I'd always wondered before this season what exactly being “in the tents” really meant – what kind of tent experience, and what goes on in there.

There is a big main tent where all the registration for each show happens – you show your credentials, that type of thing. Then you line up, or breeze in late, for each show separately – and all around are little displays of products that companies want to throw into the audience's universe. The one that caught my eye this time was the jewelry.

Above pictured are a bunch of jewelry lines that were displayed, including one that is being sold at W Hotels. Which ones do you like?

In his show notes, Brian Bradley, creative director / designer for Tuleh, cited a Scandinavian wedding as a major inspiration for his show. I was so impressed with the looks capping the show, strong already, that I wanted to give it a shout out to all the future brides out there.

But let's start at the beginning – Tuleh was a packed house, stadium style, with star and editor power everywhere. From Kelly Rutherford front row (you may notice her in the background of some of my photos – she was in my eyeline) to a row of Vogue, Glamour, Allure and Bazaar editors, American and French editions representing, and more.

The show started off with creams and navys, with tops that had interesting details that would make one want to buy the pieces even though one may already have inventory in that palette. The feminine details of broochs and flowing ties for tops, plus short shorts that were elegantly tailored, gorgeously wearable and elegant for any occassion. Though the color scheme was relatively subdued except for a bright citrus trench and a turquoise coat (not together) it was instantly classic.

The show had a Grace Jones tip of the hat, or rather hoodie, for several looks, which were successful though perhaps more of a risk for the day to day. But let the hoodie drop, and the pieces all work so well together without being too much for real life.

The final cluster of outfits were the abovementioned Swedish wedding…. if any of you have had the fun and luck to go to a wedding in Europe, you know that the whole dress situation is drastically different. There is not much of a sweetheart neckline with flowing skirt affilition – rather, the dresses are apt to be cream colored and tailored with a higher neckline, often short sleeves and sometimes long. It is less the “fairytale princess” look which dominates the American wedding, and more of an understated elegance illustrating how beautiful the cream spectrum is when highly tailored. The overall look is more editorial, thus.

The wedding dresses were so chic and elegant, and provoked visions of a woodland ceremony at dusk in a grove of lindens illuminated by candles. Pretty fabulous headpiececs accompanied each look.

My favorites from the collection are above – what do you think?

I greatly enjoyed the Erin Fetherston show last evening, even if the venue had no cell service. Milk Studios is an intimate place to see a fashion show so no matter where one is, one has a good view.

Erin, as we know from our fun and fabulous styling contest the other day, has such a delicate sensibility – it is easy to imagine eating bonbons while wearing her creations. The palette was more fall in feel than spring, but from my point of view, that is a huge plus. I really liked the dusty blush palette of early dresses which then moved on to beiges then navy and blacks. The lightweight silks and paillettes on dresses reinforced the springtime notion, without seeming unduly exhuberent.

My favorite looks from her show are above. I took these photos, so apologies for the quality of some – there was a gal right in front of me who kept her head right where the models feet would be!!

These are the ones I would pre-order and get my hands on (you know, budget approving!). Which one do you like best? Do share!!!

Here is a little snap shot of some ambience at the shows…. the gorgeous fellow attendee is Mandissa (TOP photo), who got her dress (it's floor length – she is too tall to fit in my camera from how close I was) at the Brooklyn Flea, as she said. After this show, she is running home to mind her baby…. multitasking moms are out and about!

The interior shot (Middle photo) is at the Erin Fetherston show – it was a very intimate venue at Milk Studios, and there were probably a few hundred people there, max.

The stadium-looking thing is the PROMENADE tent at Bryant Park, the bigger of the two (the other being the SALON, where I was this morning at Lela Rose). This I took just before the Tuleh show. Front row were the Gossip Girl crew (Kelli Rutherford and Blair's stepdad) and other editors and celebs, etc….

Interesting note – even if you are relegated to standing room, chances are often high if you are on the edge that you will get a seat – I was offered one at every show, and once I took it (Lela Rose) and the other times I didn't b/c it looked like a hassle to get to it (you have to climb over all the other chic women already seated) and I had a good spot usually.

I am back to LA tomorrow, to do some work for CC, but this has been a terrific time at the shows for CC – more to come, from others. Stay tuned!

As I was killing some time before the shows this morning, I strolled around the tents to see what was happening. Off to the side I found a pair of models (Top photo), done with an earlier show apparently, in monochromatic looks of Orange and Gray, respectively. I must say the tomato red ensemble was terrific – tho lets be clear, I am never rocking that look. The gray was more typical of what some of the editors were wearing inside, shade wise.

And back behind the Promenade tent I stumbled upon a gaggle of Derek Lam models finished with hair and makeup, taking a quick phone / cigarette / stiletto break…. models… just like us!! I kind of absolutely loved their hair, I must say. What do you think?

I just got out of the Lela Rose show this morning – I was too late for Behnaz Serapfour who was showing at Milk Studios all the way downtown on the west side. Since Bryant Park is in midtown, I didn't think I could get from home (UES) then down and back. Tonight, though, I am going to try for the double header of Erin Fetherston and Tuleh. Fingers crossed on finding cabs!

For now, I was just delighted by Lela Rose's spring collection presentation. Each piece made a statement with neons, cut or drape. The entire collection I thought was wearable and perfect for spring in any environment – Nice crisp navy's paired with acid green that was not too 80s at all – even though its hard for me to manage that color, I would go for it.

As well, the cut of the fun and flirty dresses will work for most figures – the detailing is flattering and never gives you a line where you don't want one. The strongest pieces in my opinion – and if you look in my closet you will see what that opinion is – were the netural dresses with metallic brocades and details. Not too evening, not boring for day, and the shapes were classic with a twist. If I were going to pre-order, that's where I'd put my money from this collection. Makes me want to think spring thoughts even as we wrap up summer in real life!

To see the minute by minute updates on the shows and my whereabouts today, follow ClosetCouture on Twitter, here.

I wanted to bring attention to an extraordinary exhibit that is taking place at the International Center for Photography here in the Big Apple- Avedon Fashion: 1944-2000. As we all enjoy the September issues of our fall fashion magazines, it's important to pause and commemorate a man that was crucial in redefining fashion photography as we know and love it today. Avedon's stylistic innovations pushed the envelope of fashion photography to the streets and even for example, to Parisian circuses post World War II, by bringing new energy, light, and motion in capturing the modern woman. The 175 works on display at the International Center for Photography is not only the most comprehensive retrospective of Avedon's career, yet exemplifies why Avedon was a pioneer in fashion photography; the exhibit is a testament to Avedon's ability to capture such spirit, beauty and movement in his photographs. I'm consistently attracted to the life and energy that is communicated through his photographs, such as this shot of Suzy Parker and Robin Tattersall running with the birds in Paris circa 1956. For me, Avedon's career as a fashion photographer revolutionized the glamorous and playful narratives of fashion that continue to inspire and infuence the fashion editorials that we read today. So as the September issues hit newstands in these upcoming weeks, happy official fall fashion reading!

photo credits: Suzy Parker and Robin Tattersall running with the birds in 1956, Veruschka in a dress by Bill Blass photographed by Avedon in 1967.

Add to the many reasons to love Matt & Nat bags (architectural-chic styling, cruelty-free materials, luxe geometry and colors) this zinger: they fall from the sky!

Check out the riotous shower of color, sound and, yes, FREE Matt & Nat bags…

On exhibition at the Metropolitan Museum of Art until August 9th, “The Model as Muse: Embodying Fashion,” is a fascinating exhibit tracing the evolution of fashion and beauty throughout the 20th century. Through the idealized aesthetic of the fashion model, the exhibit shows the evolving relationships between the model as a muse to not only designers, photographers, and the fashion world at large, but to project a persona representative of an era. From the ‘Golden Era of Haute Couture’ to the cultural crosscurrents of the sixties to the geometrically derived futurism of the ‘Youthquake' to the 'Body Politic' of the seventies, each decade reveals a shift in cultural, societal and political values.

The installations are a sensory overload. Between the video and music instillations to the beautifully restored gowns and surreal wigs created by the spectacular Julien D’Ys, each room embodies the fashion and sartorial evolution of women’s dress. Standing in front of Richard Avedon’s iconic photograph, “Dovima and the Elephants,” I overheard a delightful conversation of two ladies discussing the first time this photograph was published in 1955 and I really couldn’t help but smile. In this way, the exhibit has something to offer everyone: the historian, the photographer, the politician, the art lover to just a general appreciation of how much we are all driven and inspired by the muses of our respective generations.

The proverbial expression ‘food for thought’ took on a new dimension this past Wednesday when I had the privilege of attending Coralie Charriol Paul’s new film series, React to Film, in a screening of Robert Kerner’s new documentary, Food Inc. This award-winning filmmaker deconstructs the myth of the American farmer to reveal the shocking and disturbing truths about the industrialization of our food culture in the US.

Through an incredibly effective and engaging narration, this thought-provoking film communicates the realities of how our food is actually being made and the consequences of large corporation’s scientific and technological approach to producing massive quantities of food. Food, Inc. features interviews with industry experts like Eric Schlosser (Fast Food Nation) and Michael Pollan (The Omnivore’s Dilemma) to reveal the critical issues at hand: children’s diabetes, E. coli outbreaks, and a national crisis of obesity just to name a few. For the sake of sounding overly dramatic: Just go see the film yourself.

Not only is Food, Inc. informative and compelling, this documentary shows us the ways in which we can become an agent of change. To learn more about Food, Inc. and where it is playing near you, visit the website: http://www.foodincmovie.com/