Yes, I know. Obnoxious title. Well, I would argue the same for this collection. Billed as "modern" and "couture" it is for me another long winded line up of his expected fare; a raid on the Oscar de la Renta oldies collection you can buy at a Palm Beach resale shop mixed with items that scream modern like anoraks, shorts and gladiator shoes. The sleeveless, peter pan-collared blouses, pencil skirts, beaded tops over tiered evening skirts and gowns with short lengths in front and trailing behind are all shapes we've come to associate with O de la R. Even the little ostrich feathered cocktails he keeps hauling out season after season are still vain attempts at the originals. I would imagine that his copious use of peplums on jackets and cocktail dresses is his ode to the couture. What I see in this collection and in many collections by "young designers" is this idea that covers are the new originals. It appears that Wu has bought into the murmurings in the past that he is the heir to Oscar's business, the next Bill Blass, the Carolina Herrera of tomorrow. If that were the case, it should act as inspiration to work hard, create an identity (his own) and become worthy of that honor. Not to sit back and copy every line of a handful of tepid shapes over and over again until you start to believe they're your own ideas. The press encourages this sort of stunted growth. It takes much more than tricky runways in gilded hotel salons to make good clothes. The St. Regis should be spanked for making him their style ambassador world wide. What has happened? His program notes indicate his collaboration with a hot shot graffiti artist who came up with his falling leaves motif and another meeting of the minds with Tom Binns for jewelry. If the product of those collaborations is any sort of indication of the fireworks to come, the St. Regis needs to think about what sort of image they want to project: a 5 star luxury hotel or a Days Inn.