De la Renta unveiled a line lathered in luxury, from trousers of rich suede to capes of thick cashmere and ballroom gowns of brilliant brocade.

He showed his timeless knee-length coats in brown boucle with a fringed hem or in burgundy cashmere with a sable collar, and trim suits in black wool boucle or cognac-hued silk and wool decorated with delicate leather embroidery.

A sophisticated selection of knee-length cocktail dresses featured deeply cut, off-the-shoulder necklines in luscious black, red or brown silk brocade, accented with diamonds at the neck or waist.

For evening wear, arguably de la Renta's forte, the designer showed women's tuxedos in black silk velvet or gray cashmere flannel, graceful high-necked jackets and airy strapless ankle-length frocks with fitted bodices and full skirts built tier upon tier in taffeta ruffles.

The most showy gowns were re-embroidered silk brocade in prints of red, gold and blue, with full, ballroom skirts, while the sleekest and sexiest was a straight, strapless brown velvet gown, worn under a cream persian lamb trench coat, that evoked glamorous memories of an era gone by.

The glamorous influence of Hollywood in the 1950s imbued Herrera's clothes, especially her pairing of shimmering, wide-lapeled satin blouses with thin, high-waisted wool skirts and her fitted suits in brown and beige houndstooth or pearl gray herringbone flannel, with knee-length skirts and front kick pleats.

Herrera also twinned sedate printed straight skirts with supple leather jackets in burgundy and butterscotch.

Her tones were rich but muted, especially a satin of Prussian blue, while she added brilliance to chic black evening gowns with splashes of fuchsia insets or beadwork.

Her evening looks were sophisticated, mostly satin, velvet and chiffon gowns in understated tones of glistening platinum and shining black, with princess-like full skirts dripping with tiers of beads, chiffon folds and satin ribbons.

(Agencies March 3, 2003)