A quick scan of the invocations in Naeem Khan s show notes—the late sixties crossed with icons of eccentricity Diana Vreeland, Loulou de la Falaise, and Tina Chow, all transported to the Orient—was clue enough that what followed would be a riot of exotic excess. Khan didn t turn up the volume all at once; instead he started off uncharacteristically minimal with an asymmetrical white jersey gown with a sari-inspired drape. But soon enough we were neck deep in densely colorful cherry blossom and mythic phoenix embroideries, sizzling sequins, and candy-colored chinoiserie jacquards, some doubling up on the drama factor with voluminous portrait collars and fat origami pleating. Khan occasionally came up for air with flowing jewel-toned satin gowns, some with a focused chunk of blingy crystal beading—they were still look-at-me dresses, but sans the madness. Though it s often been said that executing simplicity is what s difficult, going over-the-top also requires a deft hand—which some of Khan s pieces lacked. Yes, too much good taste can be boring, as Vreeland famously said, but Khan s big-spending clientele presumably want people to stare for the right reasons.
