Interrupting your intensive Fall 2010 fashion week coverage, after tying up loose ends and catching up on things missed due to a season come and gone, I managed to catch up a few recent episodes of ABC’s Ugly Betty.

In it’s last season now and coming to it’s final episode, Betty Suarez (a.k.a America Ferrera) undergoes a mega transformation, coming full circle. While Amanda (Becki Newton) moves on from Mode to become a stylist, leaving Marc (Michael Urie) behind at the magazine.

As Amanda persuades Marc to move on from a failed relationship, he makes his way through the office in one of the face-printed pieces from the Jil Sander Spring 2010 collection, buttoned-up and paired over an almost fully blue ensemble.

Printed with a face from the works of Japanese artist Tsuguharu Foujita, the white long sleeved cardigan features a face on both front and back, giving off a feeling of lightness and serenity. Much the mood of the mainly white Jil Sander Foujita Project.

The cardigan retails for $695 and can now be bought on jilsander.com

The last episode of the show airs Wednesday at 10:00 on ABC.

[Runway Images: Getty Images & Pixel Formula]

Being a fan of the work that Tim Hamilton has produced over the years, missing the opportunity to sit on his Fall 2010 show will always remain as one of my biggest regrets of the season.

All about texture this season, Hamilton heads off into a dark zone with a bit more edge and attitude in comparison to his sporty transparencies of Spring 2010. Tailoring with a twist, the designer picks up on some of the season’s biggest trends, from the mouth covering ski mask pieces that we saw at Alexander McQueen to contrast color blocking that appeared on various other runways, there was nothing left unaccomplished.

While the feel of Spring 2010 focusing more on a light and standard take on American sportswear with a Parisian edge, you can now welcome Tim Hamilton’s vision of a relatable rock god. Both leather clad and cardigan wearing, the latest Tim Hamilton man knows how to appeal to both business and everyday audiences.

Slightly world’s apart from what we saw last season, a relaxed color palette of cool and warm greys mixed in with blacks still can been seen, with harsh contrasts between the two colors appearing on a blazer, a coat turning inside out to form a collar, and a cardigan with separate patterns on each side.

The grand finale of the show consisted of Benoni Loos walking in a suit embellished far beyond the studs seen in the Prada Fall 2009 collection, tying everything back to the beautiful texture and cuts seen all throughout the show.

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Ever since his start at Givenchy, religion has always been the driving force behind some of Riccardo Tisci’s best work. That being, Tisci revisits familiar territory and delivers religion at Givenchy in a more blatant and in your your face than ever before.

While I always like to look at Givenchy casts as amongst on one of the world’s most random yet perfectly fitting, with Givenchy faithfuls and campaign faces in the mix, Riccardo Tisci downsizes a tad bit, cutting Spring 2010‘s 35 looks down to 28. Whether it was to make a bolder statement with high contrast colors, possibly, but no prints were seen this season. Instead, black and white became the collection’s main focus, with trousers gaining a little life at points with metal-like bird patterns appearing all over.

Sticking with his favorite uses of Bermudas, sandals, and legwear, no matter the season, we now see sandals simple in lightly quilted patent leather. As Bermudas are worn over blackout tights with usually bulkier tops created with perfectly tailored coats or even a T-shirt reading ‘Jesus Is Lord’.

My favorite detail the brought everything together were the golden crown-of-thorns necklaces that somehow make me wonder, if you were to slightly tip forward, would it lead to a gory end?

Highly delicate and poetic, but showing undertones of the religion and the darkness within it, Tisci can do no wrong.

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Arthur Daniyarov | Scoop Models
Backstage at Gianfranco Ferré Fall 2010

As Kris Van Assche likes for comfort to be one of the major deciding factors in the ideas of what comes down his runway and in turns ends up on a man’s body, the Belgian designer and Artistic Director of Dior Homme takes basics and rework them to become rightfully darker and heavier than his Spring 2010 collection.

Tucking pants into boots to create a more relaxed and youthful look out of very less than urban youth looks, like we saw at Louis Vuitton and Smalto, Van Assche sends away last season’s open-toe lace up gladiator for leather boots with straps creating a hard-edge vibe, against more freeing silhouettes. Using about two or three main colors as his focal point for the collection, the show opened in more formal-ish day looks that seemed right for business, but also for everyday uses, then leveled out towards the end in more casual flannel pieces.

All of which were paired with ribbed hats that add an all new dimension to the head. Hats that I strangely now want.

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