Yes it is currently August. Yes, Fashion Week starts September 9th. It may be one month away, but in a blink of an eye Mercedes-Benz Fashion Week will hit New York city like a perfectly styled twister.

Fashion Week is an exciting opportunity for designers to showcase their collections on one of the biggest international platforms in the world. Fashion insiders, media outlets, fellow colleagues, and hungry consumers get first glimpses of mouthwatering new looks.

With a change of venue (Lincoln Center), Scene B Seen will be in the trenches of fashion week to cover some of your favorite designers and new up and comers. What are the new trends for Spring 2011? The new must have? Over arching themes? Stay Tuned!

image* www.secondcitystyle.typepad.com

Ballet is a art of contradiction. From the lithe, lean bodies concealing strength and grit, to the seemingly effortless movement quality emerging from a technique designed in opposition to the normal human anatomy. Not many of us are born with the necessary bone structure- the high arches and the one-hundred-and-eighty degree turn-out in the hip sockets. Ballet is an exclusive club and none perhaps is more selective than the School of American Ballet.

At twelve years old, I was first introduced to SAB during an audition for the summer study program. Before the class even began, the instructors circled the room measuring the physical capabilities of each dancer with a simple command, "stand in first position with your best turn-out, then point one foot to the side." Every student is hand-picked for similar characteristics and trained to achieve a uniform level of excellence and aesthetic.

Co-founders Lincoln Kirstein and George Balanchine began SAB in 1934 when Kirstein invited Balanchine to leave the Ballet Russe and join him in America, to which Balanchine accepted with the famous condition, "but first, a school." 32 young pupils were chosen to attend classes in the Madison Avenue studios. Like the art form of ballet itself, SAB has its own contradiction- an old tradition of promoting youth. Balanchine is credited with discovering the exceptionally young and talented baby ballerinas, who would become stars of the Ballet Russe. Initiated by one of the baby ballerinas turned SAB faculty member, Alexandra Danilova, and supervised by Balanchine, the School of American Ballet Workshop was founded in 1965 to showcase young rising stars. In keeping with tradition, SAB presented a careful selection of prodigies in it's 2010 Workshop Performance on June 5 and 8th at the Peter Jay Sharp Theater.

Dance devotees gathered to attend the show and to celebrate the 50th Anniversary of the Lincoln Center of Performing Arts. SAB began its relationship with Lincoln Center in 1967 with the Workshop Performance, and has since become the school's permanent home. Chairman and Artistic Director, Peter Martins, addressed the audience with gracious pride with regards to the students and the faculty whom he called "the heart and soul of the organization", and the 700,000 dollars raised at the annual benefit performance. The night also honored four students- Jillian Harvey, Spartak Hoxha, Alexander Peters, and Elizabeth Wallace- for outstanding promise, and faculty member- music teacher Jeffrey Middleton- for distinguished service with the Mae L. Wein Awards.

The show opened with Scenes de Ballet choreographed by Christopher Wheeldon. With a setting meant to resemble a mirrored studio with a barre dividing the stage down the middle, the piece showcased dancers as young as 9 years old. The piece was a testament not only to the incredible physical capabilities of each young dancer, but also the discipline necessary to carry off the theme of a mirror and dance opposite another person, matching not only steps but line. This is a challenge for dancers of any age, and even more impressive when age is considered. The piece was a perfect demonstration of Balanchines vision for the necessity of a school where young dancers would be trained under one stylistic approach, as well as, a perfect glimpse of the various levels of students performing together.

Second on the program was the Balanchine-choreographed Valse Fantasie, featuring one lead couple and a corps of four women. This was a nice progression from the classroom sett and simpler classroom costumes of Scenes de Ballet, to a lovely, spirited technical display. The choreography not only offered greater opportunity for the dancers to expand beyond proper execution of steps, but also to play with dynamics, completing lightning-fast jumps, or petite allegro, in combination with a carefree lyrical expression in the carriage of the arms and upper body.

Closing the program was another work by Balanchine, the three movement Bourree Fantasque. The music, composed by Emmanuel Chabrier, was dedicated to the composer's friend- pianist Edouard Risler. In a letter to Risler, Chabrier said, "I have made you a little piece which I think is quite amusing. Let us see how you will make this one shine! It should be bright and crazy." These words are fitting, not only for the music- famous for its exceptional tonal varieties and richness, but also for the choreography which demands classical technical precision one moment and quirky entertainment the next.

Each of the three movements had a distinct personality of which the dancers fully embodied. From the flirtatious and Vaudevillian first movement, featuring the sassy long-legged Meaghan Dutton-O'Hara and the buffoonishly charming Alexander Peters, to the lyrical Prelude- where Jillian Harvey and Chase Swatosh broke the comedy with their fluid and effortless quality of movement.

Real passion and fire came in the third movement, Fete Polonaise, as Harison Ball and Angelica Generosa led their fellow performers in a dazzling spectacle of never frenzied, but always feisty, dancing. Generosa was the stand-out performer of the evening. She brought excitement to the stage, not only through her flashy extension and held balances, but for the radiant artistry she exuded through her technique.

There is a good reason for the exclusivity surrounding Balanchine's work. It is the kind of choreography that dancers cannot hide behind; there are few gimmicks, breaks, or tricks to distract from the structural clarity in the staging and in each individual dancer. The work is musically and technically challenging for a dancer of any age, commanding the attack and presence of a seasoned professional. It is work that glorifies those specific bodies, those anatomical wonders, but allows the true artist to leave an almost inhuman imprint on the memory of the audience.

The Workshop did a magnificent execution of showing the transformation a student of SAB undergoes; from a young talent in the classroom, to prodigious technical skills, to an emerging artist. While there may have been a few slip-ups par for developing dancers (a fumbled curtain call for instance), the showcase was a perfect walk through of what it is to be blessed with the genes, the discipline, and the opportunity for those on the road to becoming ballet's next stars. These are the dancers that left this audience member feeling simultaneously very impressed, and at twenty-three, very old.

SEEN: Alexandra Adame, Susan Baker & Michael Lynch, Paige Bluhdorn, Celeste Boele, Mitchell & Margo Krody Blutt, Brie Bythewood Stuart H. Coleman, Chelsea Clinton,  Coco & Arie L. Kopelman, Susan Krysiewicz & Tom Bell, Margaret Hayes, Susan Fales-Hill, Effie & Robert Fribourg, Sasha Galantic (Chanel Inc.), Duane Hampton, Jill & Harry Kargman, Pamela J. Joyner, Alexandra Lebenthal & Jay Diamond, Genevieve Labean, Tamara & Josh Leuchtenburg, Peter Martins (Artistic Director and Chairman of Faculty)  & Darci Kistler (Principal Dancer), James Marlas, Elizabeth McCreery, Sara Mearns (Principal Dancer) Elizabeth & Richard Miller, Gillian & Sylvester Miniter, Amy Mazzola Flynn, Megan Mullally (Party Down, Fame, Will & Grace), Philip Neal (Principal Dancer), Liz & Jeff Peek, Roswell B. and Susan H. Perkins, Betsy & Rob Pitts, Suzanne Allen Redpath, Jean Shafiroff, Jonathan Stafford (Principal Dancer), Jock Soto (Principal Dancer), Marjorie Van Dercook (Executive Director of SAB), Barbara & John Vogelstein, Jack Watters, and Laura & Will Zeckendorf.

*All photos by Clint Spaulding courtesy of PMc

*1: Megan Mullally and Susan Stroman

*2: Jock Soto and Luis Fuentes

*3: Alexandra Lebenthal

*4: Paul Bluhdorn, Audrey Joan Bluhdorn, Anna Yvette Bluhdorn, and Paige Bluhdorn

*5: Coco Kopelman and Arie L. Kopelman

Thursday, April 29th: As all us fashionophiles are shaping up to slip into our bikinis and planning our summer soirees, IMG is planning how the 2011 summer garments will make their way down the runway with the transition to Lincoln Centers Damrosch Park for Mercedes-Benz Fashion Week this Fall.

Here's what the major players had to say at a fashion industry briefing supported by The City of New York, Lincoln Center and the Council of Fashion Designers of America:

The move to Lincoln Center has allowed IMG Fashion to unveil event upgrades such as modernized production capabilities for designers, digital services concurrent with the advanced needs of the 21st Century, better accessibility for attendees through both public and private transportation and great resources/facilities on-site and in the surrounding areas.

The move to Lincoln Center comes after extensive work between City Hall, Lincoln Center, the New York City Department of Parks and Recreation, New York City Economic Development Corporation (NYCEDC), IMG and the Council of Fashion Designers of America.

"This is a very exciting day for us," said Peter Levy, Senior Vice President and Managing Director of IMG Fashion Worldwide.  "The move has allowed IMG to reinvent and improve so many aspects of Mercedes-Benz Fashion Week as well as develop a stronger link to the surrounding facilities and spaces available at Lincoln Center and the neighborhood. This is the first season in what we are confident will be a long run at Lincoln Center."

Stephanie Winston Wolkoff, Director of Fashion, Lincoln Center, stated, "We are delighted to provide Mercedes-Benz Fashion Week with a new home and an extraordinary array of possibilities. Over the past few years, Lincoln Center has undergone a transformation, resulting in a campus that is aesthetically spectacular as well as extremely accessible. We look forward to providing the fashion industry with one central location for activities in and around the tents. In addition, we plan to welcome consumers with a dynamic array of opportunities to engage with the art of fashion."

"The move to Damrosch Park at Lincoln Center is the culmination of a working partnership between the Mayor's Office, NYCEDC, IMG, Lincoln Center, and the Department of Parks and Recreation," said Patrick M. Murphy, Director of the Fashion/Retail Team at the Center for Economic Transformation at NYCEDC. "The enhancements to the tents, the ability to stage additional presentations, along with access to major transportation routes, and the connection with the Lincoln Center brand will be a terrific boost for the fashion industry, and will have a positive economic impact for the event and the City."

"The industry support and innovation being utilized to transform Lincoln Center into the new home of Mercedes-Benz Fashion Week is a testament to New York City's premier status among the greatest fashion capitals of the world," said Stephen Cannon, Vice President of Marketing for Mercedes-Benz USA.  "Our commitment to the event's success will continue as we officially announce today that Mercedes-Benz is renewing a three year agreement with IMG to remain title sponsor."

Mercedes-Benz Fashion Week at Lincoln Center, which will be held from September 9 to 16, will implement a number of technical enhancements to adjust with the changing needs of the fashion community. These upgrades include; a gracious lobby to better accommodate designer guests, press and industry professionals; modified runway theaters and modular designer spaces that support advanced production capabilities; expanded lighting and digital design resources; new décor and increased venue/runway sizes and seating enhancements. The event will continue to host three runway venues, and has added a fourth presentation space for designer presentations, industry forums, press conferences and other activities. The venue cost to each designer will remain the same as in previous seasons of Mercedes-Benz Fashion Week.

IMG Fashion will extend the Tents original mantra to "organize, centralize and modernize" into the digital realm, launching a new  Mercedes-Benz Fashion Week at Lincoln Center website and suite of digital services that provide expanded capabilities for designers, press and attendees. These improvements include a new designer centric website and updated registration and credentialing system synchronized with designer seating. The digitization of the event will further streamline the communication between the different constituencies, providing up to the minute resources for press registration, press contact details for designers, online RSVP and show check-in capabilities.

Lincoln Center allows a unique opportunity in the evolution of the event, offering expanded resources and facilities around campus for the use of designer, press, industry and consumer activities. Inside the Tents, the site will feature increase lounge style seating in the event lobby and an outdoor garden for events and presentations as well as a number of restaurants, cafes and sitting areas around the Lincoln Center campus. Lincoln Center also provides attendees with convenient transportation and access to the event via the MTA's subway systems, buses, the West Side Highway and light traffic flow on 9th Avenue (Columbus) and 10th Avenue (Amsterdam) making the hectic week of shows as effortless as possible for all attendees.

My apprehension of the move has now ceased and I'm feeling a little giddy in anticipation...

Tuesday evening on the Upper East Side, sipping champers and shopping. A lovely way to celebrate the glorious dance career of New York City Ballet's Darci Kistler. The kick-off event for the NYCB's Annual Luncheon, Saying Goodbye to Darci, was held at the Valentino Boutique on Madison Ave. The cocktail party hosted gorgeous guests, including several NYCB dancers all dressed from head to toe in Valentino.

Ms. Kistler, known as the last of the "Balanchine ballerinas", will be retiring after 30 years years with the Company. Peter Martins, Ballet Master-in-Chief, and the Annual Luncheon 2010 Chairmen will host the NYCB Annual Luncheon on Wednesday, February 10th at the David H. Koch Theater at Lincoln Center. The luncheon will tribute Ms. Kistler's remarkable life as a dancer, Mother, and teacher.

The afternoon program will include dance selections with Ms. Kistler and students of The School of American Ballet, as well as excerpts from Anne Belle's 1989 film, Dancing for Mr. B: Six Balanchine Ballerinas.

The Luncheon will also recognize this year's Janice Levin Dancer, Kaitlyn Gilliland.

For more information or to purchase tickets for the New York City Ballet Annual Luncheon 2010, please call the Special Events Office at 212.870.5585

To view more photos from Kick-Off event, please click HERE

Dignitaries, scholars, family dynasty members, artists, editors (including the stunning Devorah Rose of Social Life Magazine), an heir apparent or two, and socialite ingenues such as Tinsley Mortimer and Stephanie Newhouse, gathered at Lincoln Center to celebrate New York City Opera's Theater Debut.

Opening night of the David H. Koch Theater, renamed in honor of Mr. David H. Koch’s $100 million lead gift to the joint capital campaign, unveiled the state-of-the-art renovations, and welcomed General Manager and Artistic Director George Steel for his inaugural season. This landmark evening honored David H. Koch, whose extraordinary generosity has provided a new home for New York City Opera and New York City Ballet.

After a spin on the red carpet, guests were escorted up to the grand promenade to sip some Dom and have a look at the much buzzed about installation by E.V. Day, best known for transforming clothing into sculpture material. The artist was given free reign to rummage through the theater's closets, which resulted in 13 works. A cast of Opera characters from Don Giovanni to Mimi, suspended from the promenade catwalks using dozens of pieces of fishing line attached to the cloth with fishing-tackle connectors (called swivel snaps).

Act II: Around 7pm, the familiar bells chimes, and guests filed into the auditorium for the opening concert, American Voices. This gala concert, marked the company’s return to the stage, the start of the 2009/2010 season, and the first under the direction of Mr. Steel. American Voices showcased performances from great American opera and musical theater performed by world-renowned New York City Opera stars including; Amy Burton, Joyce Castle, Anna Christy, Joyce DiDonato, Lauren Flanigan, Anthony Dean Griffey, Marc Kudisch, Samuel Ramey, Julius Rudel, and a special performance by Grammy-nominated singer-songwriter Rufus Wainwright and by the New York City Ballet.

FYI: New York City Ballet will hold its Opening Night Benefit in the David H. Koch Theater on November 24, 2009, when it will mark its first performance in the renovated theater with a world premiere ballet by Peter Martins to a score by John Adams.

Following American Voices, guests returned to the promenade, which had been gloriously transformed into elegant table seating, to dine, chat, and participate in the live auction. Auction Chairman, Luziah Ismail-Hennessey, paired luxury items and priceless experieces such as; An African Fishing Adventure, a trip to Jordan, a Greek Art Trip, and an Italian Grand Tour, to be auctioned off by Chairman of Sotheby's North and South America, Jamie Niven.

Encore: All proceeds from the Theater Debut Celebration support City Opera's mission to produce innovative productions of new and classic work, reach a wide audience with affordable ticket prices, and bring music into the lives of thousands of students each year through its acclaimed education programs in New York City public schools.

SEEN: Alex McCord, Amy Fine Collins, Annette Mcevoy-Bronheim, Arie Kopelman, Ashleigh Sekoski, Atilla Tetik, Bassima Ghawi, Bianca Kawecki, Carolina Herrera, Catherine Farley, Coco Kopelman, David Koch, Devorah Rose, Diana Picasso, E.V. Day, Edmee Firth, Elaine Sargent, Elizabeth Peek, Emre Tetik, George Steel, Gilles Hennessey, Gillian Miniter, Habib Ghawi, Harold Bronheim, Jeffrey Peek, Jesse Newhouse, Jorn Weisbrodt, Julia Koch, Lorry Newhouse, Luziah Hennessey, Margo Langenberg, Mark Newhouse, Michael Lynch, Nicholas Firth, Nicolas Mirzayantz, Paula Zahn, Princess Alexandra of Greece, Rachel Roy, Reinaldo Herrera, Reshma Shetty, Robert Meya, Robert Vacca, Rufus Wainwright, Sarah Steele, Simon van Kempen, Stephanie Newhouse, Stephanie Stokes, Susan Baker, Sylvester Miniter, Terry Clark, Tinsley Mortimer, Wyndham Lewis, and Xavier Hermes.

To view more Gala Photos, please visit the SBS DHKT Debut Gallery

Please visit New York City Opera for season performance tickets and information

*All photos by Nick McGlynn

*photo 1: Rufus Wainwright and Jorn Weisbrodt

*photo 2: Tinsley Mortimer and Julia Koch

*photo 3: Richard Taylor and Mark Newhouse