September 15, 2005 New York
For spring, Rucci played with leather and printed organza, which were peeking through seams and under skirts. A putty-color suit was made of leather and suede so carefully braided that it resembled fabric. A series of dresses with "scratch embroidery" were made of the thinnest pieces of leather sewn on tulle in a moiré-like pattern. Metallic leather insets on suits and dresses were particularly effective on a copper dress on Noot Seear. Rucci updated his signature double-faced wool crepe dresses with French knots and streamers on the straps. The freshest looks were the simplest. Caroline Winberg modeled a surprisingly youthful white silk jersey blouse and silk shantung skirt with an asymmetric hem. A black cocktail dress with a drape at center front and center back was timeless. Two gowns stood out: One, in ombré silk chiffon, had a shark-tooth-shaped leather piece attached at the bodice in the back, and another (the showstopper) was a column of alabaster silk crepe cut on the bias with an attached scarf flowing from the neck, dramatic enough for Isadora Duncan. Following his ready-to-wear presentation, Rucci presented his 26-look fall haute couture collection to a piano rendition of Radiohead's music.