Thakoon: Thakoon Panichgul is deservedly praised for his technical innovation. How can one forget the nonclunky feathered skirt and peony motif of seasons past? For spring, however, he focused less on exploring a singular idea three-dimensionally and more on mood and narrative; in this case, a girl's discovery of color, he said postshow. Yes, those unstructured dresses, Ts and skirts with painterly splats of color — a resort print revisited — are the kind his fans will surely seek out, but they weren't necessarily as inventive as one expects. More interesting in this sartorial-stepping stone of a collection was his arty-but-practical sportswear: slouchy sweaters, shirts, skirts and shorts, raffishly layered in a mix of men's wear prints and a navy tie-dye — all fantastic and, more importantly, illustrating Panichgul's desire to grow.

Doo.Ri: Doo-Ri Chung isn't one to rest on her laurels — in this case, that would be her talent for beautiful draped jerseys. Instead, the designer made spring an exercise in sculptural construction. She started off with her typical flowy numbers, but soon switched gears, working those familiar silhouettes with stiffer, more challenging fabrics, like cotton brocades — a first for her. Chung also went with a transparency theme, ultimately making for one fabulous romantic reverie of a collection. Some dresses had sheer insets, others were encased in netting for a shadowed effect. Even the oversize Swarovski crystal embellishments were chicly cloaked in tulle, both individually and in clusters. The all-important lesson here: Glitz doesn't have to shout.

Benjamin Cho: Brimming with indie street cred, Benjamin Cho has primed his ardent audience for out-there fashion. This season, as he explained backstage, his esoteric effort was about tight silhouettes sprouting organic appendages, a conceit realized in a perhaps too-obvious fashion by enormous Erickson Beamon agates laced upon body-conscious sheaths. Other sculptural maneuvers were much more clever: strips of fabric twisted into intriguing patterns on dresses and artfully knotted rope on tops and skinny pants.

Y-3: Yohji Yamamoto has quite a knack for spectacle. Remember last season's lively light show, and the neon-lit barges on the Hudson the year before that? This time, the designer created a perfectly horrid thunderstorm in the middle of a perfectly sunny day. It certainly set the mood for Y-3's brooding clothes in intriguingly languid cuts and a mostly black palette. Cases in point: an off-kilter tank with a dramatic, full skirt, and a cloak-like sweater that conjured a sportif Harry Potter. But it wasn't all rainy-day blues, even if the FX shower never let up. There were charming suspender dresses, logoed sarongs and chic wide-legged jeans — even some feather-hemmed frocks — in addition to the usual bright athletic fare for which Y-3 is known. And the footwear? Definitely waterproof.McQ: London's Hoxton neighborhood was Alexander McQueen's home in the Nineties, and more recently it has played host to New Rave, a style of music fusing the electronic, new wave, disco and punk genres. Many of those elements, not to mention a bit of glam rock, found their way into the designer's fourth McQ collection. McQueen's signature masculine-versus-feminine concept served as the perfect canvas for graffiti patterns printed on a jumpsuit or foiled onto denim, which was a prominent fabric throughout. Meanwhile, sequins and other metallic elements, like the colored metal rings that came together in the form of a dress, gave a distinct street vibe that was just right for the Bowery Hotel, where the collection was shown.

Rebecca Taylor: Rebecca Taylor was up to her usual tricks — thankfully. She knows so well how to fill her runways with the feminine, delicate stuff. But before teetering into too-cutesy territory, she balanced things out with a tomboyish — for her — motif. Like the prim sweatshirt coat that topped a glitzy pink sequined skirt or the jackets — whether slouchy, structured or military inspired — that tempered sweet lace tops. And her color choices were refreshing: berry and lavender mixed with cool gray and blue.

Baby Phat/KLS by Kimora Lee Simmons: Kimora Lee Simmons really does live life in the fab lane these days. The recently named creative director of all Phat Fashions (and star of her own reality series) clearly wanted to make the point that she's in charge when she unveiled the latest Baby Phat, KLS and Phat Farm collections, minus the never-to-be-seen-in-stores fantasy wear that has been her penchant in the past. But make no mistake, commercial doesn't mean boring in Kimora's world, where Baby Phat denim is colorful and trimmed with gobstopper-size crystals, and silk evening dresses under the KLS label leave little to the imagination. Sure, it was flashy, at times even trashy, but in the end her devoted clientele will undoubtedly think it's just fantastic.

Sari Gueron: Easy, understandable and minimal, yet not boring by any stretch — not the easiest feat for a young designer to manage. And yet, Sari Gueron deftly handled the challenge. In its simplest description, her collection featured straightforward silhouettes: cinched minidresses, boxy tunics, loose pants. Sound ho-hum? Not a bit. Her restrained embellishments — subtle chain links on a pleated cocktail frock, tone-on-tone geometric beadwork and appliqués, the bright yellow cuffs of a gray boyfriend sweater — added interest, but never dominated. The effect was effortless and chic.

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