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For fall, his customer is getting jersey dresses with halter tops held up by silver necklaces, pajama-style evening pants, a big black puffer coat, a tan-colored, one-shouldered beaded gown, and fur _ in smoke gray, rose pink or chocolate brown.


Oh those peep-toe boots.

Gilles Mendel debuted his new shoe collection. All the boots teetered on thin, sexy heels.

There were luxe looks, especially gowns, to go with them. Hollywood stylists in the front row were whispering throughout the show, “And who’s going to wear that one?”

The dresses aimed to be a little slouchy and very sensual, appearing as if they were just pinned here and there. Made mostly of tulle, silk or mousseline _ a favorite of Mendel’s _ the designer said in his notes he was aiming for “throw-on-and-go appeal.”

Except that the looks were dripping in luxury with satin, beading and appliques.

Fur remains front and center. The modern interpretations included a snow mink mounted jacket, a pink quilted broadtail _ with fur epaulettes! _ and a mink-and-wool wrap coat.


Sui always strives for rocker-girlfriend, with a preference for the 1960s. For the fall, she brought together the graphic mod mood of London in that heyday and the ornate costumes of the Ballet Russes from 40 years before that.

The culture clash worked on the runway. Sui sent out nine rapid-fire black-and-white outfits, including a fuzzy chenille herringbone and houndstooth dress, and a Deco-sequin embroidered tunic over an optic-print dress.

The schoolgirl looks, such as a navy mosaic jumper, were wearable for the young as well as the young at heart, but the green maxi dress with a basket print and white collar was a little too costumey.

“You design for so many different levels _ the customer, the salability, the trends and I always throw one in for myself,” said Sui.

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