THE godfather, Don Corleone, would raise a wry smile if he were alive to witness the second Italian invasion of New York. Although this season's runways have yet to be dominated by gun toting members of the mafiosi or models sporting cement boots, the new wave of Italian designers showing their diffusion ranges Stateside, has managed to put much of the home grown talent to shame. Following in the steps of Miu Miu (Prada's baby sister) which has shown for the past five seasons in New York, and Versus, designed by Gianni Versace's sister Donatella, the Milanese contingent now includes D&G, Moschino Cheap & Chic and Gieffefte, the last of these Gianfranco Ferre's newest diffusion collection. The upshot? Collections more stimulating than much of what New York had to offer, and often at half the price.
Kicking off the season with bang came Versus, at a show so packed with celebrities that the audience was torn between watching the catwalk and wondering just what Hugh Grant was whispering into Elizabeth Hurley's ear. For those who took the sartorial option, the collection provided, a concise summary of next summer's essential trends: asymmetry, single shouldered tops, empire line dresses and a cool colour palette highlighted with shades of pale yellow and bitter red.
Dolce & Gabbana's D&G line re emphasised the simplicity of shape and luxury of fabric that personifies next season, in a strong collection focusing on the stretchy tube skirt decorated with overblown rose prints combined with elements of chinoiserie such as Mao collared jackets in Wedgewood blue satin brocade. It was, however, Miu Miu, godmother of New York's Italian fashion pack, which offered the most unique perspective for next season. Emulated by many most notably Donna Karan's new diffusion range called D (aimed at bridging the gap between DKNY and her main line, but so poorly received by critics that it instantly earned the nickname `D for Derivative'), Miu Miu adopted a nautical approach with fine gauge skinny rib sweaters, voluminous pleated linen skirts and quaintly named `clam diggers' (that's fashion speak for elongated pedal pushers).
SO MUCH for the Italians, but what of the home grown talent? For those who attend the New York shows, the culmination of a month spent perched on gilt chairs in cramped showrooms is a distillation of all that has already happened in Europe, yet synthesised into commercial garments which will be worn rather than just admired. These are clothes that won't change the face of fashion, but will be a welcome addition to any woman's wardrobe. Leading the way, as ever, were dew York's fashion triumvirate Ralph Lauren, Calvin Klein and Donna Karan: designers with the combined ill come of a small South American republic and a public profile heightened by advertising on seemingly every billboard in the city.
In a well received show, Lauren opted for an African journey, executed in the luxurious manner that has made him famous. The collection of butter soft suede safari jackets, halterneck column dresses decorated with African beads and earthy tribal motifs in rich shades of rust and olive earned him a standing ovation, prompting some of the more enthusiastic elements of the audience to sob their appreciation.
No tears were shed for Calvin Klein however: a dour presentation and stark setting formed the perfect setting for a slick and urbane collection. Ultra fine body skimming jerseys were sculpted into delicate shift dresses in rich shades of plum, carmine and grape, contrasting against sheer layered vest dresses printed with fine asymmetric contours.
In contrast to the unhappy D line, Donna Karan presented a well received main collection. As with Ralph Lauren, the range took Africa as its central motif, complete with live percussion band and hand painted wax walls. Although very much a one note collection, Karan's talent meant she could transform a simple jersey sheath into a rich and complex garment through the expert use of subtle asymmetry and sophisticated devore's, endowing next season's simple shapes with an air of sophistication.
FINALLY, the British label Ghost, now a fixture on the New York schedule, proved that its soft and feminine signature viscose dresses are more than ever in keeping with fashion's new romanticism. Draped, gathered and loosely swathed around the body in the current moment's favourite shades of chocolate, primrose and tomato, the label is one of the few designer collections that can make a woman look feminine whether she is a size 10 or 16. It may not be ground breaking fashion, but it symbolises the essence of what New York does best: produce understandable, commercial yet desirable clothes.