Catherine Fulmer: Catherine Fulmer admits that her greatest inspiration comes from her friends and, certainly, her appealing premiere showing played to girl-about-town types. Borrowing images from films like “Sabrina” and “Annie Hall,” she addressed a busy girl’s varied needs. Rapscallion knickers, polkadot dresses and frocks done up with bows and braiding were charming, while little jackets, vests and blazers over tapered leggings seemed perfect for buzzing about town, making calls on friends. Fulmer is likely to garner an impressive following for her elegant variations on the party dress, especially charmeuse sheathes with megaslits at the neck and up the sides of long sleeves. Such a range had its drawbacks, however; specifically, that this felt more like a series of strong items than a unified collection with a distinctive point of view. That said, for a first effort, the clothes looked plenty impressive, and Fulmer seems to have the makings of a bright future.

Magda Berliner: Sometimes the quietest statement can be the boldest move. Magda Berliner’s decision to forgo a runway show for an installation — some pieces on mannequins, others, on wigged models in precious, vintage ribbon lace dresses — provided a welcome break in the cramped schedule. Of course, it was the clothes (and boots) that made the biggest impact, starting with a gray striped suit — yes, suit — that indicated the pixie-like designer’s resolve to broaden her customer base. But that doesn’t mean she plans to give up her signature eccentricity; Berliner expanded her scope without weakening her message. She kept her sportswear appealingly off-beat, and a complement to the one-of-a-kind and limited-edition looks for which she is known. And in just 16 looks, she ranged from a tomboy baseball tunic with inkblot sleeves and leggings to a boho saffron goat-fur bolero over a rust cotton pinafore. As for those shoes, Berliner’s lace-up, open-toed boots should keep ulta-artsy girls stepping lively all spring.

Pegah Anvarian: Pegah Anvarian is a girl’s girl. She believes in curves and cleavage, hips and thighs, long legs and bare skin. Her medium is cashmere and silk jersey that clings and swings in all the right places, often with a single, bold, golden ring, anchored at the hip, navel or neck, for a dose of Studio 54 decadence. In her first formal show, the designer was consistently strong, relying on artful draping for fluid shapes. Anvarian took her inspiration from Brazil, working in a saucy palette of vibrant pink, green and orange that captured the colors of a tropical sunset, and playing peekaboo with cutouts to spice up dresses, jumpsuits and halters. Some pieces even did double duty — functioning as skirt or poncho, dress or top — without falling prey to that school-project folly. The results looked party-girl playful and plenty sexy — perfect for sipping caparinas, shaking to a samba or just being the life of the party into the wee hours.Michelle Mason and Mason: Grace Jones may seem worlds away from Michelle Mason’s typical nouveau-Edwardian sensibility. Nevertheless, the designer took inspiration from the iconic star for the collection she showed on Tuesday. While that may sound like a drastic departure from her signature, it made instead for a smart, appealing advance of her look. Mason started with many of her favorite shapes and renewed them — shorter, tighter, sexier and more in line with the feminine attitude that ran rampant from New York to Paris. Case in point: She turned her penchant for draping into slithering, disco-ready dresses in potent jewel-toned jersey. And because even the most devoted diva has to leave the dance floor sometime, Mason relaxed her usually austere tailoring. She used a military palette — with a dash of brick red — for newly sultry pieces, with jackets worn de-primmed and opened over airy jersey tanks. It was a smart move that lessened the costumy effect that had previously limited her range.

The designer opened her presentation by showing her secondary line Mason. Here she kept to a palette of rugged neutrals with red and dusty blue for sporty pieces softened by touches of silk chiffon — perfect for roaming about on those steamy summer days.

Twelfth Street by Cynthia Vincent: For her sophomore Twelfth Street effort, Cynthia Vincent called the collection “Prim and Improper.” But she could have called it “Perfect and Imperfect” to better define the mixed offerings. She opened strong with a tissue-thin, brown metallic tunic, only to trip thereafter over ideas — ho-hum yellow dresses and asymmetric skirts that everybody’s doing — that looked out of place or not as worthy of her usual Golden State street chic. And yet, sprinkled throughout were the kind of smart casual tux trousers, swingy drawstring jersey halters and ink-splotched tops that will keep Vincent’s city girls ahead of the fashion curve come spring. And what better way to shine in a city of glitz than in a casual dress with glittered polkadots?

Petro Zillia: The thumping samba beat and multicolored confetti of Mardi Gras comes twice a year in the happy world of Nony Tochterman’s Petro Zillio. This time, she conjured up a fictional muse, Lulu Bratzzo, who, according to Tochterman’s imagination, convinced Norma Jean to change her name to Marilyn and her hair from brown to blonde. (Lulu also introduced Richard Gere to the Dalai Lama and has set her sights on the California governorship next round.) She’s a colorful character for a colorful show: Rainbows arced across tiny sweaters and HotPants while slinky dresses and triangle bikini tops — with dangling pom-poms, no less — were served up in sweet sherbert shades. And the all-sequined black-and-white striped T-shirts only added to the magic. Tochterman’s message was clear — be fearless and fun. Here’s a thought: How about Lulu for president?

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