Above: Bias-cut black gown from Christina
Perrin's final collection.
Written and photographed by Richard Spiegel
NEVER
THOUGHT that Christina Perrin would shut her doors and close shop. While
people were obsessing about Marc Jacobs, Michael Kors and the like, I
was obsessing about Christina. Season after season I would always made
it a high priority to attend her shows, even to the point of skipping
other designers’ in order to make hers. Being dubbed one of the hard players
within the industry regarding her shows and all the drama that went along
with them, I was a loyal subject.
I even remember fall 2001 where there was a huge swirl
of controversy regarding a PR fallout or defection
which left everybody in the industry wondering what would happen (keep
in mind this was going on during Fashion Week) and proceeded to
show her collection at the Metropolitan pavilion an hour earlier than
what her invitation had stated. In the end, she got her own back. I liked
that about Christina.
The first time I saw her collection I knew these clothes
would be finding their way to the red carpet, and that’s just what they
did. Even more so they found their way to television and Sex and the
City—what more could a designer ask for?
For fall 2002, Christina being tired of the politics
of the industry, once again decided to show "very off site"
at the Roxy, practically on the west side highway of New York—which was
quite a trek. But in the blustery winds of that day she made camp and
proclaimed, ‘Come and get me,’ and what we got was a fantastic collection
from a now self-retired designer.