NEW YORK, Sep 12, 1999 /FW/ --- New York Fashion Week 2000 officially got underway Monday Sept 13, 1999, but for me and my crazy schedule it started this Sunday afternoon with the Moet and Chandon Designer Debut. The audience sipped Mini bottles of Moet from straws as booming French jazz heightened our anticipation. I didn’t know designs of the designers Alexandra Lind, The Wrights and Gregory Parkinson beforehand and was curious to see their work.

Once the lights had dimmed and the music cranked up, The Wrights collection showed first. Lots of white strapless fringe-knit dresses over wide leg pants and delicate feminine flower stencil embroidered asymmetrical skirts. My favorite was a lavender leather three-quarter-sleeve shirt paired with a white wide leg pant. I’m sure also that the black strapless knitted fringe dress with asymmetrical hem will be a huge hit. The collection featured clean crisp colors, white, black, olive and tan.

Next, came Gregory Parkinson’s creations. A casual comfy-looking set (mostly separates) all worn with leather thongs on the feet. The textures were beautiful; tulle, organza, embroidery and sequins. The subtle pairing of peach, pale blue and again lilac. My favorite here was a double layer iridescent sequin tulle skirt but the lilac sequin tulle shell worn with a bright canary yellow bias-cut velvet skirt was very striking. Knee length was all over the place - short long and in-between.

Alexandra Lind’s collection was the sexiest and the strongest I thought. Everything looked fluid and flowed along on the strappiest gold sandals with strings tied up the calves. I loved the dresses with open window panels like the white ziballine open sided strapless cocktail dress. I want to try one on and see how it looks on an ordinary body, albeit with the hipbones on view - a very sexy concept! These dresses yelled Millennium when I wasn’t even thinking it. They were cool and sophisticated but not too space age. Sure, you’d need to be slim to wear them, but wear them you could.

After a stunning red organza handkerchief dress with starchy ruffles came the only pieces I didn’t like. Blue/gold ombre taffeta gowns - they were too tent-like. The three collections did complement each other; the colors were sophisticated and subtle. The hair was ‘bed hair’ gathered in a noose at the back of the head and lent a casual, soft feel to the looks.

I lost our photographer once inside as photographers make a separate entrance so we had to go through one of those bizarre fashion moments, calling each other on the cellphone to re-group. Turns out he’s standing in front of me! Since this show (like most) kicked off late, it was an impossible dash to find a taxi to head downtown to the next stop. I’ve forgotten how much madness the shows are; with all this zooming around you need a limo!

We arrived at new designer Mark Kroeker’s show just in time for a peek at the last few ethereal looking models strutting in futuristic dresses and clothes that appear like they are coming undone but are not! Here again, the hair was bed-head but with what looked like braids on the side of the head, Princess Leah style, all mussed up.

After killing a couple of hours downtown, Visko and I head back up for the last show of the day at the Tent, Kitty Boots. We grab a quick word from designer Kitty Boots who tells me this collection is ‘for women who are not ashamed of being sexy’ and snap a few backstage photos before dashing front of house to find a seat.

Debbie Harry sits a few chairs down waiting expectantly. Sexy, utility pieces come strutting down the runway, pants flared and slashed at the knee, lots of skinny traffic light colored belts dissecting slashed tops and diagonal skirts in olive stretchy red silk and prints. The shooting star one-earring jewelry fixed the collection in a 60’s mind-set although the designs were thoroughly Millennium.

I’d put money on the US mailbags as a new catch-on accessory. Its now 9.15pm and time to split, write it up, eat and sleep and come back and do it all over again tomorrow!