Barbara Lee adds new dandyism to favoured classics

Press, 12 February 1986, Page 16

Barbara Lee adds new dandyism to favoured classics

The valued clients chatted over champagne while out the back nine top models, each with an attendant dresser, struggled to get that effortless look. Barbara Lee admitted it was a difficult season for quick changes. Accessories played a big part in dressing her designs. Tiepins, just so, to set off high-necked blouses; belts slouched across the hip; hats rakishly angled; 16-button leather vests “to be done up, they must be done up.” The lists of what goes with what had been up since Sunday’s rehearsal, but would there be time for the changes? Although she has staged fashion shows since the early 19705, Barbara Lee still suffers last minute nerves after weeks of planning. This year there was something for everyone, she said, but admit ted that response to the parade would be the test. Black and white elegantly piped suits, in the designer’s favourite fine wools began the show. More suiting, this time in cream wool, nipped in jacket lines and straight skirts with an inset back flounce. The audience settled back secure in the tailored shapes.

Once a year nearly 200 invited guests cram into a High Street workroom to see Barbara Lee’s winter collection.

By

JANETTA MACKAY.

The funk tones of “Rock Me Amadeus” began a Regency riot. From the pages of "Tatler” stepped a scarlet jacket and black jodhpurs. Cane twirling models strutted past in tumbling petticoats, their paste jewellery swinging over lace stocks. Heather-coloured woollen trousers and tweedy skirts were off-set with piles of pearls, coloured glass crucifixes, and gold chains. The third segment showed Brigid Brock’s strong silhouette in leather. Body-conscious, with exaggerated round shoulders favoured by the Italians, in blacks and browns. Printed leather impressed. A black suit, spotted in white had a peplum jacket with a daring cut-out just below the breast-bone. Next came the “wardrobe”; a segment designed to what goes with what. * Out sashayed French black lace cami-

sole and knickers, bodyhugging blue knit, the classic hacking jacket and loose jodhpurs worn with a bat-winged knit top, its front buttoning in to a niched collar. A tight black skirt, again flounced at the rear hem, was set off by a creamy lace blouse. Again the diamante and chains, added new dandyism to favoured classics.

Shoes were very high and fine-heeled or flat lace-ups. Margaret Milne’s knitwear provided a more relaxed silhouette. Her long straight skirts were topped by cardigan coats, worn hooded, in muted brick, mauve/and dusty pink.

Parachute nylon “jakpaks” in black-trimmed cyclamen and turquoise were next, worn with flat, boxing boots and cheeky knitted caps.

The “rich bitch” look followed in heavy lace which just skirted the

ankle. Pleated satin skirts were worn with black and silver sequinned tops. Jet and diamante ritzed up the all-out “Dallas’’evening parade.” The finale was to be a surprise. Three masked men in cycling pants, and large leather codpieces posed their glittered bodies like extras from the “Draughtsman’s Contract,” that perverse English film of Restoration “manners.” Out slinked a masked gipsy, yellow silken with elbow-length gloves, followed by a carnival of colour led by pink and turquoise. Rosettes and ruched bodices, fitted velvet, and silks hitched to show suspenders. Then the bride, a fashion show’s piece de resistance. This one in white silk with a laced, baring bodice, and a mob cap of tulle. After the applause and laughter at the daring of the finale there was a gentle push for the shop. Garments were hurriedly brought out fresh off the models. For Barbara Lee it had worked. The show, which she puts on as a reward for her clients, hai not only entertained but also convinced them of the wearability of her work.