To the Races, With Ralph

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

Ralph Lauren used the presentation of his spring 2008 collection to celebrate 40 years in the business of fashion. Breaking with the usual practice of a simple runway show, this collection was presented at the Conservatory Garden in Central Park in full party mode.

Guests were greeted with Champagne served by waiters whose hair — slicked down and to the side — made them look like characters in “The Great Gatsby.” Or a Ralph Lauren advertisement.

The show took place in an intimate room — set up inside a giant tent — with only three rows of rattan risers, each one lined with flat black cushions to sit on and white throw pillows to lean against. A mural at the end of the runway depicted a crowd gathering at a horse race — and the theme was seconded by a recording of the Ascot Opening Day number from “My Fair Lady.”

The collection itself was inspired not only by Ascot, but also by jockeys and racing spectators in general. The runway presentation began with a central visual theme of the black-and-white, elongated Victorian silhouette — Ascot with a little dominatrix thrown in for good measure. Floorsweeping gowns and skirts were topped with wide-brimmed hats and large flowers. Blouses were adorned with large bows at the high-necked collars, and tight, fitted jackets over the evening gowns lent some sizzle.

But that was just the starting point. Mr. Lauren veered off into the sort of playful, high-fashion territory that’s more common in Europe. And this creative tangent-taking offered up some delights, such as a black riding jacket and vest paired with a short ruffled bubble skirt. The veiled top hat and fishnet stockings might make it too costumey in real life, but on the runway, it added a sense of adventure.

The looks progressively became more modern, more day than evening, and more inspired by the jockeys rather than the patrons. A white, fitted blazer with racing stripes had a sense of zippiness. Colorful jockey silks and equestrian scarf prints inspired a series of dresses and shirts. The most attractive pieces from that line of inspiration, however, were the solids: a pink equestrian jacket with black leggings; a pink dress with a low, scoop neck, and a bright yellow trench coat, also worn with leggings.

The series of floral gowns may have been inspired by spectators floating through the grandstands, but pretty prints couldn’t match the high-drama elegance of Ascot. The belle of the ball was a silver chain-beaded tulle gown with swags of beads draped delicately against the shoulders. It was a triumphant close — and a note of good things to come.


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