Casual Chic

NEW YORK — It was a bold experiment.

American fashion stepped into the international spotlight last week and showed the world its true character: The designers excel as creators of commercial sportswear.

That isn’t such a bad thing, but they had intended to prove that Americans can set, not just follow, trends established in London, Milan, Italy, and Paris. That’s why New York’s fashion community en masse broke tradition this season and staged shows ahead of Europe. Their trend-setting prowess will be more fairly measured after the European shows end in mid-March.

Some New York designers excelled under the harsher scrutiny. Calvin Klein demonstrated that the most straightforward clothes can be the most modern. In ensembles of all black or almond, his felt and tweed fabrics were smoother, the asymmetric cuts more controlled, and the idea of millennium dressing less futuristic than on other designers’ runways. He based the collection on lean, boot-cut pants, sleeveless and hand-knit sweaters and pared-down trench coats and motorcycle jackets. Klein turned a dimmer switch on evening wear with scant beadwork, matte finishes and bright colors veiled under a layer of sheer black.

Donna Karan’s experimental collection of blanket-weight cashmere wraps could have been created only by a woman who named a perfume Chaos. Imagine wrapping yourself with a heavy cashmere blanket and letting the edges flap and fly against your legs and arms. The more controlled pieces--the trench and scuba-styled coats, the hooded sweaters--were successful and beautiful, but not original.

Tommy Hilfiger reworked his celebrity-rock-music-clothing theme. He distributed a list of the invited stars (Martha Stewart and singer-guitarist Lenny Kravitz showed up) and hired rockers Sugar Ray to play live music for the show. He once again mixed pieces from his sportswear, jeans and top-end lines to create “a message of accessible luxury.” And once again he invoked a musical era, this time punk rock, having already done glam and hip-hop. Alongside patch-worked python or blanket-stitched leather, cashmere T-shirts and mink motorcycle jackets and vests, came the new basics that will sell by the dozens--utilitarian hooded pullovers, nylon anoraks, funnel neck T-shirts, pink dress shirts and wide-leg flight pants.

Unlike the Calvin-Donna-Tommy trilogy, American designers without mega-brands and shareholders to support were able to pursue their independent visions.

After leaving Halston last summer in a contract dispute, Randolph Duke returned to the runway triumphant. He skillfully articulated a concept that’s been appearing in other collections--casually luxurious evening wear with a youthful attitude. A group of sporty gowns came with satin parkas, racer-back T-shirts or cashmere hooded sweatshirts. The many colors, variations in cut and decoration showed a new level of control and expression that exceeded his work at Halston. He cuffed plum, navy or Prussian blue gowns with wide bands of dyed-to-match fur; built expansive satin skirts with origami folds; and made evening wear look comfortable with slouchy cashmere sweaters over sweeping beaded or pleated skirts and glittery camisoles.

The show for Duke’s successor at Halston, Kevan Hall, was stuffed into a tiny showroom that seemed unwelcoming for a new designer’s debut. Hall presented an abbreviated assortment of daywear anchored by wide-leg trousers and a Halston “signature” blouse with an open, plunging neckline. The evening wear was a parade of bare, floor-length gowns, each with a different kind of asymmetrical beaded inset. Only one design feature was memorable--the tiny beads embroidered around vines etched out of velvet.

Vivienne Tam found inspiration for 2000 in the ancient Qing and Ming dynasties, yet the historical references were subtle. The protective quilting, pagoda shoulder shapes and shingles of armor that distinguish ancient warriors’ clothes reappeared as intriguing day and evening wear. Tam covered an “armor” dress with layers of mesh scales; mimicked a warrior’s shield in an embroidered halter; and covered boots with Velcro-strapped spats. Tam’s glittery separates--metallic turtlenecks, leather skirts and T-shirts--could stand alone as a daytime accent or a casually elegant night look.

Oscar de la Renta also delivered luxury evening wear, with a casual touch. A new, younger customer could easily wear his satin parkas with embellished slim pants; sleek velvet dresses with matching boots; or gorgeous cashmere sweaters with dramatic satin skirts.

Han Feng focused her collection around dramatic velvet pants, mink ski vests, bright satiny blouses and heavy wool coats inset with arched seams.

Patrick Robinson, once the shining star of Anne Klein, hasn’t fared well on his own lately. This collection had few stellar items, but they included a crisp wool coat with patch pockets and a puffy pastel nylon jacket that was a refreshing update of skiwear.

The Ellen Tracy company is celebrating its 50th anniversary--a notable landmark in today’s revolving-door world. It’s clear that its longtime designer, Linda Allard, never forgets her working women customers who need versatile sportswear. No dull gray suits here. For fall, she delivered a variety of colorful sweaters, trim pants and sleek skirts to mix up in work day and weekend wardrobes.