Minor Threads: Spring shows forecast an elaborate season

By Siddhartha Shukla

Courtesy of New York Times Magazine Yohji Yamamoto brings the Orient to Paris

In New York, Calvin Klein and Marc Jacobs are reaping high praise for daring, elegant simplicity. Jacobs's pleated skirts and cashmere cardigans add a chic twist to the classic schoolgirl look. Klein uses silks, gauze, and sheer wool in his bare-boned, loose styling, and creates practical, deceptively intricate pieces.

Donna Karan follows Klein's lead, employing the same wispy, flowing sentiment with darker colors, while fellow Parson's alum Isaac Mizrahi accentuates the silhouette with form-fitting clothes. Anna Sui replaces her trademark punky, grunge look with a hippie-ish, global one this season, experimenting with tunics, saris, and sarongs. Finally, Ralph Lauren and John Bartlett expose their American roots, using dark, bold colors and abundant leather, contributing to a rugged, substantial image.

This season, Paris serves as the apotheosis of fashion's slow trend back toward lavish, romantic extravagance. Here, the Japanese continue to establish their presence on the fashion map, with Yohji Yamamoto spearheading the ubiquity of the Orient in his Paris show. His luxurious materials, and Japanese fabrics in general, have made their mark, garnering international praise and appeal. Yamamoto's pieces, ranging from kimonos to fishing trousers, demonstrate variety and theatrical grandeur.

Christian Lacroix defines the eccentric, with wild, sometimes incongruous color schemes, hybrid fabrics, odd shapes, and hairstyles to match. The Givenchy house continues the adventure with designer Alexander McQueen's frequent fringes and elaborate embellishments. Karl Lagerfeld of Chanel, in contrast, offers subdued yet sophisticated dresses with conventional accessories that cleverly escape the threat of monotony. Innovative Jean-Paul Gaultier adds an art-historical tinge to his collection with gorgeous Frida Kahlo-inspired designs: red, ruffles, layers, lace, and all.

Finally, John Galliano grapples with both his own line and the Christian Dior house most gracefully. His presentation is almost flawless, verging on iconoclastic: straying from the rampant eccentricity of the season, Galliano focuses on the majestic beauty of Belle Epoque shapes, the generous fringes of flapper dresses and the sexiness of satin smoking jackets. Galliano's enchanting collections are steadfast examples of Parisian decadence.

In Milan, Miuccia Prada reigns supreme with creative pieces that cater to the individual. Cropped pants and dresses float down the runway, embellished with painted flowers, oddly placed ribbons, pleats, and beads. Sandals seem to be the footwear of choice, with Prada and Jil Sander taking their inspirations from Dr. Scholl and Teva, respectively. The Sander house excited many fashion critics with its collection, at once quirky and versatile. Versace's line, presented by the late designer's sister Donatella, was slightly reminiscent of Sander's, with similar body-hugging fabrics, twisted and ingeniously slit, yet with greater flair and more vibrant colors.

Gucci, the home of designer Tom Ford and last season's ever-popular stiletto, surprised many critics with daring handbags strapped around the neck, lots of leather, and sensual exposées of the body. Meanwhile, Armani adds a classic touch to this season's lines, tempering power with delicacy in a stunning, subtle collection.

The grand finale at Milan is the showing by Dolce and Gabbana, the most unusual of the spring shows. Staging a mock funeral procession in their baroque mansion, the hip Italian designers outfitted their models with net-covered corsets, pinstripe capris, and a profusion of butterfly appliques, supplying a fantastic surrealism to their collection.

The designers on display in Milan this spring confirmed the metropolis's reputation as an epicenter of fashion, where the timid need not apply.

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