The gamecock. (Columbia, S.C.) 1908-2006, September 20, 2004, Page 5, Image 5
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