acclaim.

"This has been a marvelous adventure which has allowed me to learn about a new 'savoir faire,'" said Gaultier. He said he'd maintain "a privileged relationship" with Hermes, which has a 45 percent stake in his own company, Jean-Paul Gaultier.

His departure comes three weeks after the death of Hermes' former manager Jean-Louis Dumas, who had been influential in attracting artists to revive his brand's design and identity.

A prominent avant-garde figure on the Paris fashion scene, Gaultier is largely credited with reinventing Hermes women's ready-to-wear collection.

Hermes got its start in 1837 as a saddlemaker and its biggest cash cows remain its leather handbags and accessories divisions.

Fashion aide succeeds late British designer McQueen

A long-time collaborator of the late British fashion designer Alexander McQueen, Sarah Burton, has been appointed creative director of his label, owners Gucci announced on Thursday.

Burton has worked with McQueen since 1996 and was appointed head of design for the label's women's wear in 2000.

"The creation of modern, beautifully crafted clothes was at the heart of Lee's vision. I intend to stay true to his legacy," she said.

Jonathan Akeroyd, president and chief executive of Alexander McQueen, said Burton had a "deep understanding of (McQueen's) vision".

McQueen, who rose from a modest background to become one of the world's most flamboyant and high-profile designers, committed suicide in February on the day before his mother's funeral.

The body of the 40-year-old, who felt under pressure as he raced to put together a new collection, was found hanged in a wardrobe in his central London flat.

Robert Polet, the president of Gucci Group, said it remained "absolutely committed" to the Alexander McQueen company "which has proven to have strong customer loyalty and has shown to be a resilient brand in the aftermath of the tragic loss of its founder."