Ready-Wear Wears Well for Lacroix

“Top-notch Lacroix,” said Kal Ruttenstein, vice president and fashion director of Bloomingdale’s, after the Christian Lacroix spring/summer couture collection shown here Sunday.

With Lacroix’s first ready-to-wear line to be introduced in March for fall/winter 1988, there was a lot riding on the 36-year-old designer’s second couture collection under his own name.

Given the overwhelmingly enthusiastic reaction to that first Lacroix collection in July, the mood of anticipation before Sunday’s show in the ballroom of the Hotel Intercontinental was almost palpable.

And, from the moment the first two models glided out onto the mimosa-framed runway, Lacroix completely captivated his audience.

There are still his signature pouf-and-bubble skirt, if possible even shorter for spring; the Provencal inspired themes, hats that would make even a grouch grin; and witty accessories such as seashell buttons, red plastic lobsters and clams. It was all done this time around with a surer hand and an ever-developing mastery in his use of print, color and fabric.

Along with those short skirts are his new pants: pulled up under the bust, shaped through the waist then widely flared to the floor. Sometimes, he cuffed the pant tightly at the ankle for what he describes as his “Zouave” look.

Perhaps the standout for this theme is the red-and-white striped linen pant topped with an off-the-shoulder cropped double-breasted navy jacket. He shows it with a cartwheel sized red straw-hat, the brim trailed with ball fringe.

And sure to be a best seller with his private customers was the tangerine raw-silk pantsuit, the lapels of the stretched-out jacket thickly embroidered with that seashell motif, the blouse a provocative wisp of melon chiffon.

Lacroix even reinvented pool-side glamour with a trio of spectacular floor-length coats over hand-painted swimsuits. The standout: a portrait-collared snuggly belted beauty in a giant sunflower print to celebrate the 100th anniversary of Vincent van Gogh’s arrival in Arles, Lacroix’s native city.

More homages to his south of France background could be found in the two evening dresses that closed the collection. Both have his new widely cut cutoff sweetheart neckline and heavy satin overskirts draped on the raw silk of the dress.

Backstage after the first of the day’s three presentations, Lacroix was asking: “Was it really good? I won’t know until I see the tape of the show.” Sunday night he took over the Opera Comique and invited 800 guests to party to an orchestra and Gypsy band into the early hours of the morning.

The collections continue today with Christian Dior.