Designers’ Faction Did L.A. Its Way
Even the names suggested there could be some friction. “California Collections” was an amiable assortment of Los Angeles designer shows, held in daylight under an airy white tent. “L.A. My Way” was a fashion show with an air of defiance, staged at night, in a building under reconstruction.
More than the crowds, the cover-girl models imported from New York, or the clothes themselves, it was the tension between these two fashion factions that pointed to significant change during this year’s spring ’90 California press preview.
A Sampling of Styles
But first the clothes. Several dozen designers presented a sampling of their new styles in the annual event, sponsored by the California Mart. The “My Way” show included three Los Angeles designers--Andrea Vincent, Peter Cohen and partners Rick Beach and Patti Cappalli--along with New Yorkers Carmelo Pomodoro and Patricia Clyne. It was located in, and sponsored by, the Eastern Columbia Building, one of several newer, downtown sites where designers rent showrooms.
Together, all of the shows demonstrated, after a slow progression from swimwear and Hollywood glamour gowns toward individualistic ready-to-wear, a strong group of younger designers has developed a definite foothold.
It’s as if they finally get it: Los Angeles isn’t the home of exquisite tailoring, couture-quality fabrics and five-digit price tags. At least not in its contemporary market, which is the one singled out in these shows.
At this level, fashion is all about moderately priced and spirited “interpretations” of New York and European styles, from the most classic to the most outrageous.
Not only do the designers seem to get it, they’re making the most of it. Their works look more wearable, and better made, in better quality fabrics, than ever before.
Best of the Bunch
The best of the bunch in this week’s shows included Peter Cohen’s styles, as basic as baseball jackets and T-shirts, in luxury fabrics that give them an attractive air of arrogance.
Katayone Adeli brought lady-like elegance to two labels: Laundry for weekdays, and Ricky for weekends. The Ricky collection didn’t lose in her obvious translation of denim and khaki looks from Donna Karan’s DKNY collections.
Rick Beach and Patti Cappalli held the lead in what once was referred to as “patio dressing.” Their lingerie-like, black lace bustiers worn instead of T-shirts under tropical print pants suits were a surprising mix that looked right for L.A. nights.
World-Class Imports
The fact that the famed model, Iman, a veteran of Paris and New York runways, wore the clothes didn’t hurt. In fact, the “My Way” show in which Beach and Cappalli participated featured a number of top models, each imported for the occasion. It was the first time any of them participated in Los Angeles press week and it was an object lesson. A world-class model can make even the most ordinary outfit seem to sizzle.
James Tarantino’s meticulously finished dresses looked like classic architecture--the kind that considers human needs. Cut-out shoulders, V-backs, oversized collars, all in sophisticated pastel shades of linen, were his entry. Earlier this year Tarantino won the Sil d’Argent award for excellence, presented in Monte Carlo where Paris superstar designer Christian Lacroix commended him on the quality of his work.
Among the dozens of neo-hippie and ethnic looks Los Angeles designers showed for spring, Sue Wong’s and Gary Roark’s Moroccan and Indian styles were both notable. Wong used origami shades of silky jacquard, Roark used trinkets and tiny bells as trim. Pepito Albert’s late-night wear--especially the ivory unitard with net cape--was flamboyant and fun.
More to Come
Some highly regarded designers--Mimi Levitas-Cox for Opera, Mark Eisen, Karl Logan, Antony Moorcroft and Robin Piccone for Body Glove--are nominees for the Mart’s Designer of the Year award and will unveil their work at a separate show.
To some extent, the strength of the collections, and the new confidence of the designers, are behind this year’s rift. For close to 10 years, press week has been sponsored and subsidized exclusively by the Mart, which is also the landlord to nearly all designers in the shows.
This time, some of the best established designers (both renters and non-renters of Mart showroom space) wanted to stage solo shows. Others wanted to stage group shows during press week, but outside the auspices of the Mart.
“We didn’t want to go against the Mart,” says Yvette Crosby who produced the “My Way” show. She approached the Mart building owners, the Morse family, about staging her event under their tent but she was turned down. “There is growth in the Los Angeles fashion industry, and inevitably that means change,” she maintains.
David Morse, a partner of the Mart building, says he couldn’t “sanction” Crosby’s show because of one specific consideration--real estate.
“We want our own real estate to be successful,” he begins. “The other event allowed another real estate project to put their name on it.” (Crosby wanted to credit Barclay Associates, a group of eight investors, landlords of the Eastern Columbia Building, for subsidizing her show.)
If Morse’s critics have a shared complaint, it is the family’s attention to property holdings above all else that concerns them. They worry that property takes priority over the growth of the city’s fashion industry.
But Morse begs to differ. “We agree with the idea of other shows. Our feeling is, there’s a lot of room. We just want to be the umbrella.”
Next year’s shows could be even more interesting.
