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MY SPRING 2004 New York fashion week coverage, I knocked
designer B Michael just a tad for failing to live up to our collective
opinion that he could do so much better at presenting his vision
of what women should be wearing. And to be fair, if and when he's
knocked around by the critics, it's only because we do believe that
he does have the talent to do the job and we want him to succeed
and do well. Having said that, it pleases me to no end to say that
his fall 2004 collection was a vast improvement over his spring
offerings in more ways than one.
The foundation of the collection was built around
his ‘favourite things’, making it a ‘showcase of
his personal style, offering the world a closer look at what inspires
him to design and live well.’ His designs for fall was a near
perfect mix of rich fabrics, gorgeous colours, striking silhouettes
and one of the most appropriate and understated use of plaids I
saw all week. For day, he showed what he called ‘haute sportswear’,
and for night, he went all out in presenting red carpet dresses
and silhouettes ‘draped in non-traditional fabrics,’ creating,
in his own words, ‘a modern approach to glamour [that] is very
detailed and graciously uncomplicated.’ That statement is still
open to interpretation, so we will address that assessment later.
In my opinion, he has always had an “old
soul”, and for once, the majority of his fellow designers were
on the same page as he was. This collection is very much steeped
in the ’40s and ’50s æsthetic sweeping the industry;
and it was truly his moment. As such, this collection was one of
the most pulled-together collections he has ever presented, with
more hits than misses. For day, he hit it right on the mark with
his suits. I particularly liked his scarf collar navy herringbone–cashmere
jacket and slim skirt suit, his fitted classic one-button navy herringbone–cashmere
jacket and fluted skirt suit and his autumn red cashmere ‘Jetson’
jacket with slim skirt. With these designs, he covered as many bases
as can: the ladies-who-lunch, the professional business woman and
early cocktail hour dressing. Other stand-out day looks include
his fluted ultra suede-black watch plaid skirt, and the accompanying
sleeveless asymmetrical top.
For evening, Mr Michael was on shakier ground
in that here, less is really more. His best—and most—successful
efforts include his 'full sweep' Black Watch plaid–cashmere
ball gown, the fabulously understated gray multi pinstripe bias
panel gown and the goddess-worthy black wool-silk-satin asymmetrical
neck ball gown. Designs that had the potential but didn't include
his amethyst fluted cascade gown and his 'Olde Rose' enchantment
gown in silk satin faced wool. The former design would have worked
better without the bell shape accoutrements on the sleeve and the
latter could have done with a few less ruffles (or none at all)
on the bottom half of the gown. This, inherently, points out the
dilemma a designer faces during the in-studio design process: how
much is too little? how much is too much? And how do you know the
difference?
His handbag collection was fabulous as usual;
especially the pieces in ostrich and alligator shown in fall garden
colours; and the glove collection have some potential, providing
the trend continues well beyond the upcoming fall season.
Again, we come into the process with silent hopes
and, if we are lucky, all the stars are all in alignment. Mr Michael's
fall collection demonstrated—at least to me—that he has
what it takes to rise even higher within the industry, providing
he finds a way to get a firmer grip on his inability to treat most
designs like a wedding cake. Maybe what he needs is a second or
third pair of impartial eyes during the design and editing process
to guide him. Whatever it takes, it is his moment and he has yet
to resolutely seize the day. •
Phillip D. Johnson is features’ editor
of Lucire.
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This collection is very much
steeped in the ’40s and ’50s æsthetic sweeping the
industry; and it was truly his moment
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