It’s interesting to see a changing of the guard and witness the quiet evolution taking place at the house of Geoffrey Beene. In Einar Holiloekk’s second still life presentation (which took place at their west 57th street atelier) as head of design, since the death of Geoffrey Beene almost one year ago, he is putting his own stamp on the legendary label and carrying it forward. By his own admission, out of necessity, he is seeking to take couture in “another direction” by making the collection a “little more flexible”. So, instead of seeing the pieces as part of an unmovable outfit, they are designed to be far more interactive with one’s existing wardrobe (how modern is that?) and far more versatile.

To that end, he has wisely concentrated on small, versatile, unique pieces like the beaded collars available in jet or Austrian crystal, or the Austrian crystal belt (that appeared to be a peplum sewn onto the beautiful long black jersey gown with silver lame facing being displayed on one mannequin. And then there are the abbreviated shrugs, which have traditionally been one of Geoffrey Beene’s most recognizable trademarks: they were done in black glove leather, and olive or fuchsia double face satin, each with back bow detail. Einar feels that any of these can work as well with a short dress, long gown, or even over a jumpsuit.… that can work as well with a short dress, long gown, or trouser.

Other standouts in display: a long black jersey strapless gown with Austrian crystal beading on top that Einar admitted “the workroom almost killed him over because you can’t get a needle through it”; a perfectly simple yet amazingly elegant sleeveless white double face charmeuse blouse with tiny ruffled collar and back buttons which is made from one piece of fabric, shown over a long black torso fitted skirt; and an overscaled abstract floral ¾ trapeze coat with slanted pockets made from heavy cotton ottoman and lined in a smaller black and white patterned silk taffeta which looked like it could almost worn on the reverse side as well (since the coat looked perfect and amazing on the inside as is always the case at Beene).

Coincidentally, Geoffrey Beene’s vast and enviable collection of home furnishings, sculpture, and paintings (he was an avid collector), will be going up for auction at Sotheby’s, Friday and Saturday, September 23 and 24th. In conjunction, there will be a major fashion retrospective of the designer’s work running through September 22. Whenever I have a chance to view the archives of Geoffrey Beene, I am always struck by how modern, relevant, and perfect they are, even years later (not to mention how many references to this brilliant designer one always sees on runways here and around the world), and how most other collections seem to pall by comparison.

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