The final swatch
continued from previous
Alan Del Rosario, on the other end of
the spectrum, took his sensibility further uptown with a show that
provided the important "wow" factor that other shows lacked, with
a parade of sumptuous 30s-cut gowns, 40s-style pieces
and cocktail frocks with a real 50s Hollywood updated
with brilliant jewel tones and shimmery neutrals, some gorgeous
flower trim fashioned out of the silks, black lace overlays and
body-conscious ruffle details. Palate-wise, Dina Bar-El offered
colours and lace overlays that made it seem as if she and Del Rosario
were sharing the same sketchbook. However, her renderings of dresses
were more deeply rooted in universally flattering 30s
bias-cut gowns and sleek shorter-length dresses.
Daywear-dominated collections from Chan Luu
and Samora shifted from busy exotic patterns or fussy influences
into neutral gear with simple clothes where the designers punctuate
easy blacks, whites, ivories and khakis with dramatic tone on tone
pleats, gathers, bows, tiers and ruffles as well as warm-toned accessories.
Other than the judiciously-applied embellishments, the lines are
body-skimming but clean, making for versatile looks that go from
day to dinner. Galina Sobovlev's Single runway show featured
a handful of the vibrant prints that have knocked us out in past
seasons, but her collection was also dominated by simple earth-toned
dresses, tops and shorts with perhaps a touch of lace or crochet
Uriel Saenzís designs were inspired by
the flowering female. His fully bloomed women displayed many of
the seasonís biggest trends from the overly short short, full skirts
à la tiny bubbles, the other black, the white party,
the not so mellow yellow and the seasonís biggest trend, sheer madness.
The see-through effect was seen everywhere on this seasonís runway.
Urielís pieces were hit and miss. His best turn was the full-length
sheer yellow gown with fully bloomed flowers placed throughout,
a see through, worth a look.
LAís flower child,
Ashley Paige, presented a í60s-inspired hippie pool party.
It was a fashion fête well worth the dip. Her beachwear was
perfect to be worn around the pool, not in. With knits and granny
doilies that were as sexy and edgy as they were arty. It actually
made me crave a bikini, or maybe the right body to be worn in one.
Her loose blousy pieces were a perfect complement to the barely
designer Yana K. put on one of the best shows of the week.
I wanted to nip back in time and hit the cocktail couture circuit,
have a high tea, a hot date or lunch with ladies who dressed to
impress. It was old-world glamour that she said was designed with
a vintage nod to the í30s or í40s. I saw a lot of the í50s with
looks imagined for Jackie O. Some over the top, but easily pulled
off by our favourite fictitious scribe today, Carrie Bradshaw. With
mixed reviews from friends and the fashion-savvy set who saw the
show as too costumey. I thought it was perfect for a Hollywood
film, the red carpet or the right event accessorized best with a
sense of feminine adventure.
Kelly Nishimoto infused sensuality in her
collection. She too used many of the seasonís best trends from her
sheer overlays accenting her patterns, silks that caused a craving
to touch and the short short, à la barely there bloomer.
It was fun, flirty and feminine with red ribbon bows on each leg,
pure girly fashion fun!
Closing Fashion Week was one of LAís
best, Kevan Hall, who never disappoints. One doesnít
mind the wait if itís well worth it, and it was, as always. Inspired
by the colours of the sky, Kevanís dresses were smoky, white and
springs biggest colour, yellow! After diva and songstress Jody Watley
opened the show reminiscent of Diana Ross in Mahogany, Kevan
rolled out one breathtaking turn after another. From chiffons, silks
and lace, the dresses were Hollywood glamour. At the end, it made
me look up to the sky, to the fashion heavens and say, Thank
you! I just may be back next season. ē