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Mark Badgley and James Mischka, the duo behind Badgley Mischka, have dressed their fair share of Hollywood elite for awards shows and movie premieres, and Teri Hatcher is their latest spokesmodel.

Badgley Mischka's bridal collection imparts a similar sense of old Hollywood glamour and is always one of the most eagerly anticipated collections to be shown during bridal market week, which kicked off in New York this weekend.

In a salon-style setting at the Hotel Intercontinental on Sunday, October 21, a suite of 23 gowns fit for a wedding in Malibu paraded down the runway, and the overall mood one of restrained, grown-up glamour and minimal embellishment, a hot trend in bridal this year.

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Instead, Lhuillier imparts an elegant, high fashion sensibility to her bridal collections. It makes sense, as Lhuillier also designs ready-to-wear collections and is a popular choice for celebrities walking the red carpet (she's dressed everyone from Reese Witherspoon to Catherine Zeta-Jones to Marcia Cross). Hers are wedding gowns

with a design that wouldn't be out of place at a black tie affair.

For Lhuillier's Spring 2008 bridal collection, shown in the heart of New York's Chelsea gallery district on Sunday, October 21, she presented a wide offering of airy, intellectual gowns with subtle Victorian influences that one could picture modern day versions of Jane Eyre characters wearing on their wedding day. On several gowns, silk chiffon was gathered into cloud-like folds and layers, a Lhuillier signature. Another gown, in crepe de chine, featured artful twists and gathers to form a soft bodice that flowed gracefully from the waist.

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Taylor, who began her runway career when she was 14, remains the youngest model ever to score the cover of Vogue.

Now a mother of two, she owns a clothing boutique in Tennessee and is the founder of the Begin Foundation for the Advancement of Women in Business, an organization that helps women with limited resources realize their aspirations.

Beckford broke onto the modeling scene when he appeared in the 1994 Polo Sport campaign. He subsequently landed a multiyear contract with Ralph Lauren and worked as a spokesmodel for Polo Fragrances and Polo Sport.

When he's not busy posing, Beckford has appeared in films including Zoolander, Into the Blue and Biker Boyz.

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The comely duo will serve as the hosts of Bravo's new reality competition series Make Me a Supermodel, scheduled to premiere early next year.

The show, based on a British series by the same name, will feature both men and women competing for the chance to launch their modeling careers and win $100,000.

Over a 12-week period, 14 easy-on-the-eyes hopefuls will live together in a New York City loft while they face various challenges designed to test their potential as professional models.

Unlike the CW's Tyra Banks-fronted America's Next Top Model, where a panel of judges decide who stays and who goes each week, Supermodel results will be determined by viewer voting. Each week, one would-be catwalker will be sent home, until only one contestant remains.

Taylor, who began her runway career when she was 14, remains the youngest model ever to score the cover of Vogue.

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The theme was "Africa: A Safari," as Hall (who is an African-American originally from Detroit) looks "to my personal roots" and takes inspiration from "Dinka, Maasai, and Zulu tribes to the antelopes and zebras" that roam that vast continent. Hall even went so far as to use fabrics, beading, and jewelry designed and created by artisans in Africa, including mud cloth and painted twill. From the first look, a "Nomadic fitted sheath" in tones of brown, white, and tan to the last, a white strapless wedding dress adorned with a colorful ceremonial Maasai wedding neckpiece, the designer successfully evoked the feel of Africa while staying as sophisticated as he has always been.

Gasps of wonder and applause met many of his dresses as the models emerged onto the runway of the packed Main Tent. Some, like the elegant Serengeti silk printed bustier gown and the shorter sheath in the same pattern, evoked the sun rising over the desert in shimmering shades of cream, brown, and rust, while others, like the multi-colored tribal embroidered dress, gave off an easy, more casual yet chic vibe. Other daywear looks featured a strikingly bold black-and-white zebra print on a "dashiki" (long tunic), studded with glittery crystals and worn over slim white silk pants; and a slightly deconstructed tan raw silk jacket worn over matching walking shorts and oversize hat.

But Hall's trademark is eveningwear, and his Spring 2008 collection of gowns did not disappoint, as he continued to mine his extremely flattering silhouettes – think bustier, halter, or crisscross straps up top, snug waists, and long, flowing bottoms – changed up with a touch of Africa. One stunner was the Nebele painted bustier gown, a fabric created by artist Sharon Fauvel, gorgeous blocks of yellow, green, blue, and red worn with a stack of brightly-patterned tribal bracelets. Another great look: Hall's leopard-patterned silk gown with a plunging neckline, adorned with an elaborately beaded waist.

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The show was all about dressy dresses, done mostly in form-fitting shimmering satin and silk. The first look set the tone, a brilliant emerald-green cocktail dress with an off-the-shoulder cowl neckline, sleek and feminine and perfect for that upcoming holiday party. A series of short dresses followed, in brilliant orange (she calls it "lipstick"), canary yellow, hot pink; the best of the group was a two-toned orchid and purple corset dress, with light orchid ribbons of contrasting setting off the model's bosom beautifully. Other fun short looks in the collection included a modern-print slip-like corset dress and another bright emerald look done with a blouson top and tight miniskirt.

But most of the Dina Bar-El collection focused on gowns. Most featured slim lines through the hip, widening out to a flowing bottom, with varied tops. Some, like a stunning bra-top gown with rhinestones set into the straps, used ombre (that one was "sunset," varying tones of orange, red, and yellow) satin to excellent effect; others, had a Grecian effect, with plunging necklines and ribbon banding, including Bar-El's single wedding gown that closed the show.

The only slight stumbles in an otherwise extremely elegant and wearable show were the dresses (both long and short) that featured ruching across the midriff. Those were so unforgiving that even the super-skinny models looked like they had poochy stomachs, obviously not a look that any self-respecting non-pregnant female wants to present to the world.

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But that skin show was nothing to what Christian Audigier presented on the women. There was the white micro-mini tee-shirt dress, worn over tan panties, garter belt, and sheer stockings ; the black bra, garter belt, and sheer stockings worn with a wide-open olive-toned raincoat; skin-tight patterned gold leggings worn with a slouchy, off-the-shoulder patterned tee (shades of "Flashdance" and Eighties style there); and a black bra, paired with a black feather boa, and a see-through pair of tan knickers worn over black panties. Hooker chic, indeed, and the sort of streetwear that sends a working-girl message.

Audigier's capper, a series of looks that combined completely sheer tulle skirts in bright colors of pink, green and electric blue displaying the panties and garters underneath, paired with hoodies and matching berets, are an evening look that isn't likely to make it to any Hollywood red carpets.

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