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For spring 2004, the foundation for the collection
is one steeped in the designs made popular in the jazz age of the
1920s’ Prohibition. With the lights gradually becoming brighter
to highlight the models in (their first looks) in a ghostly tableau
behind the front stage scrimp, the show opened with a lovely silk
and mesh layered dress with satin floral appliqué and ribbon
waist tie. The collection was, as per their motto, a perfect mix
of the elegant, the modern and the avant-garde.
The flapper dresses here are not your grandmother’s
flapper dresses. Instead, Ms Yoon and Mr Kang infused into each
design their own brand of modernity, taking it to a new level altogether.
The best example of their mixing the decades was their layered pink
lace and ivory washed silk chiffon dress (with waist tie and ribbon
trimming detailing) paired with an ivory leather hooded jacket.
It was the lion lying with lamb, a veritable Zen moment when the
tough and the tender met in the middle to create a new universe.
They introduced some street elements into the mix when the ivory
linen knee-length evening shorts were paired with a delicate mesh
camisole with silk trim and velvet–lace appliqué accents.
Without really meaning to, my mind immediately
flashed onto Julie Andrews, Mary Tyler Moore and Carol Channing
in Thoroughly Modern Millie (‘Operator, you have obviously
never been trapped in a Chinese opium den!’) when I saw their ivory
lamb napa knee-length belted embroidered pleated. It was so ‘Thoroughly
modern!’ to paraphrase Mary Tyler Moore’s character in the film.
Other favourite designs of mine from the collection include the
following: their silk chiffon burnt-out dress with hand embroidery
and mesh accents, their beautiful sherbet red hand-embroidered evening
gown with sequin and silk accents, the exquisite printed silk blouson
dress with satin neckline accents and their deliciously sexy black
jacquard riding trousers with side button detailing.
The inclusion of the corset as a defining feature
in their designs was an added bonus and a most welcomed one, too.
The Y & Kei team continues to amaze every season with its talent
and ability to push the boundaries while remaining fresh and current.
Raika D., Vasseur–Esquivel
THERE IS nothing really negative
one can say about the Raika D. and Vasseur–Esquivel spring 2004
collections except that, in a season when everyone else found a
way to distinguish themselves from the pack, there was nothing truly
special about these designs. A native of Zara, Croatia, Raika D.
has always been a fashion fanatic with a capital F. In any
other season, her debut at 7th on Sixth would have been hailed as
a major triumph, but this season, it bordered on a ho-hum affair.
The pieces here that really popped (and resonate beyond the catwalk)
really popped. These include but are not limited to her form-fitting
red leather corset dress, her gold lace column dress with low cut
back detailing, and the fabulous red feathered strapless bustier
and double train ballroom skirt. Some of the other designs were
both too busy and overdone, too stuck in the bad ’80s or, in the
case of their black-and-white microfibre dress, a piece best suited
for a Latina hootchie mama. There’s still room for growth here
Argentinean Gaba Esquivel and Parisian Thomas
Vasseur’s designs for spring are supposed to be ‘light and elegant
… ethereal and seductive’ but that wasn’t always the case. What
stood out here were the beautifully cut swimsuits and the form-fitting
tops and skirts. There’s always next season.
CONTINUED
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It was so ‘Thoroughly modern!’
to paraphrase Mary Tyler Moore’s character
in Thoroughly Modern Millie
 
     
TOP: Y & Kei. ABOVE:
Vasseur–Esquivel.
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