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10 International Herald Tribune

Thursday, Februar y 21, 2008 Fashion

The choice: Life or theater? Coats dominate

From Page 9 of fur and flowers with his signature an-
imal prints.
fects, dense with ruffles, dark embroid-
ery or feathers. The 6267 label is not in-
at Daks
Cavalli is a romantic and he even venting a whole new concept for Italian iles Deacon sent out his third show for the English
spreading skirt.
‘‘I was thinking of a young Elizabeth
Taylor or Natalie Wood,’’ Cavalli said,
referring to a glamour bombshell of a
closed his show with full-skirted de-
butante dance dresses topped by tiaras.
But he only has one eye on the stage —
fashion, but it offers a fresh take from a
new generation.
An Antonio Marras collection al-
G heritage house Da ks on a runway lined in slate. One
thing missing was all reference to the company’s
history as a brand for the horse and hound set, except for a
dress in layers of black lace or to the or is it that coming Oscars red carpet? ways has a surprise in store. But long solitary checked jacket or scarves tied at the neck. Instead
opening ode to springtime. Even if it is The designers in Milan seem to be ex- before the love birds were entwined this was a collection filled with buttery leather pieces, from
supposed to be a winter season, you ploring the same areas: new long, slim over the runway, the show had unfolded long coats to loosely pleated circle skirts and cropped
could almost smell the roses, violets volumes to counteract puffy shapes; the its quirky romance. The male/female jackets in practical colors of black, navy, olive and terra
and mimosa blooming on dresses (and allure of black and white; and the mas- thing was emphasized in silhouette and cotta.
pretty shoes) that suggested the New culine/feminine dichotomy. in decoration. The coats dominated the show, long and lean leather ones
Look of Christian Dior. The duo behind 6267 — Tommaso But by padding his tailoring to create and boxy ones with balloon sleeves in nubby wool. Deacon
But Cavalli is too smart to get mired Aquilano and Roberto Rimondi — did rounded shapes, or by mixing a tailored channeled his edgy British style into the clothing’s
in history and as the colors deepened to all that with skill and some dash, when a jacket with a tulle skirt, the designer adornments. Prickly rosettes on a sleeveless top, jagged
a stained-glass richness, other elements graphic print of upturned triangles avoided the clichés of androgynous shards of leather across a jacket’s shoulders or beautiful
came into play. There were dresses, broke up a long, lean dress, its waist dressing. Marras favored appliqué dec- tiers of cool, differently colored chiffon on a slip dress that
straight and intensely colored or with raised and perhaps its shoulders exten- oration but there also were pin-striped trailed out to one side in a floating handkerchief hem were
stenciled flowers, all suggesting a coun- ded to create a modern silhouette. The cloth and fresh, white, pleated cotton all outlets for his creativity.
try freshness. Interspersed were black same effect, always played out in black shirts. Like all good designers, he There also was a bit of well-executed sportswear in the
and white dresses, as if taken from an and white, had a diamond pattern across caught the right balance between the show, most strikingly a black and orange quilted jacket on
old movie, and pencil-thin mannish a suit with snug jacket and wide skirt. theater and real life. the model Agyness Deyn that should serve Deacon well at
tailoring to contrast with the romantic When the designers were not break- his new job designing the young and sporty brand Fay.
rest. For an orgy of gorgeousness, the ing up the surface with patterns, they Suzy Menkes is fashion editor at the — Jessica Michault
designer then turned to a combination turned to decoration, creating tactile ef- International Herald Tribune.

Photographs by Chris Moore/Karl Prouse

Ozbek focuses
on shimmer
ooking at the Pollin i show Tuesday, memories of

L prepping for college entry examinations came to

mind: Rifat Ozbek is to prints what Christian Lacroix
is to color. Effortlessly, the designer seems to bend to his
will even the most over-the-top, and generally ethnic,
prints, taming them in a way that is palatable for general
consumption without extinguishing their inner fire.
His autumn/winter collection was no exception. The
ethnic feel of this shimmering show, full of rich autumn
colors and gleaming fabrics (even the models’ eyes were
covered in glitter), flowed beyond the prints to the cut of the
clothes. Kimono jackets and obi belts showed up on the
runway, along with a dark-brown leather jacket whose
cracked surface resembled a dry African watering hole.
Just when the cumulative effect of the prints might have
overwhelmed, Ozbek sent out a sleek and simple gray high-
necked and long-sleeved top with matching pants; the outfit’s
only adornment was a bold necklace by Erickson Beamon.
From the first look of a stunning straight coat in a crazy-
maze pattern that was trimmed in fur dyed in autumnal
colors and belted with a contrasting russet leather obi to the
final exit of a sleeveless top covered in curling waves of
sequins paired with full pants, the collection did not take
6267 ANTONIO MARR AS one high-heeled misstep. — Jessica Michault DA KS

Superheroes — Fashion and fantasy

uperman took center stage and envisioned by the Belgian designer the culture into high fashion include ors to have a large roster of exhibitions.

S alongside the iconic comic book

figure himself was a spidery dress
designed by Giorgio Armani in 1990.
Walter Van Beirendonck, as a garment
that inflates phallically in various
places. On the theater rostrum was a
Thierry Mugler, John Galliano at Dior
and Gareth Pugh, whose gothic geo-
metric-winged creation from 2007
The display will be created by Nathan
Crowley, the institute’s creative consul-
tant and the production designer of the
‘‘Superheroes: Fashion and Fantasy’’ Superman garment from the Antwerp looked suitably menacing. new Batman movie, ‘‘The Dark Knight.’’
is the title of an exhibition opening at designer Bernhard Willhelm, although Koda thanked Anna Wintour, editor Armani, who said that the ‘‘Super-
New York’s Metropolitan Museum of that royal-blue fringed dress, em- in chief of American Vogue, for her 10- hero’’ subject particularly appealed to
Art in May. And in Milan on Wednes- blazoned with the ‘‘S’’ symbol, looked year tenure as mover and shaker behind him, will be joined at the gala by
day, Harold Koda, curator of the mu- more like a hero-worshipping child’s the Met’s gala evening, which takes George Clooney, no one’s idea of a
seum’s Costume Institute, gave a fore- party costume and not nearly as im- place this year on May 5. The participa- comic book character, but a staunch
taste of the influence of the legendary pressive as the real deal projected on tion of Condé Nast apparently helps to Armani customer and a Hollywood
Patrice Stable American figures on fashion. the backdrop. raise funds beyond the dreams of most name to pull in the supporters.
Thierry Mugler, 1997-1998. He described the Incredible Hulk, as Those designers who have absorbed fashion institutes and enables the curat- — Suzy Menkes Dolce & Gabbana 2007