Fashion Week takes off with a bang

Zambesi from last night's show at the St James. Picture / Carolyn Robertson

A tiki tour up One Tree Hill began day one of Fashion Week before a run of shows at the Viaduct Harbour base, leading into the day's big-ticket evening events.

It was a novel and scenic introduction to Auckland for just 60 attendees on the way to the Insidious Fix show at Greenlane and contrasted nicely with the later crush when 1000 people saw Trelise Cooper launch her new lingerie range and show her no-holds-barred day and eveningwear.

Then she repeated it all again for another 1000 watchers.

The lingerie, in silks, silk charmeuse, silk velvet and lace, stood out, especially in red and white polkadots. Frilled bras and knickers were cheeky and the French Maid black and cream sets were suitably risque.

Even the velvet robes got the sequinned treatment.

The Cooper collection showed East European-inspired prints in full puffed skirts and Swanndri-style black and red cropped jackets.

Her main Trelise Cooper range started with billowing clouds of dry ice, which made the front row, for once, not the best seat in the house. The heavenly creatures emerged with dishevelled bouffant hair to negotiate the two steps to the runway with aplomb. They wore black suiting with Cooper's usual twists, deco-inspired beaded eveningwear and pretty plaid coats.

Caroline Church said, "Hasta la vista, mother of the bride", with a sassier new look, with a Spanish twist and stronger colours.

Later, attendees with stamina and prized invitations headed off to the St James to see local heroes Zambesi before a tango-styled party by IPG ran late into the evening at Victoria Park market.

Insidious Fix's early start saw 30 Mini Coopers line up outside the Hilton hotel and travel in convoy along the motorway and past sheep in Cornwall Park before ending in a warehouse fitted with 10 big screens for a high-impact show of colourful knits. Teal, emerald and black-stripe tops stood out, as did men's jerseys with buckle fronts. There were skinny pants for men and short shorts for women. Designers Kylee Davis and Jason Crawford did the obligatory curtain-call on mini chopper bikes.

Back to the Viaduct, Claire Kingan-Jones' three labels - edge, RJC and Kingan Jones - took their cue from 1920s icons Zelda Fitzgerald, Tallulah Bankhead and Dorothy Parker. Each used lavish amounts of devore and crushed velvets in jewel-tones such as topaz, turquoise, emerald and ruby and layered them with her signature floaty georgette dresses in paisley and large floral prints. The standout pieces came from her younger edge range, where she teamed georgette tops and velvet jackets with mannish shorts and cropped pants and threw the odd piece of grey marl in for good measure, as well the rounded bolero jacket with restrained ruffle detailing.

Of the four Verge Breakthrough Designers, Wellington label Lonelyheartsclub is the most promising. There were references to Nom*D's over-sized hoodies and narrow leggings but the collective of three designers did their own take. Called Washed Up, the prints featured greasy fish and chip paper and Popeye as well as a rather fabulous acid-green printed blouson dress gathered at the knee with pussy bow.

Young designer Michael Pattison lacked cohesion. His womenswear had touches of Barbara Lee's 80s heyday without her refinement. He should stick to the menswear. His suiting was his strength, especially when teamed with a pink striped 70s open-neck shirt.

Widdess made liberal use of velvet, wrap tops and asymmetric gored skirts. But the collection hit its stride with the body-skimming knee-length shirt-waisted satin dresses with Peter Pan collar. Very grown-up.

You couldn't see the clothes for the accessories at Rayma. Elaborate corsages, pearls, silver belts and beads festooned the outfits. The hound's-tooth box-pleated skirts with delicate lace panel at the hem was among her most restrained pieces and, because of this, they worked.

Up-and-coming designer Cybele Wiren's use of graphic colour - blues, reds, purple stripes, floral and muted eagle print - and trompe l'oeil-effect belts and necklines were most creative. Dresses were her real strength, including a blue velvet balloon shape. Her sheath dresses were simple and assured but never boring as she layered them over a tight dress, vibrant tights and bat and snake necklaces. When she did venture into pants, they were stove-pipes and teamed with a strapless, striped top with parachute hem.

Christchurch designers Barbara Lee and Caroline Moore didn't let their loyal customers down, giving them what they always want - well-cut, timeless classics in good fabric.

Black may be back but for Lee, it never went anywhere. Her commercial About Time collection was almost all black and consisted of elegant, tailored skirt suits with nipped-in waists, coats and eveningwear.

Leather specialist Moore threw the occasional piece of possum fur and broadtail lambskin over her usual leather everything. The result was overkill.

Although we're not sure just who wears leather at the moment - where do you wear a tiered leather skirt? - there may be some interest in her lovely colour palette of bronze, midnight blue, pewter and the soft metallic blue-yellow she called topaz.