The Runway Report

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
NY Sun
NEW YORK SUN CONTRIBUTOR

OSCAR DE LA RENTA


Divine details made the Oscar de la Renta spring collection a celebration of American luxury – for both day and evening. Cream-colored tweed suits with flared-panel skirts featured sequins embroidered into the fabric. Skirts made of large geometric-print fabric were dotted with medallions of glittering white sequins. A white boucle dress was hemmed with a lively ball fringe. A series of bathing suits were made of fabric that recalled Provencal tablecloths; one stunner had a long, red chiffon skirt cascading from the bikini top.


For nights on the town, Mr. de la Renta offered both exuberant decoration and simple elegance. His short pouf dresses become sleeker this year, with layers extending lower and fuller. A series of bustier tops were paired with skirts that appeared to be upside down: at the waist were gathered unfinished edges that could have been the hem. A stunning black-and-white gown featured grosgrain ribbon embellished with feathers and beading. To close the show, Mr. de la Renta sent out a column like white tulle gown with delicate gold vines trailing from the bodice down to the skirt.


DIANE VON FURSTENBERG


The best description of Diane von Furstenberg’s spring collection came from the designer herself: “confident, chic, and forever cool.” Beyond the geometric-print wrap dresses (which were sexy as always) the looks balanced urban with safari in a supremely wearable manner. A bright-green leopard print and multicolored zebra print ran throughout the collection. Solid colors held sway in a simple cream sheer shirt paired with ruffles and white peasant skirts and dresses, as well as a white cable-knit bustier. Copper and metallic accents showed up occasionally, as did several colorful bandeu tops. Dresses in giant leaf prints gave the eveningwear a bold edge, but the short fringe dress in brilliant primary colors let a little more leg show. Kudos to Frederic Fekkai for the best hair of the shows so far: The models’ long hair was wispy, but full of volume and large curls that bounced in time with their strides.


CARLOS MIELE


Though there’s been plenty of color in collections this season, the looks at Carlos Miele were like a breath of fresh air. Dress after dress was flouncy, springy, and unabashedly gorgeous. The best of the lot was a flowing evening gown, half in light pink, half in orangey rose, with a pointy flower at one hip from which cascading ruffles flowed.


Several dresses in soft colors, such as lavender or lilac, were shown with sheer lace overlays. Not just the colors, but the shapes of these dresses were alluring: halter tops that accentuated the breasts (without the risk of sudden wardrobe malfunctions). In addition to the dresses were several sharply tailored, feminine jackets paired with skirts. The flirtiest combo was a beige suede jacket with gray lace designs and seams accenting the waist, paired with a flared, paneled skirt in beige satin. But jeans were not forgotten: a thin blue chiffon with long flowing sleeves topped a pair of paneled jeans. The final look was a stunner: a patchwork full-length gown of silver and cream lace with an asymmetrical hem.


DEREK LAM


Last season, Derek Lam’s runway show was a quiet, pleasant affair. This time around it was a mob scene, complete with an overcrowded room, angry audience, and a violent interlude between a bouncer and photographer. This of course indicates the rapid success of Mr. Lam, who started his label just one year ago. His pretty, luxurious, and romantic clothes have been eaten up by editors and buyers, and that will no doubt happen to his Spring 2005 collection as well.


Mr. Lam cited the World War II love story between photographer Helmut Newton (then in his teens) and an older Belgian woman called Josette as inspiration. The light, elegant, and pretty chiffon blouses, slim wool trousers, and sequin-encrusted cashmere cardigans were definitely retro, but seemed to owe more to 1970s Yves Saint Laurent than the early 1940s. Double-breasted jackets with gold buttons, and straight wool shifts cinched with wide leather belts looked straight out of Rive Gauche in its heyday. That’s not to say that the collection wasn’t delightful to look at, but one couldn’t help wishing that Mr. Lam had included some slightly more daring elements. There’s always next season.


ROLAND MOURET


In his third New York fashion week season, the French-born, London-based Roland Mouret returned to his roots. The name of the collection, “Belles de Jour,” was a reference to Bunuel’s classic film and the ladylike outfits that Yves Saint Laurent created for Catherine Deneuve’s character. But Mr. Mouret also cited his grandmother’s couture atelier and the colors of the French Riviera as inspirations.


Starting out swimmingly with elegant and slender day ensembles such as sleek, shimmering shirt dresses in upholstery patterns and light crumpled-leather jackets paired with slightly puffed skirts, Mr. Mouret proved that his technique is impeccable and that he knows just how to tweak a seam or exaggerate a proportion to make an interesting silhouette. The eveningwear, however, although beautiful and innovative, did not live up to the artfully draped chiffon masterpieces of past collections. Working with body-skimming shapes in tricky fabrics like organza and glazed linen, the usually effortless draping looked slightly stiff and the lines rumpled even on the super-slim models. But some looks, like the final pale, golden bustier dress with a matching cape worn by Carmen Kass, were as exquisite as we would expect from this talented craftsman.


MENICHETTI


It’s refreshing to see the work of a designer who makes a point out of not referencing the past. Roberto Menichetti’s second collection was a rigorously modern affair that managed to be ladylike without including retro influences. The ex-Burberry designer is a minimalist at heart, and his slip dresses, pencil skirts, wide linen pants, blouses, and blazers were clean and simple, with subtle details like uneven, draped stitching on sleeves and vertical rows of buttons on feather-light T-shirts.


But the star of the collection was the color palette. Mixing rich, gorgeous hues of turquoise, moss green, coral,and purple, Mr. Menichetti created an effect of gleaming jewels. Although Mr. Menichetti adheres to a contemporary, urban aesthetic in the tradition of his ex-employer Jil Sander, his line isn’t necessarily trendy. It probably won’t be featured in Teen Vogue and it’s hard to imagine it ever making an appearance on a red car pet. But the beauty of Mr. Menichetti’s clothes is that they exude an ageless elegance that makes them accessible to all women.


TULEH


Bryan Bradley is tired of making pretty clothes for socialites, that much is clear. But the question is where he wants to go next. At his Spring 2005 show Sunday night, it looked as if Mr. Bradley wanted to present a tough and provocative collection, but stopped short of taking it all the way. The sound track – droll female rapping about Madison Avenue issues like cosmetic surgery, body image, and compulsive shopping – was funny and poignant, but it didn’t make the clothes any edgier. Slinky chiffon dresses in animal patterns such as snakeskin and leopard spots worn with bright and shiny coats that looked like cellophane candy wrappers were borderline kitschy, rather than ironic. There were softer and more traditional Tuleh looks, such as brocade bustier dresses, pailette skirts, cream frogskin jackets, and cashmere tanks and hoodies that worked better. But judging by the reaction from the well-coiffed and bejeweled audience, it seemed like Mr. Bradley’s rebellious efforts went unnoticed. “I loved it – it was so pretty!” effused several bubbly socialites after the show. If Mr. Bradley wants to bite the hand that feeds him, he needs to sharpen his teeth.


J. MENDEL


Who wears fur in the summer? Nobody, besides the animals themselves, and maybe Ivana Trump. But furrier J. Mendel still has to come up with a spring collection, and solved the problem by sending out meticulously constructed coats and dresses consisting of many small pattern pieces that mirrored the inside of a fur coat. And of course, there was the odd pink mink bolero jacket and caramel fox collar.


The very romantic and deluxe bohemian collection had a deliberately undone feeling. Seams were slightly frayed, oversized stitching framed the silhouettes of slim patchwork coats, and delicate silk chiffon dresses were hand-painted in abstract patterns that resembled Impressionist paintings. There were also super light bustier gowns covered in artful pleats and fluid gowns that looked like 1930s silk kimonos. On the less dressy side were chiffon blouses worn with cropped boy pants or miniscule shorts (this season’s miniskirt). Colors were pale and gentle; even the black floral prints had a soft, faded quality. J. Mendel has become a Hollywood starlet favorite in recent years, and judging from the reactions of audience members Jessica Simpson and Tori Spelling, that trend is not about to change anytime soon.

NY Sun
NEW YORK SUN CONTRIBUTOR

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.


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