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HI TT^T they said it » /1 I “The leading cause of death \\ / I I among fashion models is falling Page 5 I W I I / % through street grates." Monday, September 20, 2004 -1— -A- dave berry HUMOR COLUMNIST NOTHING BEATS —A— CLASSIC Designers look back with spring collections, mixing vintage-inspired trends with modern traditions { By MEG MOORE THE GAMECOCK Even though fall fashions are only now beginning to make their way to stores, top designers debuted their Spring 2005 Ready to Wear collections last week in New York City, drawing the usual crowd of Manolo Blahnik wearing editors and style-savvy celebrities. From ladylike separates to vintage-inspired chic, spring’s selection rehashed the retro-minded milieu of past seasons in Easter egg shades and flowing fabrics. Fashion’s heavy hitters played things safe, sending wearable ensembles down the runway sans the often-outlandish flair of their European counterparts. Budding talents also seemed to favor familiarity, fitting their collections into an already established mold of American style. With few catwalk surprises, fashion week didn’t engage the imagination as much as it reassured consumers that the so called investment pieces magazines have been highlighting will still be in style once winter thaws. With an overall feel that was more dressed up than downtown, Spring 2005 Fashion Week reiterated current trends toward well-tailored cuts and sumptuous fabrics. Flere’s a look at what some of the industry’s biggest names have envisioned for the season to come: RALPH LAUREN The veritable definition of American sportswear, Ralph Lauren sent a string of silky dresses and icy-hued separates down the runway. Pairing fitted jackets with flowing skirts and wide-legged pants, Lauren’s spring collection was all about clean lines and light colors. From the white suit and pearls worn by Jaquetta Wheeler to the milky pink silk gown Erin Wasson wore to end the show, Lauren’s collection was one of simple elegance, decidedly dressy yet never over the top. MARC JACOBS Arguably one of the fashion world’s most talented designers, Marc Jacobs has been on the top of his game in recent seasons, and his spring show was no exception. For his namesake label, Jacobs presented ladylike skirts and cardigans in bold hues and prints. Pairing stripes with florals and cropped pants with polka dotted sweaters, the ensembles were characteristically Jacobs — whimsical yet workable. For his lower priced Marc by Marc Jacobs line, he wove a similarly bright color pallet into more thrift-shop inspired designs, from plaid skirts to patchwork silk dresses. For men, Jacobs paired casual separates in springy shades with old-school sneakers, mixing functionality with a boyish flair. TOMMY HILFIGER With enough navy blue for any yacht club member’s wardrobe, Tommy Hilfiger’s spring collection was predictably nautical-inspired. Dressing men in slacks and sports jackets, putting women in stripes and light skirts, Hilfiger’s looks seemed ready-made for those who use “summer” as a verb. He reworked his trademark patterns and styles into yet another marketable, all-American collection. Creating a luxe version of leisure wear, Hilfiger included ensembles for oceanside lounging, boardwalk strolling and summer soirees. CALVIN KLEIN The label synonymous with minimalism showcased a typically streamlined collection of silky dresses and smart separates. Francisco Costa, creative director at Calvin Klein, has continued Klein’s emphasis on smooth lines and simplified styles, presenting a spring line that was as sensuous as it was wearable. Along with the requisite neutrals, Costa threw in long gowns in bold teals and oranges and upped the glamour factor with pieces in shimmering cream. As his second spring collection for the label, Costa’s ensembles evidenced his continued dedication to Klein’s perennial vision of modern simplicity. MICHAEL KORS Having recently released a line priced to compete with Ralph Lauren’s department store finds, Michael Kors is en route to becoming the next designer turned one man empire. His spring collection was an edgier take on classic American sportswear, throwing dangerously short, printed kaftans in with straw hats and big sunglasses. Tiger stripes appeared on bathing suits while pea green wound its way onto slacks, sweaters and a drop waisted dress modeled by Liya Kebede. Men wore suits with sandals and ‘70s tinged shirts — and for one unfortunate male model, a pair of python-printed pants. ZACK POSEN Designer-of-the-moment Zack Posen continued his segue from red-carpet designer to sportswear contender with a collection that included wearable separates along with glamorous dresses. Beginning with a barrage of neutrals, Posen progressed into wild-pattered pieces and ended in a sea of black outfits. Pairing menswear inspired pants with thin, v necked knits, Posen presented a feminine take on wardrobe staples before unleashing his creativity in rainbow-colored, printed gowns. Catwalk veteran Karen Elson wore the show’s most extravagant piece; a strappy, .ankle length confection on which geometric patterns, erratic stripes and retro florals all competed for space. PERRY ELLIS Peter Robinson’s abbreviated, 18-look collection for Perry Ellis made up for in PHOTOS COURTESY OF THE ASSOCIATED PRESS From left, designers Michael Kors, Tommy Hilfiger and Ralph Lauren stick to vintage-inspired classics for the Spring 2005 Fashion Week. style what it lacked in size. Dressing up casual khakis with a bright pink bolero, pairing a ruffled teal skirt with a plain black blouse, Robinson mixed retro flair with functionality, generating wearable, thrift store-inspired looks. Favoring cropped jackets and bold sashes, Robinson expertly gave everyday style a chic twist with such bold-hued additions. BCBG MAX AZRIA While individual pieces ranged from bohemian to ethereal, BCBG’s spring collection was decidedly girly with its mix of diaphanous dresses and brightly colored separates. Throwing a tinge of sequins into everyday ensembles while edging others with trim and embroidery, Azria created an eclectic array of looks, mixing glamour with the gypsy-esque. Opening and closing the show with model Caroline Trentini, Azria showed the wide range of his collection — Trentini first took to the catwalk in an aqua, stripe-trimmed, vintage-inspired sundress, yet ended the show in a glittering, aqua and blue evening gown. Comments on this story? E-mail gamecockfeatures@gwm.sc.edu SHOW PREVIEW Celtic rock hand to take stage with S.C. Philharmonic By LOGAN YOUNG THE GAMECOCK On the date that geek-rocker turned-commissioned-composer Elvis Costello’s orchestral piece “11 Sogno” drops in stores, the rock ‘n’ orchestra hybrid comes to the Koger Center with the first concert of the South Carolina Philharmonic’s aptly titled series “Philharmonic Rocks!” featuring the internationally acclaimed Celtic rock band Seven Nations. And while management can only hope to reproduce the box office success of February 2003’s SCP and Seven Nations dual endeavor (it was the only performance to sell-out last season), the concert promises to be much more than some cross-genre marketing attempt aimed at the non-symphony going audience. Long reserved for only the most maximally inclined of super groups (e.g. The Beatles, The Moody Blues, Yes), joining forces either in the studio or on stage with a host of strings, winds, and percussion was once a symbol of a more progressive approach among rockers. However, thanks to the relatively recent success of concerts such as 1999’s joint venture between the San Francisco Symphony and Metallica (affectionately dubbed “S&M”) and the continuing collaboration between Trey Anastasio and the Vermont Youth Orchestra, the symphony-backed rock concert — as part of an orchestra’s subscription season nonetheless — is becoming more common. Nonetheless, the problems associated with staging such a concert are usually matters of practicality rather than aesthetics. Speaking in particular of last season’s SCP and Seven Nations performance, the mix fed out to the audience left quite a lot to be desired. And while it did get better as the evening progressed, the fact that it was even an issue only illustrates that not everyone is capable of pulling off this kind of thing. Furthermore, SCP Music Director Nicholas Smith’s orchestrations of Seven Nations’ tunes such as “Twelve” and “Big Yellow Bus” seemed a little thin at best (although perhaps such criticisms are better leveled against the sound crew). At any rate, the sheer energy of the performance was something to be savored. And while a few members of the orchestra were clearly less than ecstatic to be there, the guys ill the band — songwriter, lead vocalist and guitarist Kirk McLeod, dancing fiddler Dan Stacey, bagpiper Scott Long, Crisco on drums and Struby on bass — more than made up for their lack of enthusiasm. “It was a great concert with a lot of energy and drive,” third year media arts student John Braynard said. “It gave you a The Celtic rock band Seven Nations will join the S.C. Philharmonic on the stage of the Koger Center on Tuesday. This concert is a part . of the Philharmonic Rocks! series. within a unique context.” During the evening-long concert, many members of the audience- were quite literally dancing in the aisles. And all night long, McLeod provided ample opportunity for that most revered of rock concert traditions — the audience sing-a-long. According to South Carolina Philharmonic Public Relations Director and Box Office Manager Toni Turbeville, tickets for this Tuesday’s concert have been selling very well. “We are selling them faster than we can process them,” she said. “At the rate we are going, we are quickly approaching the success of last season’s concert.” As a result, Turbeville strongly urges anyone that is interested to secure a ticket as soon as possible. “Please do not wait until the last minute,” she said. And just to help set the mood ♦ Please see PHILHARMONIC, page 6 IF YOU’RE GOING WHAT: Philharmonic Rocks! featuring Seven Nations WHERE: Koger Center WHEN: Tuesday at 7 p.m. TICKETS: From $15 (all student tickets 50 percent off) For more information, please contact Toni Turbeville at the Box Office hotline, 254-PHIL (7445), or by e-mail at Toni@SCPhilharmonic.com Celebrity obsession conies to mainstream with Internet, print By FELICIA SAILEY THE GAMECOCK We love to hate them and hate the fact we still love them. They are everywhere — on TV, in magazines, in conversation and on the Internet. We are inundated and obsessed. Celebrities and pop culture have become increasingly influential in American society. People magazine ranks No. 5 in nationwide magazine sales on Amazon.com and even major newspapers have been focusing more attention on them. The New York Times has been featuring previously unthinkable front-page stories such as the deaths of singers, Aaliyah in 2001 and Celia Cruz in 2003. In 2003 it also mentioned the mauling of Vegas animal trainer and magician, Roy Horn of the duo, Siegfried and Roy. And in 2002 the Times released a front-page article analyzing the career of pop princess Britney Spears. Concerning the Spears expose, a representative for the Times said popular culture is “the pulse of the country” and influences everything from business to international politics. “Our readers are interested in reading a sophisticated exegesis of a sociological phenomenon like that,” the representative said. Reality TV has also been focusing on Hollywood. Shows like “The Osbournes,” “Newlyweds” and the “Simple Life” have drawn massive audiences and high ratings, not to mention vast amounts of money. That pile of cash is an essential part of what makes fame so influential these days. Celebrity is an industry. I jL M ’ ’ 1 L IH iM THE ASSOCIATED PRESS Socialite Paris Hilton earned notoriety through both her TV show, “The Simple Life,” and from her Internet exposure. “It’s a business that depends entirely on popularity and it changes rapidly,” second-year business student Amy Foster said. “People are easily disposed of. Big business just sees celebrities as a brand and nothing else.” Maureen Orth of Vanity Fair magazine writes in her book, “The Importance of Being Famous” that “‘The media’ — now a morass of cross-pollinating companies — is far bigger and its appetite for higher profits — more, more, more — affects stories, stars, also the truth.” Like all major industries, stardom revolves around cash. And making ♦ Please see OBSESSION, page 7