CONTINUED

This collection is the best evidence yet that Mr Rucci is one of New York’s best, bubbling-under-the-surface superstar designers working today

   What lies at the foundation hasn’t—and shouldn’t—change. Each progressive collection is still built on his dictionary of collected images inspired by the works of Francis Bacon, Cy Twombly, Antonio Tapies and Yves Dana, all artistic icons of the postmodern twentieth-century school of art. One really shouldn’t try to fix what’s not broken. But ever since he has started showing in Paris, Mr Rucci’s scope of reference has dramatically expanded and has become more humane, more accessible, and far less lofty. By entering the rarified air of the haute couture Parisian fashion scene, he has gotten a better sense of what it takes to maintain his design integrity while serving the needs of his present and prospective new clients. The "preciousness" he has been accused of in the past is becoming less and less apparent. His exposure to that high maintenance, extremely knowledgeable and ultra-critical European couture clientèle—who, if so motivated, could become designers themselves—has served to temper his design philosophy in a very positive manner.
   For spring 2004, Mr Rucci displayed an uncharacteristic soft side that was not at all a rebuke to the intellectually sculpted looks he’s known for. What that demonstrated was that he has yet another layer of talent that so far has been unexplored. He opened the show with a bold, "rorschard" (quasi-western, Georgia O’Keefe-esque) print shirtwaist dress that really spoke volumes about his desire to challenge himself. Was it a little bit "out there" for him? Yes, but then others would bitch up a storm if, in their minds, he wasn’t evolving at a pace they see fit. You cannot fault the man for trying something new and not hitting it out of the ballpark his first time at bat. At least he tried. This new print worked best as a skirt when paired with a crisp white silk jersey blouse.
   The rest of the collection was classic Chado Ralph Rucci at his best. Early stand-out pieces included his vanilla double-faced wool dress and stole with lambskin inserts, his beautiful gros de longres raincoats and suede safari jackets, and Mini Anden in his black double faced wool coat suit (with accompanying pants) with black patent leather insets paired with a contrasting white silk jersey tank top.
   He has also become wonderfully sufficient in his use of animal skins, skilfully manipulating them into supple shapes and designs that are modern marvels. The best examples of this was his tea matte alligator bodice top (paired with a green tea double-faced wool skirt suit) and the regally beautiful Coco Mitchell in a lambskin jacket and skirt with contrast stitching detailing.
   Midway through the presentation, he temporarily changed course and this was where the new lightness and design accessibility made its mark. In quick succession, he shows a black double-faced wool sheath dress with black leather insets, a black mesh and gazaar dress with "bell" detailing at the wrists), Angela Lindvall in a gorgeous navy peau de soie and tattered silk chiffon dress, Jacquetta Wheeler in a simple yet stunning black chiffon slip dress with matching stole, and an ultra-feminine black matte jersey spiral seam gown. These pieces worked because he emphasized quiet simplicity over base design æsthetic. It is my hope that he will continue on this path in future collections; it was a beautiful thing to see.
   For evening, Mr Rucci’s designs were magnificent as usual. He showed a great-looking beige matte jersey gown with sheer mesh insets. Frankie Rayder positively glowed in his hand-painted silk crêpe strapless gown with crystal beading accents; and who can forget his outstanding ombre silk chiffon sari-like gown with a navy alligator skin asymmetrical top? It is a sign of his expansive talent that this particular piece manages to stand from among the others, given that they too are just as beautiful.
   The overall effect of the collection was made that more special by the striking accessories: snakeskin belts (Ralph Rucci by Kleinberg Sherrill), shoes (Ralph Rucci by Manolo Blahnik), gloves (Ralph Rucci by Daniel Storto) and iconic birdcage necklaces and handbags (Ralph Rucci by Carlos Falchi).
   This collection is the best evidence yet that Mr Rucci is one of New York’s best, bubbling-under-the-surface superstar designers working today. As the powers-that-be, present-day superstar designers (Ralph, Donna, etc.) work towards the point at which they may decide to retire, it’s terribly comforting to know that the void will be readily filled by talented designers like Mr Rucci. When this time does arrive, it won’t be an overstatement to say, ‘the King (or Queen) is dead. Long live the [new] King". •

Phillip D. Johnson is features’ editor of Lucire. Richard Spiegel is New York editor of Lucire.