Behnaz Sarafpour (Q3854)
Jump to navigation
Jump to search
Behnaz Sarafpour is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Behnaz Sarafpour |
Behnaz Sarafpour is a fashion house from FMD. |
Statements
2001
women's apparel designer
Behnaz Sarafpour set out to capture an "artificial beauty" with her latest collection, which focused on technique and technology. One of her goals this season was "to make Fall as lightweight as possible." Sarafpour experimented with high-performance athletic materials, including an unlined neoprene, which was cut into structured pieces like a boxy jacket and a flared skirt with transparent plastic trim peeking out at the hemline. Instead of doing a standard shearling coat, the designer worked with an ultra-soft, piled velvet that gave the impression of fur without all the bulk. The chunky sweaters interwoven with grosgrain ribbons and lovely frocks featuring wavy strips of raw-edged chiffon added a three-dimensionality to the lineup that kept the overall look intelligent but still natural.
8 February 2013
The mismatched velvet couches, well-trod oriental carpets, and antique chandeliers at the Jane Hotel provided the backdrop for today's Behnaz Sarafpour presentation. "I wanted something from another time," she explained. "This ballroom's turn-of-the-century charm brought out the collection's Art Nouveau influences." A tunic-length jacquard vest shown with crisp wide-leg pants that had embroidered irises (a symbol of the Art Nouveau era) snaking up the sides struck the balance of old world and modern that Sarafpour was aiming for. Ditto the pale pink strapless cocktail frock with peplum-like flap pockets embellished with sparkling opals and resin pieces. Compared to those two standouts, the guipure lace capelet dresses and flutter-sleeve organza tops on show seemed a tad too delicate for the type of free-spirited girl who parties at the Jane on a Friday night.
6 September 2012
Behnaz Sarafpour skipped out on a NYFW presentation last season (she did a small capsule just for sales), and focused on Fall instead. The idea behind the designer's latest collection was to show the inner construction elements of a dress on the outside—"kind of like a fashion X ray," she said. A white silk piqué gown with flared shoulders, for example, came with metal coils typically found in corsets accenting the waist. And a strapless lace dress with matching, arm-warmer-like sleeves had a peplum made from the wiry brim of a hat. Many of the delicate looks here would befit a prima ballerina. Sarafpour pointed out the copper-colored jersey lamé number with a handkerchief hem, in particular, as "very Martha Graham." Furthermore, all of the models wore simple ballet flats, which was a comforting gesture (it's painful to watch the stationary girls at presentations teetering on skyscraper heels for hours). Sarafpour spent a lot of time at the barre throughout her childhood, and has referenced dance many times before. Another personal touch was the custom necklaces made from thin, reflective Venetian glass, which the designer avidly collects. She positively lit up while describing her collaboration with an old Italian jeweler on the statement-making pieces. Proof that even after ten plus years in the business, Sarafpour still gets genuinely excited about designing—and that enthusiasm definitely comes through in her precise, graceful clothes.
11 February 2012
While her brother was reportedly the math whiz of the family, Behnaz Sarafpour's practical-chic clothes have always suggested an amateur's fascination with geometry and clean shapes. Resort, for example, was full of graphic, mosaiclike lace. It turned up on a black laser-cut leather pencil skirt, as well as on sea foam culotte shorts paired with a crisp oxford shirt split at the sides so you can tuck it in, business-in-the-front-party-in-the-back style. Sarafpour also draped a rectangle over the shoulders of a simple black shift with a cluster of neon plastic paillettes at the neck that looked like built-in jewelry, and tried knitting together frayed strips of silk chiffon for a calculatedly imperfect finish on a loopy sweater. Overall, there was maybe a little too much practical here and not enough "need it now" chic. Shortly after showing Resort, Sarafpour was vacation-bound for the Venice Biennale, where she was hoping to find inspiration for her Spring collection.
8 June 2011
It's been ten years since Behnaz Sarafpour showed her first collection, and this season she's throwing it back, revisiting comfortable themes while continuing to push things forward in her own subtle way. She looked to Constantin Brancusi's sculptures, which she tried to imitate on soapstone in high school art class, for inspiration. The palette here was, as it often is, primarily neutral. Using black, slate, taupe, and powder blue put Sarafpour's use of tailoring and unusual materials in the spotlight. Her designs need to be seen up close to be truly appreciated. A simple short-sleeved dress alternated nubby wool strips with silk chiffon ones for a striped appearance. And what appeared to be lace trim on a trumpet skirt turned out to be haphazardly woven rubberized string. The showstopping look here was an easy flowing gown with a bodice of matchstick pattern, in heavy lace.
12 February 2011
Unless you looked closely at a pair of linen broderie anglaise dresses at Behnaz Sarafpour's Spring presentation, you probably didn't notice that the buttons were actually made of cherry pits. Yes, cherry pits. "They were cleaned really well," the designer assured us.Sarafpour has been making efforts to incorporate sustainable practices into her collection for several seasons, but something about the terrifically fresh and pretty sportswear she showed today seemed to fully crystallize the idea and her market niche. "We're not an organic line," she said. "I want it to be luxurious, but have those elements." That means a swingy organic cotton gauze tank dress can be inset with a conventionally produced lace bodice, and no one cries foul. Sarafpour worked a nature theme in a layered palm print cut into a pajamalike jumpsuit and a tiered halter dress. But most looks had the breezy, uptown elegance upon which she made her name: For spring days, there was a crisp trench belted over wide, dark jeans; for summer nights, a slouchy white silk tank, luxed up with silver stripes and tucked into a flaring white taffeta skirt. A pair of denim overalls could have seemed out of place, even with their sharply creased legs, but then again, perhaps not when green is the word.
11 September 2010
Behnaz Sarafpour began sketching her Resort collection on a recent cross-country trip. Not surprisingly, she found herself thinking about versatile designs that could be packed (and unpacked) with ease. For day, the designer turned out a breezy off-white cropped silk blouse worn with black peg-legged trousers and flat thong sandals, as well as a lightweight tank dress in eco-friendly jersey. Eveningwear featured a pair of beautiful, weightless pleated metallic minidresses—one already seen on Alexis Bledel at last week's CFDA Awards. Those numbers look better the more crinkled they become, while a seemingly stiff feather-trimmed frock was actually cut in a lightweight washed stretch silk. The upshot was a strong, focused statement from the designer; she would do well to continue moving in this direction.
13 June 2010
Behnaz Sarafpour explained her Fall collection as, "clothes that I'd want to wear and that women who I know would want to wear." Though it's slightly strange to hear a woman designer say that—it's the kind of thing you're more used to hearing on the men's side—Sarafpour's personal and practical approach made for one of her strongest collections in seasons. (Who doesn't want a camel coat with a massive raccoon collar?)Despite the absence of an all-encompassing theme, the designer was mulling ideas about texture—something that seems to be going around the city this week. Here, it translated into clean and polished sportswear silhouettes made interesting by mixing and matching mohair, brocade, popcorn knits, and tweeds with flat wools and solid silks.On the whole, it was a more pared-down look with less sweetness than Sarafpour usually adds, but her bread-and-butter cocktail dresses were still here and there: a jewel-toned sequined shift, a little number covered with chiffon petals. A black brocade shift with a subtly naughty lace-up back and wool panels stood out.It could be because she opted for a presentation instead of a runway show that the clothes seemed more focused, but if it's something she continues going forward, the logistics may need to be smoothed out. The molasses pace of girls coming out onto the photo-shoot set defeated the purpose of a breezy pop-in, pop-out format.
13 February 2010
Behnaz Sarafpour's starting point for Spring was Edward Steichen's iconic lace-veiled portrait of Gloria Swanson. But that's not quite news. In fact, the reference is a sign of Sarafpour circling the wagons around her core aesthetic—a ladylike elegance ever so slightly subverted. On the more literal side, it was an indication that the designer would indulge her abiding love of lace. Sure enough, the stuff was everywhere. It was best seen in a dress of nude lace set into black satin. A shirtdress, however, had inevitable shades of Prada, and a pair of frocks that played the fabric off strips of neon felt somewhat forced. Therein lies the downfall of this collection. At times it seems as if Sarafpour is reaching to evolve her vision in a Goldilocks manner of trying on various trends to see what sticks. There was ample prettiness here, such as a lovely dress with a just-exciting-enough flourish that a woman would love to chance upon at Neiman Marcus. But Sarafpour's foray into trends du jour, like the glam eighties draping or the aforementioned neon, ultimately detracts from the collection's strength.
12 September 2009
"Luxurious but relaxed" is how Behnaz Sarafpour describes her designs, and her latest effort was no exception. Her version of a "structured" jacket, for example, was left unlined and cut in a lightweight silk, while sarong-inspired wrap detailing added a laid-back touch to other pieces. Seaside references popped up in places, too; skinny trousers came with scubalike panels and a micro-jersey tank dress in nautical stripes. A cheeky chiffon halter dress with sea creature appliqués may have taken the theme too literally, but other items—light-as-air oversize knotted necklaces priced under $200, for one—should spell fair weather ahead for this Resort collection.
8 June 2009
As much as Behnaz Sarafpour has an obvious soft spot for a bow or a bit of lace, she's never been one for full-on froufrou. But for Fall, her already clean sense of American sportswear acquired a harder, slicker edge, as telegraphed by her program notes, which were decorated with shadow images of Alexander Calder mobiles. There was still some Park Avenue 10022 in this collection, although it had clearly derived its new direction from Paris'premier arrondissement. The main takeaway here was a graphic sculpted dress or tunic top worn with lean matte-black stretch pants. Sarafpour poured on more flinty glamour with an ombré fox-fur chubby and a grouping of black cutout dresses. There were the usual pretty little dresses, too—a pleated ombré number with cap sleeves and another in a trompe l'oeil ruffle print—as well as a camel coat with flattened bows on its pockets, worn over a silk blouse and tweed cigarette pants. Sweeter still, though frankly somewhat confounding, was a bobby-soxer ensemble of a long black sweater paired with a tulle circle skirt. Ultimately, this style tug-of-war ended in a draw.
16 February 2009
Though she's sometimes veered from the path, Behnaz Sarafpour's raison d'être is to offer a younger spin on dresses for gossip-girls-on-the-town who might not want to wear the same Oscar frock as mother. And that's just where Spring went: a ladylike look made slightly sporty with slim drawstring silk pants (think Audrey Hepburn goes to the gym) and webbed belts, and slightly techy with a blurry photo-print floral used throughout. These ideas were more successful than a brief flirtation with Trekkie shoulders on button-down shirts, or a grouping that went too far with the scalloped petals of silk. There were also some straightforward pretty clothes that made use of none of the above but still had youthful appeal, like a slim shift in floral cloque, boxy suits and dresses in petal-print jacquard, and a fresh white frock with ombré lavender stripes. But gaping holes in the rows of chairs indicated that Sarafpour might need more than this to make her show a priority once again in a crowded schedule.
8 September 2008
"Activewear meets couture," said Behnaz Sarafpour of her offering for Resort, which skewed entirely to the holiday party circuit. Her pretty sequined and bright jacquard dresses worked the sporting motif subtly—the scooped armholes and neck of a tank dress echoed a wrestler's unitard; a little black dress came with a drawstring waist and zippered neckline. Elsewhere, Sarafpour continued her quest to make classics lighter. A tweed-look shift was in fact made of shredded, embroidered tulle—the sort of trickery everyone can love.
9 June 2008
Qui êtes-vous, Behnaz Sarafpour? Once upon a time we knew—a girl who made pretty, uptown-chic dresses for young, spirited, millennial Holly Golightlys. (And goodness knows there are more of them than ever these days!) But, as of late, Sarafpour seems to have been trying on too many different aesthetic hats. Undeniably, Tuesday night's show had many stylish moments, but they also felt slightly disparate.Like last season, she began with a series of eco-friendly looks, among them wool minidresses with a leaf appliqué (and shades of Lanvin) that looked impressively un-granola. From there, the collection was by turns aggressive, in little silk dresses topped with beastly goat-hair jackets; modern, in a photo-print floral minidress; ladylike, in a glazed satin trench; and then bohemian, in lovely and breezy ruffled dresses. Glimpses of Sarafpour's original direction were present, too, such as a crinkled plum shift with a trompe l'oeil bow neck—a reminder of what this industry darling can do.
4 February 2008
Can eco-friendly fashion be truly luxurious? That's the question Behnaz Sarafpour attempted to address in her Spring show, which included a capsule collection of limited-edition green looks that made use of organic fabrics and natural dyeing techniques.To her credit, she did her best to chase any granola-and-hemp clichés away from the waffle-weave cotton that she printed with tropical palms and cut into dresses and coats. But their unpolished look indicated that the answer to the above question is: "Maybe not this season." The high-end customer doesn't want to sacrifice elegance in order to literally wear her good deeds on her sleeve.Even beyond the green wares, the collection maintained a fresh-scrubbed, holistic vibe with crispy white cottons; coarsely textured rattans embellished with wood, turquoise, and coral beads; and leaf-print matelassé. Sarafpour ran the gamut with her many dresses but seemed bogged down in vintage silhouettes like the shirtwaist.More imaginative and modern were a pair of ombré pleated tank dresses. If Sarafpour wants to win converts to her cause, she might move more in that direction.
6 September 2007
A suite at the Carlyle hotel was the perfect setting for the party dresses shown by the soon-to-be-married Behnaz Sarafpour. The standouts in the small, mostly black-and-white collection were a narrow, belted sheath of shredded fabric that shaded from ivory into tones of gray and a tulip-yellow full-skirted frock with decorative petals at the hip.
25 June 2007
Behnaz Sarafpour's moody collection left many in the crowd scratching their heads, wondering if they understood exactly what the designer was trying to say. Tough chic? Goth? Minimal? For those aware of Sarafpour's modern medieval inspiration, it could be argued that most looks theoretically pertained to the theme at hand. But abstract concepts can only take clothing so far, and there was little to help square such wildly disparate elements as a gray T-shirt dress with sporty yellow zips, a goth black velvet gown, and a luxurious but ho-hum cashmere trench. Along the way, Sarafpour offered occasional glimpses of why her show is always a draw for starlets and socialites, this season including Aerin Lauder Zinterhofer and Jamee Gregory. A black chemise with lantern sleeves and a neckline embellished with hammered metal, for instance, captured her youthful slant on uptown chic. But it wasn't enough to sustain the sweetness and light that we've come to expect from this young talent.
5 February 2007
After spending part of her summer checking out documentaries about Charles and Ray Eames and mid-century design, Sarafpour sent out a collection of graphic shapes, done in black and white. There were shifts and chemises and also a capelet silhouette that worked best with abbreviated volumes below the waist. When paired with a slightly-too-long pencil skirt and flat shoes, it looked rather ungainly. The designer scored much better with simple shifts bifurcated by large gold zips (her own favorite look). They had a topical Edie zing.The collection was heavy on texture, as in an ostrich-jacket-and-white jeans combination, a liquid Lurex sack dress, and a sheer white shift trimmed at the neck with little flowers. But a paper-light sleeveless dress in silk taffeta, its hems delicately ruffled, was much more subtle—and all the better for it.
11 September 2006
Behnaz Sarafpour has a knack for a little black dress. And the perfect topper. This season, the former came in jersey, cut like a second-skin trench, and the latter in a wool Empire silhouette with a face-framing Pierrot collar. There were other terrific items, too, including a cashmere cardigan overlaid with lace that was worn with Audrey Hepburn-esque tapering pants and flats, a short wool shift with puffed satin sleeves, and a pleated chiffon sheath. What these pieces had in common, right down to the palette of black, white, and heather gray, was their simplicity.Would that Sarafpour had kept things simple. More decorative looks, like a plaid skirt with a lacy flower patched on its front, came across as prissy. Of course, ornamentation can be one of this designer's strong points. A trompe l'oeil bow tie that turned up on a silk top looked just as cute today as it did in her resort and spring collections. But that brings up a point: One would hate to see Sarafpour rest on her laurels. (Or those of other designers, for that matter: Some saw a hint of Lanvin in the velvet hourglass dresses and of vintage Thierry Mugler in the lace-up, stacked-heel boots they were paired with.) Hopefully, after a strong spring season, she is just taking a breather before refocusing her energies.
6 February 2006
Small details that translate into big effects have become Behnaz Sarafpour's stock in trade. For spring, as with her lovely resort collection, that little feature was lace. It appeared as trimming on an orange cloque sheath, as a hand-tatted neckline on a silk shell, and for evening, as a collar that dressed up model Lisa Cant's ribbed tank and tiered evening skirt considerably.But this wasn't a one-note show. Polka-dot georgette and animal-print silk livened up the mostly black-and-white palette. The textured chiffon she called "gingham" in her program notes made a seen-a-million-of-them drawstring blousy top stand out. And tattoo embroidery turned a simple silk tweed dress into something truly special. As for silhouettes, her cropped double-face wool jackets looked a little boxy and big in the puffed shoulders, but she showed the season's most-elegant shorts, in knee-grazing silk. For after dark, she went long and narrow, as is the trend.Sarafpour's followers will remember that last September she showed her collection on the main floor of Tiffany. This time around, she accessorized with chokers, bracelets, and rings from the competition across the street, Van Cleef & Arpels. Perhaps there's a jewelry line in the future for the designer, who clearly knows how to make an outsize statement with the smallest of things.
12 September 2005
"Where were the coats?" an editor asked as Behnaz Sarafpour's audience filed out of Splashlight Studios on, as fate would have it, a balmy afternoon. It's hot in the desert, which flashed by on a video projection at the end of the runway, but not in New York, not in the winter—the season for which the CFDA/VogueFashion Fund finalist was ostensibly designing.Sarafpour's Arabian sojourn did encompass a few good-looking coats, including a shearling, an exploded houndstooth, and a black style (which would have been stronger minus the white furniture tassels), but on the whole, the collection failed to hit its mark. There were smart cloqué jackets and on-the-money full skirts (some with coin embellishments in keeping with the Bedouin theme), but pants—the kind working women can wear to the office—were also missing. The designer's cropped versions, cutely paired with the babouches models wore on their feet, were skewed a little young.Party time, however, was a different story. One black velvet dress with satin straps was exquisitely hand painted, and the show ended on a high note, with a metallic blue ombré one-shoulder coin gown.
8 February 2005
Holding a runway presentation on the main floor of Tiffany, early on a Sunday morning, invites a certain obvious comparison. So, Behnaz, was there a Holly Golightly spirit hovering above your spring collection? "Honestly, I thought that might be a bit hokey," the designer said backstage after her lovely show. "But I think a lot of people can relate to the idea of moving to New York, and creating a life here."With any luck, that life will include something from this collection. Sarafpour, a Vogue/CFDA Initiative finalist, merged her clean American-sportswear sensibility with fabrics that ranged from the obvious (crisp cotton shirtings) to the exotic (beautiful kimono brocades imported from Kyoto). She put her own stamp on pieces like princess-seam dresses and tailored jackets, by keeping them close to the body but never restrictively so, and she showed some of the season's prettiest full skirts, in lightweight, tie-dyed cotton. And, thanks to her sponsor, it was all accessorized with glints of Tiffany jewelry.For evening, Sarafpour made a leap into red-carpet land with stunning black jersey column dresses trimmed with spangly gold paillettes. And as for that ghost of Golightly—Sarafpour summoned her via an impressive trench that came out in white, coral, and gleaming silver versions. The pattern, she said, was copied directly from the movie. "My trench has been one of my best sellers since I started three years ago. This year, I did it as a kind of ode to Tiffany."
11 September 2004
Behnaz Sarafpour knows how to set a mood with music. The soundtrack to her brief, sweet fall collection consisted solely of the Jesus and Mary Chain’sJust Like Honey, a hazy, romantic song that’s become inextricably linked to that last scene inLost in Translation, where Bill Murray murmurs wistfully (and inaudibly) in the ear of Scarlett Johansson.Sarafpour seemed in a bittersweet mood herself, having shaken off spring’s aggressive, patent-leather moment. She looked back to the innocence and femininity of the fifties with sunburst pleated skirts, crisp white shirts, and candy-colored cardigans delicately trimmed with ribbon and rosettes. The wide bateau neck on a lovely tweed dress gave the wearer an Audrey Hepburn grace, while a sturdy black wool trench or a brown tweed skirt with a fishtail hem evoked one of those mysterious, vulnerable, and ever-so-chic Hitchcock blondes. When it came to nighttime, however, Sarafpour snapped right back into the present, with slinky satin dresses held together by fragile lace butterflies and sparkly rhinestone collars dropped over T-shirts and satin dresses—very of the moment, and no translation required.
11 February 2004
For Spring 2004, Behnaz Sarafpour jettisoned the sotto voce sweetness of her ladylike Fall line and replaced it with an aggressively sexy stance—a change in direction so dramatic, it might provoke a few cases of fashion whiplash.The opening look set the tone: Karolina Kurkova striding out in high heels, a tight topknot, and a short, snug, strapless black dress made from rib knit and patent leather. Sarafpour followed with more of the same, featuring pencil skirts with patent panels; skintight pants; and black blouson jackets cut to hit just below the ribs, all layered over knit tops. She wrapped satin bustiers over dresses and rib-knit tanks, and made short trench coats from slick white or black patent.This designer has a witty sense of proportion, which showed up in pieces like the black satin camisole with a loose, loopy bow; the tiny boleros encrusted with big sequins; and the cheerfully chic, oversize gingham taffeta blouses. But when a lovely, body-skimming pink satin dress appeared on the runway, it seemed to have wandered in from a different collection entirely.
17 September 2003
Behnaz Sarafpour’s fall show was full of self-conscious references—to everything from sewing patterns to dressmaking dummies—that only a fashion insider could recognize. But even the most casual observer will appreciate the collection’s subtle charm and clean cuts.Sarafpour sent out elegant little dresses and jackets whose brass zippers were intentionally left uncovered as decoration, and a camel coat with the darts and shoulder pads picked out in black. She also picked up on the retro trend flowing through this season, exploring a late-’50s feel via coats and jackets with three-quarter sleeves worn over slim skirts or toreador pants. This is a designer with a witty sense of scale—and who knows when to use it. Last season, for example, she played with exploding sunburst tie-dye; this time, it was fox-fur collars the size of kiddie pools and lacy sweaters crocheted in extra-bulky ivory yarn.The gold brocade the designer used for a few skirts and tops has shown up on too many other runways to look new, but Sarafpour’s disciplined cutting made it simple and appealing. And if some of her pieces were a little overworked—like a tulle ball skirt topped by a beige horsehair bodice—the collection as a whole had an appealing sense of gentle, intelligent experimentation.
10 February 2003
After her fall show, with its simple materials, pared-down shapes and erudite poetic references, Behnaz Sarafpour could easily have been labeled an egghead designer. But her expanded spring collection showed she's not looking to spend her Saturday nights in the library.Yes, Sarafpour has an intellectual bent, demonstrated this time by a group of distinctly Japanese, crisp black-and-white wool minidresses that wrapped and tied intriguingly. But she also demonstrated a playful side, via canvas jeans, dresses and miniskirts hand-painted with chromatic bursts of color, and gold chain-link vests worn over washed silk separates (shades of Paco Rabanne). A couple of smartly cut canvas pieces with generous patch pockets traced their American sportswear heritage directly back to Bonnie Cashin.She may not be a bookworm, but Sarafpour has clearly taken one famous motto to heart. With a mere 25 looks, her finely edited show left the smiling audience convinced that brevity is indeed the soul of wit.
16 September 2002
Behnaz Sarafpour's Fall show—her first on a runway—could literally be described as poetic. Having immersed herself in Byron, Herman Melville, A. E. Housman and Emily Dickinson for inspiration, the designer embroidered lines from each of these poets in gold thread on several of her pieces.Sarafpour used fabrics that ranged from rich velvets to crisp cotton canvas to light-as-air georgette, and divided her show into daytime and evening looks. Unlike many designers who think their customers undergo a personality change when the sun goes down, Sarafpour's woman starts and ends her day with a sense of easy romance. The varied palette included black, navy, white, pink, plum, gray and lilac, and the silhouette was long but not skintight; Sarafpour's georgette evening dresses skimmed the body like slips. Strong tailoring was also in evidence, exemplified by a snappy blue alpaca trench worn over a black georgette blouse and low-slung velvet pants. Sweet bits of girlishness were added to several looks with streaming ribbons, subtle metal fringe or the odd floral patchwork pocket.In short, this beautifully edited show (14 looks in all) was brief as a haiku and light as an Elizabethan sonnet.
13 February 2002
In an age when designers routinely shoot to fame by way of hype and self-promotion, Behnaz Sarafpour is counting on her solid training and precise eye to put her a step above the competition. At 31, Sarafpour has worked with Narciso Rodriguez, Richard Tyler and, most notably, Isaac Mizrahi; as if this weren';t enough, she also designs Barneys New York's private label."My debut collection is about a new, modern take on black-tie dressing" she says."For example, I took the classic satin strip of men's tuxedo trousers and reworked it into a rose-puff bolero shrug." Other highlights include a dashing cashmere top paired with white sailor pants and a sexy one-sleeve cocktail dress that was painstakingly hand-beaded.Whether it's a simple cotton crepe camisole, a stretch lace shirt or a sharp, masculine suit, Sarafpour invariably turns out modern, sophisticated clothes that already seem destined to withstand the test of time.
24 April 2001