Know Their Names

This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

The New York Sun

There are a few debuting designers each season that manage to generate hype even before they show their first collection. Rodarte, L.A.-based sister act Kate and Laura Mulleavy’s label, is this season’s phenomenon. The sisters’ New York show was their first ever, yet it had been preceded by a cover story in Women’s Wear Daily and an article in Time magazine. At their Friday night presentation, it was easy to see why Rodarte has caused such a stir. The fluid dresses in delicate silk and chiffon channel Jean Harlow and Gloria Swanson, but they also fit right into the neo-nostalgic wardrobes of the likes of Kate Hudson and Ashley Olsen. Fine pleats, slender ruffles, lightweight applications, and curvy, contrasting insets brought the 1930s masterpieces of Madeleine Vionnet to mind. As gorgeous as the garments were, however, one can’t help but wonder what would happen if the Mulleavys infused their vintage influences with a larger dose of modern innovation.


One designer who has successfully managed to do just that is Sari Gueron. Although her sophisticated and innovative creations often are inspired by the aforementioned Madame Vionnet, Ms. Gueron’s clothes always feature modern design elements – a new way to cut a sleeve or drape a neckline – that are completely her own.


Ms. Gueron is the rare young designer who has had the good sense to pace her career nicely. Her show on Saturday was her first actual runway experience. Earlier efforts, displayed in an informal tableau setting, featured just a handful of cocktail dresses. For spring 2006, however, she expanded the line to include separates like jackets, shorts, and cashmere knits. The deftly executed collection could be described as “restrained bohemian luxe.” Ms. Gueron knows how to hold back a ruffle so it doesn’t look too sweet and counterbalance the glitz of a crystal application with a demure silhouette. These are clothes that appeal to confident and fashion-savvy young women like Sofia Coppola, who was quietly sitting in the front row.


Gwen Stefani’s presence dominated Zaldy’s front row as well as his spring 2006 collection. Zaldy is the co-designer of Ms. Stefani’s clothing line L.A.M.B., and their collaboration seems to have influenced his own line. Pieces like a backless trench coat, oversized hoodies paired with short shorts, and a sequined bra worn with wide black trousers had the sporty and slightly ironic edge that Ms. Stefani favors. But perhaps his work with L.A.M.B. has put the designer slightly out of touch with his own aesthetic: There were just a few beautifully draped dresses that had the sense of drama and slightly decadent glamour that first put him on the map. Hopefully we will see more of that next time.


The beauty of staying true to a concept was demonstrated in Project Alabama’s show later the same day. This very personal line is handcrafted by 150 female artisans in Alabama, under the direction of designer Natalie Chanin. Although the collection subtly evolves each season, the foundation always stays the same: quilted applications in swirly floral patterns, recycled cotton jersey fabrics, soft hand-dyed colors, and classic silhouettes like A-line skirts and fitted blazers. Ms. Chanin usually collaborates with an outside artist, and the spring 2006 line incorporated airbrushed work by graffiti artist Michi and images by legendary hip hop photographer Chi Modu. (Merging photographs of Tupac Shakur with folksy stitching techniques may sound like an impossible design task, but Ms. Chanin and her team pulled it off.) The new collection has all the charm that has made Project Alabama popular with the international fashion crowd.


Few designers know how to create glamorous party clothes as well as Jennifer Nicholson. Her marvelously flamboyant vision incorporates rich and luxurious fabrics, bold colors, and semi-psychedelic prints. The spring collection included eye candy like bouncy ballerina gowns in taffeta and lace, sweet sundresses in polka dots and pastels, decadent matching coat-and-dress ensembles, and kimono-sleeved silk tunics. The collection strayed with too many design ideas and too many themes, but Ms. Nicholson’s label is only a couple of years old and hopefully she’ll sharpen her line with a tighter edit next season.


The New York Sun

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