Cheryl Shops

I wish all fashion shows were like Libertine: guests were given free drinks, everyone had an unassigned front-row seat, and the models got to totally camp it up on the runway—they smiled, they danced, they pretended to drink and smoke. It was the most fun I'd had at a show in awhile (and will likely be the most fun I have all week). As for the clothes, whereas last season designer Johnson Hartig embraced all manner of wacky color, this season he went for a primarily black-and-white palette, though still with a madcap mishmash of prints. Like the models, he seems to be having a great time, and such enthusiasm is contagious.

I was really excited to be invited to Gwen Stefani's L.A.M.B. for the first time—until, that is, I saw the line to get in (one guest likened it to 'Nam). And considering Stefani wasn't present (she was reportedly in California, recording), I'm not sure what all the fuss was about. The collection read like Gwen's greatest hits: cargo jumpsuits, ikat-print maxi dresses, stripes, menswear-inspired shorts. The shoes and bags, however—bright, strappy platforms for the former, colorblocked totes and clutches for the latter—looked, as Stefani would say, hella good.


Callula Lillibelle is a line that's been around for a few seasons, but, to me, hasn't had a very strong identity until now. Originally launched as a work-friendly line, designer William Calvert seems to be having much more fun now, perhaps targeting a more fashion-friendly customer. The spring line carried a slight 1950s Elizabeth Taylor vibe, with innocent polka-dots mingling with slim-fitting sheath dresses, sexy lace tops, and brocade separates. It was put together in a fresh way, with modern neon accents and a refreshing mix of prints. It was all very wearable (in fact, even moreso than before), proving that it's not enough to give women what they need—you have to give them what they want as well.

Walter Baker presented his spring collection on the rooftop of the Empire Hotel, which, if you watch Gossip Girl, is where Chuck Bass resides and presides. I really like Walter—I find it just edgy enough to still be widely appealing, but I felt sad for the clothes, which seemed like a total afterthought to the utter chaos (earpiece-wielding doormen, open bar, reality TV cameras, party crashers) surrounding them. My favorite pieces were a series of sheer dresses and tops, some layered with snug jackets in leather or tweed. Then again, I'm not sure I even saw the whole collection—the crowd had swallowed all the run-of-show sheets by the time I arrived, and I wasn't about to fight for one. Sometimes, as the song goes, you got to know when to hold 'em, know when to fold 'em, know when to walk away, know when to run. And run I did.

I woke up Sunday morning eager to get to the tents, if only to escape all the September 11th coverage on TV, on the Internet, on Facebook, and so on. It turns out I wasn't the only one—Lela Rose's show was so packed, I ended up wedged into a back corner of the standing section (hence the less than stellar quality of my photos)—and Mandy Moore, Susan Sarandon, and her daughter, Eva Amurri, all showed up too. Rose began with a tasteful homage, playing John Lennon's "Imagine" in darkness, then got down to business with a characteristically ladylike show inspired by, uncharacteristically for her client base, trips to Vegas and Coney Island. Set to the music of one of my favorite new bands, Cults, the result was a perfect balance of whimsy and polish, with slightly off-kilter casual looks bursting with mixed prints and colorblocking, and more refined evening dresses finished with lace. Rose's clothes are decidedly uptown, but you get the feeling their wearers must be fabulously fun party guests.

While my dream job is that of a fashion critic, I'm glad that I have this outlet, as opposed to a traditional medium like a newspaper. Ideally, a critic should have no bias, but even Cathy Horyn of the New York Times has favorites, which she alluded to in this article—which ended up being so controversial, Women's Wear Daily wrote a story on designers' reactions to it. I, on the other hand, have the freedom to fawn over whomever I want, whenever I want—ah, the luxury of having your own blog!

Which brings me to one of my favorite designers, Yigal Azrouel. I am a huge fan of his, owning several pieces that I've collected over the years (his twice-yearly sample sales unearth some great finds), and whenever I get an invite to one of his shows, my heart skips a little. Typically known for his sexy draped dresses and snug leather jackets, last season Azrouel made an about-face in favor of a more sophisticated tailored look that I loved just as well. For spring, he picked up where he left off, with a very clean, minimal yet impactful collection that married streamlined shapes with super-saturated colors. He played with more volume this season, with fall's skinny colored pants giving way to wide-legged cuts in leather and double-faced cotton. And speaking of leather, there was a gorgeous buttery trench coat that I could live in (and anticipating its price tag, I'd likely have to). But lest you think Azrouel has gone too polished and uptown, he reminded you of his downtown roots (his store is on 14th Street in the Meatpacking District, after all) with super-sexy, up-to-there thigh slits. Azrouel's client might have grown up, but she still knows how to have a good time.


For Azrouel fans who aren't quite ready to give up the sexy jersey and leather, there's Cut25, which is his fairly new secondary line. The past few seasons, Cut25 has been a more distilled version of Azrouel's signature line, but for spring, he took an entirely different direction—it was all about color, like the main line, but with a sporty surfer influence and a more casual vibe. The silhouette was still pure, with clean, simple shapes, but it felt much younger, with techno fabrics, sheer layers, and cutouts. It was one of the happiest collections I'd seen thus far (and even in a pretty colorful, optimistic season)—on a surface level, and because it shows while Azrouel's signature line has grown up, he still remains young at heart.

When I first started going to Fashion Week back in 2006 (!!), I had to talk my way into most shows. This, of course, was a time when most PR firms didn't know what blogs were (or if they did, they didn't know what to do with them), and so I found that a smile and good manners had to do. And so, five years later, I may not be sitting front row like some of my blogger peers, but it's come to the point where I often have to choose one show over another (the New York schedule is so clogged that there are often three shows at once), and I also have the luxury of a seat at most shows—granted, I'm usually somewhere around the fourth or fifth row, but, hey, I'm not complaining. Something amazing that started happening this season: I've been invited to several shows with a plus-one, which is how I brought my friend ES to Monique Lhuillier with me on Saturday. Attending a show with a friend was a new experience—it's different than sitting next to an industry friend, with whom, no matter your relationship, I always find a bit of competitiveness—ES was totally pumped to be there, she oohed and aahed over every gown, and the fact that our seats were in the third row, right at the end of the runway, was certainly the frosting on the cake, so to speak. As jaded as I get over fashion shows, having her there reminded me of how much fun they can be.

As for the show itself, Lhuillier focused on bold, saturated colors with an athletic bent. It may seem at odds with Lhuillier's dreamy, super-feminine gowns, but as I've found in the past, she's incredibly adept at pushing the boundaries of her own talents, and she always manages to turn her inspirations into glamorous, sophisticated, almost universally appealing looks. There was definitely a sexy undercurrent to the collection, but in a very refined way; silhouettes were very close to the body, however, requiring a certain level of fitness on the part of the wearer. As for the colors, there was rich cobalt, shocking pink, and cadmium yellow, and while the brights trend started last season, as long as the colors continue to be so vivid and vibrant, I am all in favor of it continuing indefinitely. Plus, think how beautifully these gowns will photograph—I think we can safely expect to see many of them on red carpets soon.

What can I say about Christian Siriano that hasn't been said already? Perhaps the most loved Project Runway contestant ever, he's arguably the most successful as well, smartly leveraging a shoe line with Payless (and several other strategic partnerships) to fund his ready-to-wear line. He might be one of the most talented contestants as well; there's no question as to his design skill, especially after seeing his show on Saturday. For spring, Siriano explored the neutral/acid brights motif that's already a big trend for the season, and watching him play with different proportions was a delight: Sometimes a beige day dress with a chartreuse belt, then a dramatic pair of crepe palazzo pants in the same shade, and finally, as if he couldn't hold it back any longer, a dramatic tulle trumpet gown in an overwhelming burst of color. Sometimes, however, a little restraint could have been in order—Siriano went a bit overboard with the pleating on a few organza numbers, and several of the show-closing ballgowns overwhelmed the models (and if a gown swallows a six-foot woman, think of how ridiculous it will look on an average-size one). Still, there's a reason he's carried in high-end boutiques like 4510 and Neapolitan, and it's not the novelty factor—Siriano simply makes beautiful, ladylike clothes.

While I love seeing the big-name designers of New York Fashion Week, I always try to make it to a few up-and-comers' shows. After all, fashion is always about what's new, and you never know when you're going to come across the next Alexander Wang or Phillip Lim. (Case in point: Back in February 2007, I saw, and loved, a fledgling designer by the name of Jason Wu.) Of course, it's kind of a toss-up, but, hey, hope springs eternal.

Emerson is a fairly new label out of Boston; with only two previous collections under its belt, this was the line's first showing at New York Fashion Week. Designer Jackie Fraser-Swan was inspired by that old chestnut, "lightness and darkness," and while that might be a pretty vague theme, it translated into interesting mottled and tie-dyed prints and lightly textured fabrics. Less imaginative were a series of jersey pieces with bandage details—compared to the structured, tailored separates and leather items, they looked almost slapdash. Still, it was all very wearable, and definitely a promising start.

I attended Son Jung Wan's first New York show last February and decided not to write about it because, well, some things are better left unsaid. I was quite impressed, however, with her spring/summer collection, which featured dreamy metallic neutrals with interesting textures, pleating, and beaded accents. There were a lot of trapeze-type tops, which felt very light and warm-weather appropriate, as well as skirts that hit between the knee and midcalf--while pretty and undeniably feminine, the collection seemed geared toward a fairly young working woman (that is, after all, who can generally afford to buy these things), with suits for day, sparkly dresses for night, shorts for the weekend. While the collection could've benefited from some editing, you got the impression that Son Jung Wan kept coming up with more occasions for which to dress her customer and just couldn't help herself, which, like her clothing, is charming.

Kaelen Farncombe has been one of my favorite emerging designers of the past two seasons, and her latest collection pretty much solidified my impression that she's one to watch. For spring/summer, she continued to explore minimalism in an ethereal series of nude, cream, pale blue, and soft orange, with some stripes and a wallpaper print for good measure. What was most interesting to me was that she took macramé--a medium known for its bohemian hippie-dippiness--and seamlessly incorporated it into the collection. In other words, making macramé look minimalist is no small feat. Nor, it should be mentioned, is making very wearable-looking shorts, which Kaelen also did quite well. My absolute favorite look, however, was this pleated white dress, which is just so clean and simple and perfect. It's the kind of thing you'd buy for a second wedding but that you'd really want to wear again and again and again. I think the true test of a good designer is the ability to transcend trends in favor of timeless design, and if Kaelen keeps coming up with frocks like this, I'd say she'll be around for a long, long time.

One of my favorite party dresses is by Nicole Miller; it's strapless, bright magenta chiffon, and it never fails to draw compliments. In spite of that, I tend to associate Miller with a very tough, strong, sleek, sharply tailored silhouette; her daywear is very geared toward the New York woman, and by extension, it relies heavily on shades of black and gray. So imagine my surprise at her show on Friday, which delved into Miller's own '80s archives and was inspired by wheels in motion, i.e. bikes and skateboards—it was a lot of color and print, and once I got over my initial surprise, I found it superfun. It's definitely a younger, sportier influence for Miller, but it was interesting to see how she worked the theme into her signature trim sheath dresses and otherwise body-conscious separates. The prints were wild, and I am always a fan of bright color, but to avoid too much of a good thing, I think the most successful looks were the ones where the brightly printed pieces were paired with more subtle solids. It felt like a natural evolution of fall's colorblocking, and so far, bright '80s surfer-skater inspiration has been one of spring's biggest emerging trends, proving that Nicole Miller not only knows what's next but that she can show you how to wear it in a realistic, modern way.

Quick, grab the closest girl to you and ask her if she likes Rebecca Taylor. She said yes, right? There's something so feminine and yet not syrupy-sweet about her clothes that appeals to so many women; what's interesting to me is how she takes on current trends and makes them her own. Her spring collection injected pale neutrals with bold shocks of citrus colors, a combination you'll hear me mention frequently over the next week, and yet she wove in signature motifs like patchwork, floral prints, and sequins. I was particularly fond of the tuxedo pants and shorts—mercifully knee-length and thus actually wearable—especially when contrasted with lace details, and speaking of contrast, the sporty-jacket-with-girly-dress thing is alive and well at Rebecca Taylor, and, hey, if it ain't broke... You always hear about designers wanting to achieve the perfect balance of feminine and masculine, and while there's nothing revolutionary about the way Rebecca Taylor achieves it, she certainly gets it right.

Why am I putting Nicholas K and Tadashi Shoji together in one post? The long answer is that they pretty much run the gamut of what's shown during New York Fashion Week: Nicholas K makes grungy, casual, yet totally wearable and accessible sportswear while Tadashi Shoji makes equally accessible yet much fancier gowns for special occasions. The short answer is that these were the only two shows I went to on Thursday, the official start of Fashion Week. Aren't you glad you asked?

Nicholas K's layering-heavy look may be slightly formulaic, but its grunge ethos seems more aligned to fall/winter, so it's always interesting to see how they interpret their signature elements for warmer weather. In this case, it was lighter colors--ivory and cream, but also a dusty teal, a sea green, and even some tie-dyed indigo pieces. Transparency factored into the layers, making it all seem light in spite of the multiple components. Nicholas K's girl might put the plaid and leather away for the season, but her draped duster jackets and granny dresses are alive and well--albeit in more airy, diaphanous fabrics.

And while Nicholas K's slightly tomboyish customer is likely tuning her bass or challenging her cute downstairs neighbor to a game of pool at a bar somewhere in Williamsburg, Tadashi Shoji's is probably, at this moment, stepping out of her party dress, putting a piece of wedding cake under her pillow, and dreaming of the man she's going to marry. His über-feminine collection was inspired by tulips, which translated into lovely hand-painted fabrics, many with unexpectedly modern striped motifs, and petal-like details. Many styles featured widely flattering asymmetrical necklines; several of the tiered and blouson looks, however, only look good on models (and in the case of the blouson styles, even that is debatable). With embroidered lace, tulle, and silk chiffon throughout, it was all very light and dreamy and romantic--nothing like real-life romance for most of us, but that's the fantasy Tadashi Shoji is selling, and I think a lot of women out there will be buying it.

New York Fashion Week officially starts on a Thursday, but there are always shows the day before; in my case, I was invited to seven. So much for sticking to the calendar. Anyway, I take this day-before-the-official-start-date as an opportunity to ease myself into the Fashion Week schedule, and so I hit two low-key presentations that I was most interested in.

Mackage is probably best known for making strong, fashion-conscious, yet also timeless coats; they've eased into ready-to-wear in recent seasons, and, just like its outerwear, it perfectly toes the line between classic and current. It all seems designed to appeal to a wide range of people—not that there's anything wrong with that. Mackage stuck to a very neutral, if non-committal, palate of white, black, and beige, with nicely cut sheath dresses and slim pants. I was just starting to think of Mackage as the, well, beige of the contemporary market when I saw the look at right, which looks like it could've been designed just for me: a khaki motorcycle jacket with leather sleeves over a black dress with a pleated skirt (which is actually detachable). Who needs color when you can look this cool?

If Mackage is beige, then What Goes Around Comes Around is a psychedelic rainbow. A contemporary line designed by the owners of the eponymous vintage store in Soho. WGACA's shows take place at the Soho Grand, include free champagne (I can neither confirm nor deny whether I imbibed), and are produced by People's Revolution, thereby giving them a somewhat blasé downtown vibe. As for the clothes, they're equally off-kilter, but, much like the show, in a charming way. There were ponchos, maxi dresses, and, a trend that my inner Palm Springs doyenne hopes will come to fruition, caftans. What Goes Around Comes Around, indeed.

In case you haven't been following me on Twitter, I am, as usual, covering New York Fashion Week! Due to Fashion's Night Out last night and the ridiculously long Gen Art show tonight, I am a bit behind on reviews (as in I haven't written any at all yet) but anticipate cranking some out tomorrow. I'm changing up my coverage a bit; the exciting news is that I have a brand-new SLR camera that, I can report thus far, takes some pretty amazing photos. So please check back soon!

Leopard print cardigans are popping up in every store. You know the classic, long sleeve, round neck button ones. The one’s you’ll see on everyone from old Hollywood movies to our current celebrity starlets. But why settle for the staple when cool brands are creating original, more modernized versions that are absolutely rock star ready? Free People and Nasty Girl have created their own spin on the classic cardigan than will rival the style of any typical damsel. With unusual drapes and unforeseen fabrics, these two trendy finds will bring your current state of wardrobe boredom into a channel towards trendy, chic, hipster self-assurance. Wear it with cut off shorts for the last days of summer or layer it with a turtleneck when it comes time to start rocking fall-wear transitions. the Leopard Terry French Cardigan from Free People and the Nasty Gal Jersey Leopard Tie Cardigan will keep your style looking wild and carefree when you’re in the mood to step a little more outside of the box.

- Mira Torres

Content provided by TheFind in partnership with Cheryl Shops.

While being stuck inside for 48+ hours was probably not what I would have chosen to do last weekend if given the option, MW & I made lemons out of lemonade and got a bunch of stuff done around the apartment. I was a bit miffed to be missing the Bird warehouse sale, but, lo and behold, they've extended it through Wednesday to make up for lost time. Expect clothing for men & women from Bird's ever-hip roster of designers (think Isabel Marant, Rachel Comey, Alexander Wang, and the like) for up to 80% off. Through 8/31; noon-8; 316 5th Ave. (2nd & 3rd Sts.), Park Slope, Brooklyn.

Given the surplus of ridiculously cheap jewelry I've collected from Forever 21 and Old Navy (hey, it doesn't look as cheap as it is - at least not until the 10th wear, and by then it's practically bought itself!), I have a hard time justifying splurging on bangles and baubles. I mean, why spend so much money on a single piece of fine jewelry for myself when I can get a whole handful of faux trinkets for a fraction of the price? Of course, there are always exceptions... namely when a genius collaboration of designers births an accessories line so chic, I can't bear to pass it up, even if it goes against all my more practical budgeting plans. And the long-anticipated Lulu Frost for J. Crew collection is definitely one of those lines that's worth pushing frugality to the wayside. Incorporating all sorts of on-trend styles like chunky bangles, multi-colored enamel jazzed up with sparkling crystal accents, and bold geometric shapes, these updated Art Deco inspired pieces are the perfect contrast to the upcoming season's oversized sweaters, muted hues, and chunky knits! Plus, ranging in price from around $45 to $135, you can still indulge without feeling too impractical... plus, these pieces won't fall apart by the 12th time you wear them!

- Alex Gambardella

Content provided by TheFind in partnership with Cheryl Shops.

Fashion Week starts exactly two weeks from today, which means it's time to start planning my outfits! The challenge, as always, is finding footwear that strikes a balance between style and comfort; while I'd love for you to think I strut in 5-inch Louboutins from fashion shows to a private car, it's more like I hoof it by bus, subway, and foot from Lincoln Center to Chelsea and back. It's a glamorous life, I tell you. Anyway, I rely heavily on platforms and wedges during Fashion Week, and so I'm always on the lookout for a new pair. I'm not shy about my love of Jeffrey Campbell, and since he does those two categories quite well, I think these Fortuna platform sandals look quite promising. They combine a three-inch wedge heel with a 1.5-inch platform, which puts them just out of the flatform category--there's enough of a slope to be flattering, and what's essentially a 1.5-inch heel should be easy to walk in, especially with the slight upward angle at the front of the shoe. Another key to wearing a chunky wedge like this is having a light-colored sole--a darker color looks like cement blocks on your feet (thus making your legs look thicker), while something closer to one's skin tone color extends the leg visually. But a shoe's support doesn't come from the sole alone, and this one has lots of straps and a sturdy ankle that actually zips up the back. That said, the Fortuna is pretty stylish and, worn with the right outfit, will still hopefully get me snapped by the Japanese street fashion photographers (god only knows where those photos end up). And considering they're on sale for $99.95, I'd call this perfect marriage of style and comfort a Fashion Week–worthy bargain.

The Barneys Warehouse Sale is starting a bit late this year, and instead of running two-plus weeks, it's clocking in at a sleek twelve days, starting Thursday and ending Labor Day. Prices start at 50%-75% off, but no word yet on when additional discounts kick in; I'd advise checking Racked for the most updated information I'll probably head over midweek next week--follow me on Twitter for the latest. Of course,  please feel free to share your discoveries in the comments section below! 8/25-9/5; visit the above website for hours (they vary); 255 W. 17th St. (7th & 8th Aves.).

Ever since updated takes on the revived fad of 90s-tastic motorcycle jackets emerged on the scene, moto-inspired styles (even in the form of bags and jewelry) have proved to be quite the long-standing fashion force to be reckoned with. But despite the tough-girl coolness that automatically seems to come with a leather jacket, new updates on the style seek to show the softer side of the moto trend (literally and figuratively) with cozy-cool jersey versions of the hottest biker-gal trend. For starters, cozy up in this autumn-ready fleece moto from the Gap, or this denim-look french terry moto jacket from C&C California, which is perfect for pairing over leggings or even a casual dress to complete your effortlessly cool weekend look. On the flip side, balance your edgy-gal look by rocking your over-the-knee leather boots with a moto jacket that doesn't turn your ensemble into leather overkill; this Burberry London Jersey Jacket with leather trim has just the right amount of biker inspiration while still giving a new, more flexible spin on the style!

- Alex Gambardella

Content provided by TheFind in partnership with Cheryl Shops.

If you've been in an NYC taxi anytime recently, you've likely seen snippets of Talk Stoop, an NBC talk show hosted by Cat Greenleaf and filmed on the front stoop of her brownstone, which happens to be on the same block on which I live. (Often when I come home from work, MW tells me who he's seen filming with our neighbor; recent guests have included Joss Stone and Danny Aiello.) A few doors down from Talk Stoop headquarters is the excellent Spangle Jewelry, which in recent months has begun selling T-shirts that say "Look up. Stop texting," which MW and I have adopted as shorthand for when we see a jerk walking down the street, eyes glued to his or her smartphone. It turns out the tees are the brainchild of Greenleaf herself, who's designing them under the handle Lustbklyn. Her mission is simple: Put down your phone, and start living in the now. Look Up Stop Texting = LUST. Get it? (Which, okay, as someone totally addicted to her iPhone, I should.) Prices range from $20 for kids' tees, women's tanks, and phone covers to $30 for men's tees, and you can even go analog and get a notepad for $6. But when it comes to reminding yourself to stop texting and start enjoying life, I think that's a totally reasonable price to pay, don't you?

As I predicted last week, Target has released lookbook images from the upcoming Missoni collection in stores September 13,  and all I have to say is, holy Missoni! There are clothes and accessories for men, women, and children, beauty accessories, linens, vases, dishes, office supplies, suitcases, outdoor furniture, and, yes, that bicycle. There is so much awesomeness, I can't show it to you all, lest I crash my site (Nitrolicious, on the other hand, who clearly has either an intern or a lot of spare time or both, has uploaded most of the lookbook.) But here are some of my most anticipated items from the collection.

Pretty much everything here is for sale, from the awesome $16 space-dyed tights to the iconic $39.99 miniskirt. 
 For the color-averse there are some more neutral pieces (there are even all black-and-white ones); the pumps here are $39.99, the dress ($54.99) is the most expensive part, and the cardigan is a downright bargain at $49.99.

More great pieces in shades of blue, from $16 for the tights to $69.99 for the puffer jacket.
 Think these silk scarves are a total bargain at $19.99 each!
 
There are all manner of makeup and weekend bags, from $9.99-$29.99.
Absolutely must have this $29.99 laptop sleeve!
For the home, these serving trays will spruce up your living or dining room for $19.99-$24.99.

A totally luxe duvet set (complete with shams!) for $99.99.

I'm perhaps most excited about the towels, just $10.99-$12.99 each! (The shower curtain, also noteworthy, is $34.99.)

And for the pimped-out roofdeck, an ultra-sleek outdoor furniture set for $599.99.
The items will be available, while supplies last, September 13 through October 22, although a handful of online-only items will be sold through the holiday season. I must say, I haven't been this excited about a Target collaboration in awhile!

If you want to satisfy your masstige fix now, Giles Deacon for Nine West is now available. As I predicted back in May, the shoes—particularly the Polly wedge and the Layla boot, pictured here—look the best. If sweet is more your style, however, it should be noted that this spring's Sophie Theallet collection is now 60% off; I'm thinking of ordering the Tinna espadrille in brown.

Finally, Catwalk Queen reports that Mark Fast is designing a footwear collection for Aldo. Fast, who created a line for Topshop last year, is no stranger to collaborations, and Aldo, which featured a line by Julian Louie earlier this year, it just dipping its toes (pun intended) into the masstige waters. No word yet on when the collection hits stores, but, as always, check back here for more masstige news.

Bo Concept is a favorite furniture resource of mine--the chic sleeper sofa in MW's office is from there, and I think of their wares as what you graduate to when you're too old to put together your own IKEA furniture. But at their sale on Wednesday, you can score floor samples for 60% off, which is almost like IKEA prices, plus 20% off select sofas, dining tables, chairs, and sideboards. Even better, they've invited all manner of indie designer friends over, so you can also score clothing and accessories by Stella & Dot, Torn by Ronny Kobo, SBNY, and more, too. And did I mention they'll also be serving snacks and drinks? Do you need any other reason to go? I think not! 8/17; 3-8 p.m.; 105 Madison Ave. (at 30th St.).