This is default featured slide 1 title
This is default featured slide 2 title

Jewelry You Wear All the Time

 Jennifer Meyer’s jewelry collection is among the top-selling brands at Barneys New York, cynics might be tempted to dismiss the designer as an “It girl” who benefits from the regular appearance of celebrity friends like Kate Hudson and Gwyneth Paltrow on her Instagram feed.

Then there’s the fact that her father is Ron Meyer, vice chairman of NBCUniversal, and her husband, from whom she separated last year, is Tobey Maguire (“Spider-Man”).” But Ms. Meyer, 40, has built her business since 2005 by focusing on something that’s resonated with customers: delicate jewelry that is feminine and casual enough to wear every day.

“This is not a spoiled Hollywood child,” said Ms. Paltrow, who has been friends with Ms. Meyer for a decade. “This is a completely industrious, hardworking woman who’s not leveraging anything that she was born with, other than her talent.”

Ms. Meyer’s simple 18-karat gold pieces often use motifs that are whimsical or talisman-like. Charms in the shape of wishbones and four-leaf clovers that dangle from a slender chain are best sellers, as are a variety of items adorned with a large heart.

Many items seem destined to be gifts, such as necklaces with white gold discs that are inlaid with diamond pavé initials and mismatched stud earrings with the words “love” and “you.”

Ms. Paltrow, for example, said that she always wears a stack of six of Ms. Meyer’s thin gold bands, a present from her boyfriend, on her pinkie.

“I wanted to design pieces that you wore all the time,” Ms. Meyer explained over coffee at a downtown Manhattan hotel during a recent visit. “I knew what I wanted to wear and I couldn’t find it: I wanted that delicate jewelry that you never took off, that you showered in, that you slept in.”

On this particular sunny Saturday morning, she wore nearly a dozen pieces of her own design — a couple of gold pendants, a ring accented with a small pavé diamond disc, a handful of slim bracelets and oversize hoop earrings. Although the items varied in thickness and size, there was a coherence to the style, a casual sensibility that suggested the laid-back lifestyle of Ms. Meyer’s hometown, Los Angeles.

Jewelry-making was not a lifelong goal for Ms. Meyer, although as a child she did spend afternoons making rings and medallions with her paternal grandmother, Edith Meyer, who designed enamel pieces in a tiny Santa Monica apartment, its kitchen crowded with a kiln. She studied child and family psychology at Syracuse University; when she returned to Los Angeles in 1999, she went straight into the work force, although not exactly by her own choice.

Rebekah McCabe was Ms. Meyer’s boss at Ralph Lauren and now is senior vice president of artistic direction, store design, events and public relations at Chanel. “She doesn’t rest on her laurels,” Ms. McCabe said. “There’s an innate sense of wanting to do well, wanting to work hard, not take anything for granted and always improving. She doesn’t call in any favors.”

Ms. Meyer began dabbling in jewelry design while working at Ralph Lauren, making pieces in her bedroom and taking Saturday morning classes at a local bead store. By then she was dating Mr. Maguire; they married in 2007 and have two children: Ruby, now 10, and Otis, 8.

When they moved in together, the money she saved on rent was earmarked to create the core of what became her collection. “I felt like, ‘This is a dream of mine — what better thing to blow your money on?’ ” she recalled. “It works or it doesn’t work — I tried.”

With a handful of pieces completed, she quickly saw signs of success: a dainty leaf pendant she showed to the stylists Nina and Clare Hallworth ended up on Jennifer Aniston in the 2006 film “The Break-Up.” A friend’s introduction to a buyer at Barneys led to the store carrying the line; it’s now also sold on several websites, including Net-a-Porter, and next summer Ms. Meyer intends to open a shop in the Los Angeles area. (The company, which is privately owned, does not disclose sales or revenue figures.)

Production is handled by artisans in downtown Los Angeles, and Ms. Meyer and her 10 business and marketing staff members are based in a bright office in West Los Angeles.

Ms. Meyer’s collection has always had many pieces that cost less than $1,000, including a selection of thin bracelets and stud earrings. She gradually has added higher-priced pieces to the mix, such as a long necklace of prong-set diamonds that retails for slightly more than $25,000 and a heart-shaped pendant encrusted with pavé diamonds at $6,000.

The Fashion Week Calendar

The event, staged in the sanctuary of Judson Memorial Church in Greenwich Village, was the culmination of a four-week mentorship between designers from PVH, the global clothing company that owns Calvin Klein and Tommy Hilfiger, and homeless youth from Safe Horizon’s Streetwork Project, which operates two drop-in centers and an overnight shelter.

A bracing alternative to the stoic runways at Skylight Clarkson Sq, the show was also a burst of joy from an increasingly vulnerable population.

“For young adults and teens, there are so many barriers to stable permanent housing,” Liz Roberts, the deputy C.E.O. of Safe Horizon, said in a phone interview. “They don’t have experience living on their own. They don’t have the life skills to navigate a lease and a landlord. They typically have limited work experience. They’re homeless because of a history of abuse and neglect from their families, and they need a lot of support. There’s a need for housing options that are different.”

Mayor Bill de Blasio’s plan to expand New York’s homeless shelter program, Ms. Roberts added, has improved their odds.

“We’ve been able to move more of our clients into supportive housing than in the past,” she said, referring to housing initiatives for people with mental health and substance abuse issues, and vouchers that offset rent costs at privately owned buildings. “And they’ve added beds to the youth shelter program, which is very welcome. We work with 1,000 young people every year, and on any given night we can only shelter 24.”

The fashion show allowed some of those very people to express their creativity. PVH provided sewing machines, fabric and art supplies, and guided the first-time designers from inspiration boards to execution.

At first the designer-models walked cautiously, with downcast eyes. After a few steps, they looked up, to applause and cheers. And after a few more, they smiled. Blue and white crinoline bounced from shoulders and waists, a lime green hat twinkled with rhinestones, and a hoop skirt lifted a train of binder-clipped Bubble Wrap. At least half the looks were winged.

After two days in the hospital, he moved to New York, and for the last seven months he has been homeless. Streetwork helped him secure housing at Marsha’s Place, an L.G.B.T. shelter in the Bronx.

“Every day when I wake up, I go straight to Streetwork,” he said. “The food there is amazing. I’m a foodie, trust me. I get to watch TV, play games and be creative. They treat us like they’re a parent. They’re the nicest people on this earth.”

Gimella, 22, landed at Streetwork when she was 18, after fleeing abuse at home. She now lives at True Colors, an affordable L.G.B.T. youth residence that Cyndi Lauper helped found, and is pursuing a medical assistant degree in addition to aiding Streetwork’s women’s sexual health outreach.

“I had a lot of episodes doing my look,” said Gimella, wearing a sheer dress she affixed with heart-shaped panels covered in rhinestones. “I have social anxiety sometimes. But being around good people, it helped me be more comfortable, to be proud of who I am today. Good things like this, they don’t come a lot, so you have to take advantage.”

For Joean Villarin, an assistant director of the program, Project Streetwork is also a positive shared experience. “It’s nice to be in an environment where the focus isn’t on problems, or on fixing something,” she said. “It’s on creating something.”

Daniel Armosilla, a designer and Project Streetwork mentor, said, “When we say, ‘This is a great idea, here are the tools and supplies, let’s band together and help you realize this,’ all that’s happened to them washes away. They feel peace and elation — surprised by what they’re capable of.”

Red Carpet Trends

Several hours later, after Lady Gaga dazzled a crowd of 1,400 with a grand piano performance of her song “Bad Romance” at the stately Princess of Wales Theater, a caftan-swathed André Leon Talley reclined next to Lady Barbara Black (wife of the former media mogul Sir Conrad Black) holding court at a midnight supper party hosted in his honor by the real estate tycoon David Daniels.

These are not, as one might assume, snapshots from a Canadian fashion week, but rather events that took place during the recent Toronto International Film Festival (TIFF), which began Sept. 7 and ends on Sept. 17. Along with an increasingly visible star quotient, this 10-day event in downtown Toronto has come of age as a new forum for red carpet glamour.

It’s about time. Though since its inauguration in 1976 TIFF has regularly been the first stop for a long line of films that later claim Oscar gold — from “Chariots of Fire” (1981) to “American Beauty” (1999), “Slumdog Millionaire” (2008) to “La La Land” (2016) and “Moonlight” (2016) — paparazzi have paid scant attention. Because Hollywood’s Oscar films are typically dominated by men, TIFF’s red carpet was too, and for decades the women headlining TIFF films, including Nicole Kidman, seized the opportunity to play down the glamour and turn up in trousers.

The stylist Elizabeth Saltzman spent August assessing 25 looks for her client Gemma Arterton to wear at TIFF’s premiere of “The Escape.” “TIFF is the cool kid,” Ms. Saltzman said. “It takes place in a northern city at the beginning of fall. It happens just as fashion month starts.”

“The look is about ‘I’m a serious actor,’ because TIFF commands a ton of respect from the film industry,” she said. “But you have to up the ante. You have to start to generate attention. It is the beginning of the buildup to Oscar season.”

Case in point: the blazer and shorts by Marcus Lupfer modeled by Ms. Arterton, who both stars in and produced the film. “I didn’t feel like wearing a frock,” the actress wrote in an email. “I wanted a playful take on a suit.”

Cut to last Saturday night, the premiere of Haifaa Al-Mansour’s film adaptation of “Mary Shelley” (as part of TIFF’s new move to support gender equality, about one-third of the films shown at the festival were directed by women.)

Just after 11, one of the film’s stars, the British actress Bel Powley appeared in a thigh-grazing white Alessandra Rich chiffon number and navigated her way through a sea of darkly dressed film industry heavyweights from the garden smoking area to the bar at the Hollywood Foreign Press Association and InStyle’s annual TIFF bash.

Ms. Powley had just left her co-star, Elle Fanning, who was reclining on a wicker sofa in Alexander McQueen, while somewhere nearby was Greta Gerwig, the director and writer of “Lady Bird,” in a graphic midcalf golden yellow and black silk Sophie Theallet dress, sourced by her stylist Cristina Erlich.

“Cher Coulter helped me,” said the meticulously groomed Ms. Powley, referring to the Los Angeles-based stylist who selected her minidress. Ruffly, silken and adorned with a black bow, it was an alluring play on a tuxedo shirt and a demure foil to the black velvet Swarovski-embellished Saint Laurent mini flaunted by Margot Robbie, who was across the room promoting the Tonya Harding biopic “I, Tonya.”

Indeed, minis had something of a moment at TIFF, suggesting the old days of mermaid gowns may be numbered. Following the debut of her documentary, “Gaga: Five Foot Two,” Lady Gaga accepted her standing ovation in a slick silver leather Mugler miniskirt. The next night Andrea Riseborough worked the premiere of the period comedy “The Death of Stalin” in a runway-fresh — and as yet to be seen on a celebrity — off-the-shoulder camel leather Saint Laurent minidress.

Two nights later, Chloë Sevigny supported “Lean on Pete” in an above-the-knee concoction by Andreas Kronthalter for Vivienne Westwood.

Of her own short little dress, Ms. Powley said, “I wanted to wear it because Alessandra Rich dresses very few people. It has an ’80s, Chanel vibe and a boyish element, which I always love.”

The choice was representative of what makes TIFF — unlike, say, Cannes or Venice — special: the opportunity presented by its emerging, rather than established, luxury market to break out unexpected looks by up-and-coming designers (Erdem, Christopher Kane, Nina Ricci) as opposed to predictable pieces dictated by a contract between an actress and a luxury brand.

Perhaps as a result, the executives who control celebrity dressing at exactly those luxury labels have begun using TIFF as a testing ground, dressing new stars to evaluate their red carpet potential. Prada’s bet on Ruth Negga, whom the brand dressed in velvet for TIFF 2016’s premiere of “Loving,” marked her early on as a style-setter to watch.

That came after the breakout 2013 debut of Lupita Nyong’oin “12 Years a Slave,” for which she won the Oscar for best supporting actress.

Her wardrobe at TIFF that year, which included a gold sequined white jersey Prada gown, a sleeveless tangerine Antonio Berardi cocktail shift and a lemon yellow sweater paired with hot pants, became an internet sensation and “launched her relationship with Prada, which culminated in Lupita wearing Prada to the Oscars,” said Micaela Erlanger, the stylist with whom Ms. Nyong’o collaborated.

“Every film festival has a different fashion feeling, a different character,” said Ms. Erlanger, who was back at TIFF this year styling the up-and-coming actress Tatiana Maslany for the premiere of “Stronger.”

If Cannes is the glamazon, and Venice her understudy, with Berlin, Sundance and Telluride as the casual little sisters, TIFF is now “the soft-spoken warrior,” Ms. Erlanger said. “It has a subtle power. A lot of the relationship building starts with TIFF, because what it adds up to is awards season.”

The Boy Who Made Shoes

The Boy Who Made Shoes for Lizards” is that Anna Wintour lets you see her eyes.

Normally, that fearsome Vogue editor wears sunglasses

the front row of fashion shows; when she was made a dame earlier this year. But for Manolo Blahnik, maker of some of the most sublime women’s footwear of the past four decades, she drops the lenses and lets her eyes, and feelings, show.

Mr. Blahnik inspires this warmth by dint of his shoes and also his character, which is eccentrically patrician, starry eyed, elegant. (He wears the hell out of a lilac suit.) He’s a man who describes wisteria — the word, but presumably also the plant — as “so Olympic, it’s so hedonistic in a way.”

But this film, directed by the fashion writer and editor Michael Roberts, doesn’t aspire beyond embrace. It rushes through Mr. Blahnik’s biography, dwelling on pop-culture moments and blandly ecstatic celebrity testimonials (not counting the uproarious André Leon Talley, who insists Mr. Blahnik is “up there with Baudelaire”). It also leans heavily at times on recreated footage of Mr. Blahnik’s childhood, as well as on a bizarre scene imagining a 1930s African society party in which a white woman emerges from a gorilla costume.

There is little accounting of his inner life, or for that matter of his creative gifts, which are quite exquisite. And though there are some cleverly conceived but blindingly lighted scenes of Blahnik shoes in nature, or nestled amid sculpture or architecture, there is nothing systematic to the way the shoes are discussed or filmed. In a scene puzzlingly late in the film, Mr. Blahnik, who apparently still makes samples by hand, walks through his factory and finesses a sensuous heel out of a stump of wood. More of that would have made this confection about a radiant man into something sturdier.

Fashion Week

The minimalist handbag brand Mansur Gavriel is has a covetable new line of cashmere coats ($1,495) and merino cable knits ($495). 134 Wooster Street

Donna Karan’s Urban Zen collection includes easy wardrobe staples like draped jodhpurs ($795) and a cocoon dress ($1,695). At 705 Greenwich Street.

Jeremy Scott’s 20th anniversary capsule has T-shirts printed with Jeremy Scott logos and signature sayings including “Viva Avant Garde” and “Keep Fashion Weird” ($180). At

Kate Spade has a denim skirt embellished with vivid red poppies ($198). At 789 Madison Avenue.

The Milly see-now, buy-now capsule, which includes a bias slip dress ($595) and a cropped Aran stitch sweater ($335), is available at its SoHo pop-up. At 158 Mercer Street.

 Rebecca Minkoff has cute fall styles, among them a cross-body bag ($195) with a guitar strap with a jewel-studded strap ($125). At 96 Greene Street.

Baja East teamed up with Melissa Shoes, a sustainable footwear label, on four python-embossed styles, including chunky high-heeled mules ($150), as well as a drawstring bucket bag ($170) in Melissa’s signature plastic. At Galeria Melissa, 500 Broadway.

Olivia Palermo’s partnership with Banana Republic includes tweaked classics like leather kick flares ($598) and an asymmetrical trench ($228). At 105 Fifth Avenue.

Openings and Events

On Thursday, the cult work wear label Visvim will open a pop-up at 180 the Store. Inside the minimal space lit by hand-painted lanterns from Kyoto, Japan, you’ll find exclusive vegetable-tanned suede boots ($1,250) displayed on pedestals. At 180 Duane Street.

If you need further evidence that Birkenstocks are in fashion, head to a pop-up in the meatpacking district on Friday. It has an array of chic styles in shearling ($145) and wool felt ($130) arranged around a layered display unit made from the cork used in the label’s trademark foot bed. At 90 Gansevoort Street.

From Friday to Sunday, the Japanese jewelry label Shihara will have a trunk show at Barneys New York, where you can try out geometric styles

Jewelry to Party

As fashion has moved from minimalism to baroque, following the lead of Gucci and its Pied Piper creative director, Alessandro Michele, a new demand has arisen for what could be called party jewelry: big hoops, mismatched pieces, glittering chokers — all-out opulence and plenty of layering.

“Minimalism has been a trend for so long in fine jewelry, I think it’s time for big, fun statement pieces to come back,” said Sophie Quy, senior fine jewelry buyer at Net-a-Porter. She added that customers of the online retail site are favoring large hoop earrings and asymmetric earrings and chokers, as well as designs that mix offbeat stones like opals, lapis and turquoise with precious stones.

The fine jewelry industry, she noted, is not immune to demographics or the whims of fashion. And an unusual look — not carat size — is what counts among younger customers.

The trend blends well with the growth in the numbers of female customers, said François Delage, chief executive of De Beers. In the last five years, “we have seen more and more women buying pieces for themselves — women willing to celebrate milestones or achievements,” he said. “Our collections respond to these aspirations.”

She added that, even as there has been significant growth in fine jewelry sales at Harrods during the period, there also has been a turn “away from traditional white diamonds, with our customers embracing colored diamonds, rare colored stones and tutti-frutti designs.”

The De Beers Soothing Lotus necklace, unveiled by the jeweler during couture week in July, reflects this anything-goes attitude. The necklace comprises 150 diamonds, with a mix of rough and polished diamonds, six hues of colored diamonds and six diamond shapes.

Fine jewelry brands know that their futures depend on convincing millennials that there is joy in gems and this, in part, requires learning how the fashion industry continually stokes demand for new styles.

“The most exciting jewelry brands understand that just like fashion needs novelty, jewelry needs novelty, too,” said Giovanna Battaglia Engelbert, former editor of Vogue Gioiello, the Italian jewelry magazine. “It is a slower process for jewelry and needs to tie to the fashion in a way that has more longevity.”

She said designers like Gaia Repossi, Ana Khouri, Sabine Getty, Noor Fares and Eugenie Niarchos have been changing attitudes toward fine jewelry. And, she added, so has Chopard’s collaboration with Rihanna

The haute joaillerie collection, first shown in May, included diamond ear-clips, mismatched chandelier earrings and even an ankle bracelet with tourmalines and rare blue-gray sapphires. Celebrity collaborations are commonplace in fashion but rare in the world of high jewelry.

But “if you want to create desire in a new generation of fine jewelry clients,” Ms. Battaglia Engelbert said, “who better to do that than the woman known for her millions of Instagram followers?”

Ms. Quy agreed that social media has played a large part in changing fine jewelry. “Social influencers like bloggers, celebrities and stylists play a huge role in showing how to style and how fine jewelry pieces work in real life,” she said. “They aren’t for locking away; you can have fun wearing them.”

Ms. Battaglia Engelbert said her favorite piece of party jewelry is a single earring designed by her friend Delfina Delettrez — the sculptural piece resembled tree branches and covered half of her hair. The editor wore it to dance at her wedding, along with a short crystal-embellished Prada dress. Demure bridal diamonds and pearls it was not.

Yet designers and jewelry houses have to strike a balance between trend and tradition.

Not adapting to changing tastes could have consequences. As Ella Hudson, senior accessories editor at the trends forecaster WGSN, said: “The growth of demi-fine jewelry — bridging the gap between fashion and fine jewelry through the use of semiprecious material — has definitely posed a threat to traditional fine jewelers.

“The lines are suddenly blurring, and it’s encouraging them to take a bolder, more contemporary approach to design.” However, she added, the trend for multiple body piercings has created new product opportunities, and wearers are encouraged to develop layered stylings.

Sameer Lilani, Europe and the Middle East director at the Indian jewelry house Amrapali, compares the relationship to that of couture and ready-to-wear: Established clients, he stressed, can’t be alienated in the quest for new buyers.

“People are more daring with their tastes, but as with couture, fine jewelry is still luxury and it needs to last,” he said. “If you’re spending 50,000 pounds on a pair of earrings, they can’t look passé in five years’ time.”

One of the new generation, Ara Vartanian, based in São Paulo, Brazil, creates signature pieces that include three-finger rings, inverted diamond cuts and dramatic hook earrings that spread up across the ear. His latest collection, designed with his friend and patron Kate Moss, was introduced in May.

a Ballgown Compete with a Million

Mercedes S-class sedans and a host of SUVs wended their way out of Manhattan, ferrying more than 250 guests northeast to Bedford Hills, N.Y. Each car was equipped with a special CD of soothing tunes chosen especially for the drive, which ended in a parking lot outside of a big white building. Inside were 26 of the rarest cars in the world, made between 1937 and 2015, including a 1938 Bugatti T-57SC Atlantic, a car valued at about $40 million, and a host of waiters in tuxedos holding trays of Champagne or pigs in a blanket, and two long, low rows of squishy black leather banquettes that lined a runway.

That it was two hours (with traffic) outside of the city, didn’t faze the designer, who has been a devoted car collector for years. He decided it was time to invite his audience in on his passion — not least because, he said, “When I think about cars, I think about clothes.”

It was a generous impulse but the entire event, which culminated in a dinner of lobster salad and burgers from his signature restaurant, added up to a display of power and privilege and success the likes of which has not been seen on the New York runways thus far. (It’s impossible to imagine that many guests going that far afield at the bidding of any other designer.)

“See that one?” said David Lauren, one of the designer’s sons and the brand’s chief innovation officer and vice chairman, pointing at a marigold 1996 McLaren F1 LM. “That car inspired a whole line of home furnishings. That one” — he pointed at a black 1937 Bugatti T-57SC Gangloff DHC — “was the beginning of a line of eyewear.”

And the ones in the center of the makeshift catwalk helped inspire the current collection, a dual-gender see now/buy now offering. So you could see the influence of the yellow and carbon 2014 McLaren P1 in the caution-tape-yellow cashmere greatcoat tossed over a black leather miniskirt and over-the-knee-suede boots, and the lipstick red of the 2015 Ferrari La Ferrari in a glossy patent bustier worn over a cloud of tulle. You could match the silver on an iridescent halter slither gown to the silver of a 2014 Porsche 918.

 There were racing stripes down the sides of tuxedo trousers and the arms of an evening coat-with-train, and F1 jackets over full chiffon skirts. Also some very nice houndstooth and Prince of Wales tailoring in buttery seat-leather shades.
e their inspiration where they can find it (a flower! a film!), but rarely is the relationship quite so obvious.

Or quite so detrimental to one of the elements. The juxtaposition of cars and clothes made the connection clear, but unfortunately also the fact that the automotive design was far and away more interesting, complex and original than the fashion. Full of high polish though the collection was, in translating his passion to his products and giving it accessibility, Mr. Lauren had dumbed it down; taken the rare and specialized and made it almost ordinary.

Perhaps it’s an unfair comparison — the cars, after all, are the best of their kind, selected over decades; the fashion collection is one of many, produced twice a year, and all designers struggle to be original on that schedule — but Mr. Lauren is the one who set it up by bringing everyone out and letting them in on his source code.

Such grand gestures and palpable extravagance seem to have fallen out of favor. The watchwords of the moment, whether uttered in self-aggrandizement or sarcasm, may be “Huge!” “Epic!” “Biggest ever!” — but as far as New York fashion is concerned the vision has been small. Mr. Lauren was the exception that proved the rule.

Maybe it’s an attempt by designers to distance themselves from the conspicuous consumer-in-chief. After all, as the New York catwalks made clear last season with a flurry of position-taking not only on the runway but on shirts, skirts and caps, a lot of the fashion world is not exactly enamored of the current administration. At this stage, however, and ironically just as Hillary Clinton (fashion’s candidate of choice) steps into the spotlight with the release of her book “What Happened,” the industry seems to have largely muzzled itself. Instead there’s been a lot of noncontroversial championing of “America.”

At Michael Kors, for example, the designer stretched his signature glossy sportswear over both men and women from “Manhattan to Malibu” (according to the show notes), Brooklyn to Beverly Hills, reimagining tiered chiffons and linen trenches, silk georgette blouses and sarong skirts in palm-tastic prints and nonpareil shades.

Atop a sun-scored wooden boardwalk, double-breasted blazers and crisp cotton shirts brought the beach back to Broadway. Or maybe Broadway to the beach. Sara Bareilles provided a live accompaniment, belting out Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman.” Presumably it was a reference to the clothes, albeit with a touch of Botox and some fillers involved.

At Coach, Stuart Veverscontinued to develop the Route 66 elements of his brand vernacular — shearlings and prairie dresses, cowboy shirts and varsity sweaters — by jazzing them up with a bit of sparkle, a lot of sequins, and some new, lacy slip dresses (he’s expanding the evening offering); also a nod to Keith Haring in the form of prints and intarsia sweaters. “He represented the democratization of art, and that felt very personal to me, and also right for the moment and Coach,” Mr. Vevers said backstag

Gets Serious About Shoes for Men

Steve Madden is practically synonymous with high-heel shoes and thigh-high boots. He has more than 250 namesake stores all over the world, and his shoes for women are carried in major department stores.

Mr. Madden, perhaps the most famous fashion entrepreneur to be convicted and jailed, served two and a half years in a Florida prison for securities fraud and stock manipulation in the early 2000s after having illegally traded shares from the initial public offering of Stratton Oakmont, the investment firm run by Jordan Belfort. The case was fodder for the 2013 Martin Scorsese film “The Wolf of Wall Street,” with Leonardo DiCaprio playing Mr. Belfort and Jake Hoffman playing Mr. Madden. Since his release from prison, Mr. Madden has devoted himself to the business he loves.

He opened a big new store in Times Square on Aug. 1, with nearly a third of its 2,000-square-foot floor space dedicated to his new focus: men’s shoes. “I felt that men were getting shortchanged,” he said. “We were putting all the excitement into women’s.”

What’s the future of men’s shoes?

I would like to go into the sneaker business. I think everybody is wearing sneakers all the time. That’s something you’ll see in the future: more sneakers. I went out to a restaurant in Sag Harbor and it was all mostly 20- or 30-somethings. Why I was there, I don’t know. They were all wearing sneakers. They looked great! But it wasn’t for comfort; they just liked the look. It was interesting to see.

More sneakers and booties. They call short boots “booties.” One of the newest features on the boot is the side zipper. In the old days, you had to sit down, lace ’em all up and now you just reach your foot in and zip ’em up and boom! It’s taking a little utility influence and putting it into fashion. Our men’s business is great.

The Zany Sport Blazers

Jack Carlson,Age :30 Belmont, Mass.A one-bedroom apartment in Battery Park City with Keziah Beall, his girlfriend and business partner.

Claim to Fame:

Mr. Carlson is a former member of the United States national rowing team and the entrepreneur behind a budding rowing brand — first with a coffee-table book, “Rowing Blazers,” which chronicles the esoteric history of the colorful blazers worn by elite rowing clubs, and now with an upscale fashion label of the same name.

Big Break:

In 2010, as a doctoral student in archaeology at Oxford University, Mr. Carlson set out to publish an illustrated volume on the zany jackets worn for centuries by rowers. He didn’t know any publishers or agents, but he did have a network of rowing friends who were willing to model, including Tyler and Cameron Winklevoss, who rowed for Harvard University

The Open Thread Fashion Newsletter

A look from across The New York Times at the forces that shape the dress codes we share, with Vanessa Friedman as your personal shopper. Sent weekly

He pitched the book to three publishers. Every one of them was interested, including Vendome, the publisher of art and illustrated books, which released the book in 2014. Another rowing friend introduced him to an executive at Ralph Lauren, which hosted parties for the book in London and New York.

Latest Project:

 In May, with the knowledge he accumulated for the book, Mr. Carlson started a clothing line called Rowing Blazers. The blazers, which sell for $550 to $1,095, were designed with academic rigor and inspired by his vintage collection. In a nod to a Dutch tradition, for example, some of the blazers have Latin phrases, like “forsan et haec,” stitched under the lapel.

If the manufacturer says that’s really not possible, those are the kind of moments I love the most, because it means probably no one else is doing it this way,” he said.

Interesting Than Gucci

By that point, Gucci fetishism had become parodic and comical. Alessandro Michele’s rebrand had infused the company with flamboyance, joie de vivre, whimsy and sass, but looking at some outfits suggested Ed Hardy’s sophisticated older cousin, Édouard.

Bally, by contrast, is buttoned-up, quiet, peacockish only in its deep inner core. It has been that way for years. Thanks to hip-hop, Bally was one of the first brands I coveted in the 1980s. There’s a guy I follow on Instagram who sells vintage sneakers and last year posted several gorgeous dead-stock pairs but, agonizingly, none in my size.

The 2000s have not been kind to the company, but I’ve sensed a quiet resuscitation in the last two years. Emphasis on quiet: I had to Google the name of its designer. (Beginning in 2014, it was Pablo Coppola, but he left in January; now there are three.) And it is still something of a global luxury footnote: Bally has 146,000 Instagram followers, less than 1 percent of Gucci’s 17.4 million.

Whether Bally is indeed >>> Gucci, of course, is up for debate. It’s also the sort of proclamation that makes a certain stripe of the social media ecosystem furrow its brow. Twitter encourages petty rumbles and deadens genuine dissent. Principled disagreement is so easily mistaken for provocation that it becomes easier, if you’re not inclined to howl, to not even bother whispering.

A new Bally flagship store opened at the beginning of the summer, however, providing an opportunity to assess the company anew by applying the rigorous science of shopping

Both were lovely to the touch and on the body. Neither was practical. More reasonable was a purple polo shirt with black and white trim ($310), with the B logo slanted at an angle so that if you squinted, you might see the tilted P of Palace Skateboards. (It was regal. I bought it.)

The women’s side wasn’t much different. The emphasis on scarves and purses and shoes was overwhelming, but also logical. I saw a sharp pair of soft-backed striped patent leather loafers ($675) that I recognized because Eva Chen had worn them on Instagram a few days earlier. (I’m not ashamed.)

It’s important to remember that Bally is Swiss, not Italian, or French, or British: Restraint is its métier, and any place in the store where it veered from that is where it suffered. I’ve long admired the company’s sneakers. One of my rare shopping regrets is not buying a pair of 1980s too-snug-but-what-the-hell navy low-top sneakers from the old Flight Club on Greene Street — and its basic high-top, with a crimson and beige stripe pattern, was smartly elegant ($495).

But when it strayed too far from purpose — I saw second- or thirdhand ideas from Valentino, Prada, Nike and, grotesquely, Giuseppe Zanotti — the charm faded.

In general, less is more here. Even when embellishment is the raison d’être of a certain piece, it’s done minimally. A few wallets were printed with illustrations from old company posters of a dapper half-man, half-shoe hybrid ($395 to $725). A set of leather goods was embroidered with a low-key space desert theme. By the women’s wallets were a set of luxe stickers ($50) designed to be applied to purses and wallets. I liked the pink heart shot through with a lightning bolt.

Overall, though, the energy of the store was in its refusal. Unlike other Madison Avenue flagships, it is modest, quietly certain of itself. The nods to flash in the clothing are slight, like the perma-popped collar on the windbreakers ($750). In places, Bally is still determining how far to let the pendulum swing: The in-store journal had an article about the intersection of casinos and style (sure) and one on the Guardian Angels (ummmmm).