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Vivienne Tam’s intricate interpretation began as models entered through a circular arch flanked by lions, leading from the palace interiors into the garden

CLOCKWISE FROM ABOVE LEFT: Vivienne Tam brown knit camisole, brown sequin dolman T, turquoise corduroy slim pant. Anna Sui cream beaded zigzag rose, beaded dress, modelled again by Naomi Campbell. Vivienne Tam fur-lined snowbird embroidered top and black satin slim pant. Anna Sui blush velour coat with fur trim, cream tuck stitch knit sweater and blush velour skirt.

   Carmen Marc Valvo, the popular designer whose clothes everyone either wants or wishes they could wear, presented a cohesive collection that was both entertaining and fresh. Models strode down the runway to ‘Night and Day’ and ‘Is You Is or Is You Ain’t My Baby?’. Fitted tops paired with full skirts draw on Valvo’s affinity for the ’50s and his reminders of the ’80s that continue to influence his designs. Japanese obi sashes are used as belts. Swing coats and turtleneck sweaters are beautifully paired, as is cashmere with swishier fabrics like organza, silk and satin.
   Pesavento’s eveningwear pre­sentation both provoked and captivated his audience with his daring choices for the very young and very gutsy. His models’ looks are coordinated from head to toe. Hairdressing and millinery is pivotal to his over-the-top, thigh-baring alternative to evening gowns. Pesavento has worked for Louis Feraud, Balenciaga, Roberto Cavalli, Enrico Coveri and Les Copains.
   Feathers, horsehair, velvet twists and braids soared skyward as tails and trains trailed around micro-minis and fur trimmed gowns. Crinolines, bustiers, belts and draped beaded bodices added dramatic details. There was even a bondage theme as one model had her hands tied behind her. All the accessorizing did not manage to “just show the clothes”.
   Vivienne Tam was inspired by the Chinese Imperial Palace and gardens. The intricate interpretation began as models entered through a circular arch flanked by lions, leading from the palace interiors into the garden. Chinese brocades and elaborate tulle netting echoed the bamboo and flower embroideries of pagodas, lacquered screens and lattice work, then multi-layered in silks, satins, suede, and leather. The ’30s song, ‘Dancing Cheek to Cheek’ and current hip-hop mix was a modern contrast to Tam’s ancient Chinese inspirations. This show worked as entertainment that enhanced and echoed the designer’s artistry.

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