Blog: Expert Eye - Day three

One of Sakaguchi's creative constructions. Photo / Martin Sykes

Kate Sylvester: 10.15pm

Sometimes it's good to be an old woman in the fashion industry. Because if you were old you would remember the days when Kate Sylvester first started her label.

She'd just come back from Paris and she was living (illegally, according to the city council) in the back of her central city workroom with the man who is now her creative director, husband and father to her three sons.

And you'd also remember the clothes she made back then under the name of her first label, Sister. Often they were quite plain, with only a few careful details to mark them out as her work. As a designer she had a light, deft touch and a wonderful way with pattern making.

Of course, as they do, things changed. Sister became Kate Sylvester, the label became more popular, shops opened, accounts gained and Sylvester and her fella, Wayne Conway, moved out of their workroom and into a real house.

And her collections changed too. While her distinctive touch was still there, it felt like the ranges became more thematic. Every now and then it felt to long time fans - this writer anyway - that the themes threatened to take over the design element.

Not that this is a bad thing, it just didn't always make every woman want to buy every dress.

But that was then, this is about tonight. At Wednesday night's event, Sylvester showed that she is not just a good designer, she's a truly great one. Why? Because this collection, inspired by surrealist art and named Art Groupie, struck the perfect balance between clever theme, fantastic design and current trend. Don't ask me why but there was something inexplicably holistic about it all.

And to be honest, there's barely any point in going on about the clothes for pages.

Practically every outfit caused fashion editors to scribble furiously and every one else in the room to plan how they could arrange for another mortgage.

Sylvester's fantastically deft way with detailing was there in the carefully arranged, pearly lines of buttons, in the innovative trims and dresses made from complicated panels of black and blush. A hell of a lot of hard work had gone into this collection and it showed.

Meanwhile the surrealist theme was writ large with stunning, staring eyes drawn on the busts of dresses, a lipstick print, hand shaped epaulettes and sweater dresses featuring side profiles.

So that's the rave. Only two other things are probably worth mentioning. Firstly, that during this show, Sylvester also launched her first menswear collection.

The fashion forward gent will be going for the more statement making garments, things like a shirt with a version of that button trim for boys, while other hipsters will be choosing such items as the long-sleeved T-shirts and soft jumpers.

And secondly, you may like to note that, just quietly, Sylvester is adding more organic fabric to her collections - organic cotton and eco-merino dominate, she says.

In conclusion, it's hard to know what we should be gagging for. Next winter - so we can actually start buying those delectable clothes? Or next Fashion Week so we can see what a great designer, who's taking risks that are paying off, does next?

Stolen Girlfriends Club: 8.10pm

Does anyone know what a mass hallucination is?

It's a phrase that's often bandied about when a whole bunch of country folks see an alien walking down the street in their town but they forget to take pictures of it. Still, they all believe that they saw that alien and ain't no one telling them otherwise, ma'am.

Here's what Wikipedia has to say about mass hysteria: "the manifestation of the same or similar hysterical symptoms by more than one person. A person perceiving illness in themselves or others, triggers a similar reaction in other group members."

That same phrase can easily be used to describe the condition of the crowd at last night's debut Fashion Week show for Stolen Girlfreind's Club (or SGC for short).

The venue was packed out as the wannabe-maverick designers appeared to have invited every good looking, scenester they knew and after half an hour waiting outside, a few beers, some queuing and a few visible scraps for front row seating (see the Insider Diary for more on the goss from this show) there was a palpable buzz of expectation in the venue.

There were several in-jokes and then there was that little trick with the paper fans - the audience was instructed by a booming voice to unfold the paper fans they found on their seats - these were inscribed with "I'm A Fan" - after which they were told that they were now all "fans" of SGC.

And thus the scene was well set. The music was loud, the models were cute, the young folk in the third row were yelling and cheering for their mates and the atmosphere was generally pretty raucous for a fashion show.

Afterwards the fizzing crowd burst out of the venue and even old fashion hands were filled with admiration for their energy and the fun atmosphere.

But hang on a minute, guys - what about the clothes, eh? Well, no doubt there were some nice touches. Leather patches on tight jeans, well placed rivets on black T-shirts, some shiny PVC on lace and SGC are getting a jump on the 90s revival that's just about here, with their true, blue chambray denim, apricot and mint colours.

A few other items would have had potential - large T-shirts with fringed tassels and black vinyl lace ups at the neck - had it not looked like they'd been made by someone who had what you call "mad skills" with a glue gun.

Basically, SGC are a fantastic example of both what's best and what's worst about the fashion industry.

On one hand, they're a triumph of hype over substance (now, there's a good slogan to put on a big old T-shirt, maybe I'll start a fashion label) which makes them annoying for anyone who likes proper design and who doesn't like hearing jokes they've already heard.

On the other hand, they're a triumph of hype over substance, which makes them a brand to be reckoned with, a bit of a laugh and a good night out. Take your pick, kids.

Ricochet, 7.00pm:

Some clothes are scary. They're big and they're black and they have freaky bits hanging out all over them. Some clothes can be hard to put on - the designer deliberately gives you options and you have to figure out for yourself where to wind fabric around your waist and how - and with what - to wear the piece.

In New Zealand we have quite a few scary clothes like this. That's why international observers have called our leading labels "dark and intellectual".

But dark and intellectual is obviously not for everyone. In fact dark and intellectual translates to frightening for a lot of people.

If you are one of those people but you're not satisfied with shopping at the mall, then long term, commercial successful label, Ricochet, might be just what you're after. The original idea for designers, Tatjana Windhager and Rebecca Maguire, was to make designer clothing accessible to every woman.

And it seems they're still doing this. The label has never shown at Fashion Week before but now they were hoping to entice a few overseas buyers to join their loyal fan base.

The pair played with texture - metallics, tweeds, leatherette and satins accented with tassels and prints - on a monotone palette. And the most experimental they get is with their knitwear. It would be easy enough to throw an asymmetrical jumper over your jeans and you'd still feel like you were trying something without risking anything. The addition of feminine details like big buttons and bib fronts also makes Ricochet easier to relate to.

Alexandra Owen, 6.00pm:

Alexandra Owen, where have you been all of my Fashion Week? A perfectly executed, insanely polished debut for a newcomer, this show featured highly original ideas, carefully and brilliantly made and eminently wearable. I can't even think of any other superlatives, it's like the young designer - good lord, she's only 25 - leapt from fashion school in 2003 with a fully formed label.

But perhaps we shouldn't be quite so surprised. After all Owen has been stocked in the Scotties boutiques, that incubator of the just about the most creative new fashion in the country, for the past four seasons.

Still she somehow managed to get the balance between beautiful and inventive, wearable and arty, simple and complex pattern making, absolutely right. "I just wanted to play with my draping," Owen said modestly afterwards. In fact, it looked a little like the fabrics she had chosen - liquid silks, cashmere, satins and mesh - had somehow become molten, then fused together seamlessly to form items of rather wonderful sartorial beauty.

At the more extravagant end, there were jodhpur style trousers that flowed from the waist and elongated mesh vests with low pockets and lace insets (think Zambesi meets boudoir). At the business end - the end where the designer actually sells a ton of clothes to ordinary women - there was also plenty to choose from. Such as dresses where a shawl of fabric wrapped around the neck, then slipped delicately to the waist. Or a skirt where that liquid silk curled flamboyantly around the hips. And intelligent sex appeal came in the form of unexpected lace panels, on the shoulders, back and front.

Owen is happy to acknowledge the effect that labels like Zambesi and Nom*D have had, saying "they've made a great path for people like me, they've given us more of a chance," and one wouldn't hesitate to recommend that fans of that kind of intellectual design, also check out Owen's work.

Simple ideas, complex patterns and beautiful, beautiful clothes.

There's not much more to say. See the pictures. Then look out for this young lady's work in the shops.

Verging On Brilliance, 3.40pm:

The Verging On Brilliance show didn't show onlookers anything much they hadn't seen before. In most fashionable circles this would be a cardinal sin - however in this case it was deliberate. This show was a tribute to the fact that this twenty year old label, Verge, has been sponsoring young designers into Fashion Week group shows regularly for several years now.

Garments were included from past beneficiaries of garment industry businessmen, Ian Webster and Neil Brabant's largess: Cybele, Hailwood, Lonely Hearts, Pearl, Keuke, Federation, Firered, and james & august. Some of the clothes were in season (that means they're in the shops now), some of them were retrospective, some had already shown at fashion week this year and some were next season's.

Most interesting were the outfits from Keucke - a printed satin frock with flared sleeves that tied at the hem, a sheer purple blouse with puff sleeves over a yellow and black printed satin skirt and a dungaree mini dress, in black multi-coloured polka dots.

Pearl also went for satin and asymmetry as well as a little bit of bejewelling and some sheer mesh overskirts. And the colourful lounge wear, hoodies, trackies and knickers from james & august have gained in colour and prints, which will no doubt make them a popular choice for tweenagers and Barbie doll lovers all over the country.

Verge 1: Elusiv, Euinton and Blak Basics, 2.15pm :

Pay attention now, because there's a fashion emergency coming up. And no it's not that your lipstick keeps coming off every time you eat (which isn't very often, if you're working at fashion Week anyway). This is actually serious. It's to do with the environmental crisis, global warming, cooling or whatever else you want to call all those tornadoes, mudslides and over active monsoons.

Essentially to try and maintain our way of life as we know it we need to stop consuming as much as we do - and that includes clothes. Simply by its nature, fashion can be one of the most active engines of consumerism - because every six months you're supposed to buy a whole new bunch of clothes.

This is where the labels that took part in this Verge-sponsored selection of new designers come in. They all specialize in what are basically called - dur - basics. Getting really nice versions of basics, well cut, made from good fabric, with a lasting sense of style and that don't utilise the services of any sweating Asian eight year olds, are going to become more important to us all. Which is why despite some of the odd names and a relatively conservative runway presence, Elusiv, Euinton and Blak Basics are all worth a second look.

Elusiv make menswear that any New Zealand guy, no matter how shy he is of the mirror, could wear. Mostly brown, beige, taupe and relatively conservative, the most interesting things about Elusiv suits, jackets and trousers is their detailing. Lightly quilted jackets with a little bit of extra strapping and quilting on the pockets and a tunic in wool, with low slung pockets certainly won't scare any farmers or rugby players off, and nor will the loose fitting silhouette.

Meanwhile Euinton make a range of knitwear that goes from mildly thrilling - mesh insets on nicely cut, cobalt blue or corset inspired singlets and long sleeves in red and black - to simply cute. Check the adorable multi-coloured cardigan that looks like your aunty knitted it for you, if you want proof.

Possibly most exciting of all of these was Blak Basics. Don't let the slightly middle aged name of this label fool you. This range of simple tops, T-shirts, dresses, cardigans and loose jackets are well cut and made from that light, almost-see-through cotton that flatters the figure and looks a little like a more expensive jersey.

While some details verged on fussy - bubble sleeves, frilly collars - most of this young label's promising debut was modern, of the moment and streamlined: an off the shoulder floppy top, a simple black smock-style T and a loose, soft, rib-knit cotton cardigan among others.

For those shoppers who happily spend wads of cash on labels like Petit Bateau from France or American Apparel, simply because the basic soft ware is so well made, the colours will last, and the manufacture is politically correct, then Blak Basics may well be your locally made alternative.

Sakaguchi

specialises in off-kilter wrapping and creative constructions made out of fabric. The best of this collection included a selection of rather lovely looking antique floral prints towards the end of the show and the finale involved a model in a bright orange, strapless, asymmetrical ball gown, her waist encompassed by a giant, carefully tied satin-brocade bow, carrying the biggest red Asian umbrella anyone had ever seen. In fact, the umbrella was so big that the poor girl couldn't even return to the backstage area.

State of Grace:

Nana-pants has left the building. In the past collections by State of Grace have suffered from a surfeit of crushed satin, old fashioned embroidery and stiff costume drama. But after a break from showing at Fashion Week, the label has returned and shoppers will be welcoming it back with open arms - for there was nary a shocking frock in sight.

Dedicated followers will know there have been changes at the label: the business was started by partners Sherilyn Catchpole and Caroline Church and in 2004, after thirteen years of working together, Church departed to start her own label.

Since then Catchpole has been working at evolving her own, directional look. And this collection, themed around Alfred Hitchcock's film,

The Birds

, provided a great selection of very wearable, modern clothes that perfectly echoed that film's sophisticated, retro, sexy femininity.

Stand outs included a sheer purple, flecked top, black satin dresses with perfectly placed mesh sleeves and decolletages and the carefully cut jersey frocks.

Fans of Kate Sylvester, Juliette Hogan and maybe even Karen Walker (check out the pretty floral prints), might want to pay attention to the new, good looking State of Grace.