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 He
was harking back to the go-go ’80s when disposable income flowed
like a river, what you did to your hair was very important
and too much was never enough
He achieved better success when he kept it simple.
His draped black satin–georgette A-line gown with tails was pretty
straightforward, as was his black and ivory collage top paired with
a taffeta ball-gown skirt.
Throughout the whole collection, I edited it all
with an eye towards making the pieces more saleable. His jet beaded
fitted fringe gown would have worked better as a knee-length cocktail
dress. He could have lost the draped yoking on his rose taffeta
gown. It is the little things that either work for or against you.
What elements of this show were above reproach?
Well, let’s start with the antique jewellery by Anne Koplik Designs
for Pesavento Couture, the whimsical hats by Marjorie Lee Woo, the
handbags by ‘bian’ by Pia Fleming and those exquisitely shapely
shoes.
There is nothing wrong with failure. In the best
of ways, it only makes you better. Mr Pesavento is still young enough
to learn from his mistakes here and grow into the designer he is
destined to be. But he has to also learn how to curb his enthusiasm
and think about his potential customer’s needs more often. After
all, if he doesn’t, Pesavento Couture may permanently become Pesavento
Prom. And that is not a very good thing. •
Phillip D. Johnson is features’ editor
of Lucire. Richard Spiegel is New York editor of Lucire.
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Copyright ©2003 by JY&A Media,
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