Making a splash

Los Angeles designers are not about to let outsiders define California style, which has been ripped off all over the globe lately. They struck back (mostly with success) over the weekend in the first of their spring 2003 runway shows. Chanel’s surfboards don’t have much on Jennifer Nicholson’s flouncy seashell-print party dresses, Eisbar’s palm tree-and-sunset T-shirts; David Cardona’s rock n’ roll leather evening gown and Ashley Paige’s pink crocheted bikini.

Logistically, there were enough glitches to make next season’s promise of a central location for the shows at the downtown Standard hotel all the sweeter. Events were held so far apart (Venice, downtown, Hollywood) that someone hoping to make it to all six shows Saturday would have logged more than 60 miles on the odometer. And the fire marshal was none too pleased when more than 1,000 people clamored to get into the Jeremy Scott show, held in the atrium of the Geffen Contemporary museum, a space that is supposed to hold only about 300. Still, the fervor surrounding Scott’s encore presentation of September’s New York show was proof that this town is hungry for more fashion.

With the spotlight about to be turned on L.A. fashion week, some designers will need some polishing to create full, cohesive collections worthy of world attention. Still, there were enough sparks of inspiration on the runways this weekend to keep the motor running.

After just two collections, Nicholson is on her way to becoming the Betsey Johnson of the West thanks to her “girls just wanna have fun” sensibility. Flirty, bias-cut sundresses were the centerpieces of her show held Saturday at a Market Street art gallery in Venice. One of her best was done in cream silk with a dramatic blue wave on the front, evoking surf and sea. There were also separates for Malibu princesses -- metallic leather motorcycle jackets, tuxedo pants with sequin stripes down the legs and skirts, pants and dresses covered in “watch me shimmy” fringe.

Janet Jackson was the guest of honor at Cardona’s presentation at the Hancock Park home of his publicist’s parents. The two collaborated on Jackson’s 1998 “Velvet Rope” tour. Her presence announced the continuation of his rock n’ roll-meets-society maven style. Cardona has a way with leather. His clothes were sexy, but not sleazy -- nothing that would create a stir at the neighboring Wilshire Country Club: a full skirt in beige suede, a caramel leather notch-lapel jacket, a sand-colored sleeveless suede shirtdress with a stand-away collar and the finale, a full-length black leather gown with a ragged skirt.

“I like his strong shoulders and clean lines,” said Jackson, who wore a newsboy cap and leather pants. The Petro Zillia collection, by L.A. native Nony Tochterman, was inspired by the 1960s. Patchwork prairie skirts, provencal flower-print bell bottoms and sky blue, Aztec print-chiffon skirts were trimmed in ruffles, rickrack and ribbon, and paired with featherweight knit camisoles. Tochterman also came up with some cool shoes -- strappy clog sandals that lace up to the knee.

In their MartinMARTIN collection, spouses Eric Martin and Diane Moss-Martin were again caught in the spell of Japan’s Yohji Yamamoto and Rei Kawakubo, swathing bodies in voluminous skirts with ragged hems. Unstructured jackets had pinned armholes and peplums that were literally cut away in the back, and evening gowns were tailored haphazardly to the body, with strips of fabric stitched into abstract rosettes at the waist. The ideas were original when they were hatched in the 1980s to challenge traditional notions of dressmaking, but the designers have done little to advance them.

At Nikolaki, Los Feliz design duo Nick Verreos and David Paul showed why a pop star like Nikka Costa and actors like Patricia Arquette have started coming to them for body-hugging silk charmeuse pieces. Their entrance makers included a cream-chocolate brown-and-coral striped blouse with a cowl that cascaded down the back, and a tawny gown with a plunging neckline and batwing sleeves. Ill-fitting Edwardian jackets, however, suggest a need for more work on fit.

Gen Art, the New York-based nonprofit that supports emerging artists, showcased eight designers chosen by a committee of local stylists, retailers and press. The best of the bunch included rising star Kate O’Connor’s slinky knit jumpsuit and open-back gown; Ya-Ya’s black net bomber jacket and pink silk cargo pants; Antonio Aguilar’s one-shoulder, lace-back jackets; Paige’s pink crochet bikini and a pink straw micro mini; and a curiously sexy navy-and-white striped rugby gown from Louis Verdad.

At the group show put on by the Coalition of Los Angeles Designers, Eisbar designers Bobby Benveniste and Kiernan Lambeth mixed surf and street, creating T-shirts with beachy graphics, jeans in a paint stroke wash and a fun interpretation of Nicolas Ghesquiere’s famous cargo pants for Balenciaga in black canvas with navy blue stripes winding up the leg. Mona Thalheimer’s feathery lavender chiffon circle skirt and elegant surplice jacket for Mona & Co. were elegant and wearable.

Mhope, a line designed by CLAD president Darren Gold and Marla Folbe, attempted the 1950s happy homemaker look with a fuchsia silk tweed housedress and a boxy pink terry-cloth jumpsuit, but some pieces had an unfortunate homemade look.

Octavio Carlin’s overheated collection of silk charmeuse evening gowns, Naqada, would have benefited from a little restraint. One gown had French lace sleeves, a draped back, a train and a thick, braided sash. Boutique owner Shauna Stein, as always, put it bluntly: “That’s the last thing I need around my hips.”