Lines, lines, lines. On the most popular night of Portland Fashion Week so far, we waited 20 minutes just to park. There was a queue so deep and at a stand-still so long that some VIP ticket holders just gave up and left. Making my way to the table to check in required a few vicious elbows and strategic pushes. It was worse than the crush of people at a sold out concert.
No one would mistake me for a demanding diva, but c’mon, get it together folks! I just read the “official” PFW blog to find out that their “internal” writer was ushered around the line of cars, escorted through the throngs, and seated early. Well, it’s nice to know that nepotism is alive and well. But wouldn’t it make sense to extend the same courtesy to the boutique owners/buyers and outside media who can most directly contribute to the success of the event? I saw so many shop owners and reporters (TV, newspaper, web, you name it) there last night, all of whom were complaining about the situation (“clusterf--k” was one of the nicer descriptions I heard). It’s great that so many people came out that there was barely standing room left, but having a system to deal with the crowd would make the whole event more enjoyable, not to mention professional.
No one wears crankiness well, but the crowd was as done up as usual. At least people watching helps pass the hour plus wait more quickly (you can pretty much count on a 9 p.m. start time). My pick of the night: a modern Spanish disco ensemble of a black Mason tunic minidress over black lace Wolford tights and black suede ankle-wrap heels, topped off with a vintage rabbit fur cropped jacket from Red Light. Trust me, it worked!
On the runway, dresses were the overwhelming look of the night, starting with Michelle DeCourcy’s return with a new line, La Vie. Portland-native DeCourcy has been designing since 2000 and became known for her dresses and gowns, some of which were worn by celebs on Hollywood red carpets. But in 2006, she was diagnosed with a rare form of leukemia, closed her Pearl District shop, and directed her energy to fighting the disease—a success that she celebrated by taking an 18-month hiatus from work to focus on her health and family. “La Vie” is an apt name, then, for the cancer survivor who is now resuming her life as a designer.
She says that the line reflects her own simple design philosophy and relaxed attitude toward fashion—that pieces should be easy and playful, and yes, affordable (nothing is over $150). To that end we saw both a subdued palette of white and ice blue and bright pops of fuschia and teal. The latter’s breezy separates—a pointelle band-waist sweater, wide leg pants, silk tank (with a racerback, something I’ve seen a lot of this week)—were a bit plain on the runway, but they would be staples you’d wear again and again.
When the basics were embellished with details like swooping drapes and layered flaps, the less-is-more approach was more successful: the rippling neckline of the white babydoll was more seamless than the satin bunched on the front of the navy minidress, and the Grecian folds of the white dress created flattering movement instead of adding bulk like the awkward apron of the pale yellow number.
The second half of the La Vie collection got a little louder with slinky satin and bright colors. I’m not so sure about the shiny shorts and jodhpurs (they remind me of the early-‘00 satin cargo pants trend), but the more structured tops were interesting (exposed zipper, drop hem) and flattering (a deep-v of ruffles adds curves in all the right places) at the same time—they couldn’t be called cookie-cutter, but were also completely wearable dressed up or down.
And though the fluffy chiffon outfits were a mess, the sleek, modern sheaths made up for it, perfect for a hot date (the black version of the hot pink dress has a fuscia zipper up the back begging for attention!). As a whole it was an uneven line, with too many bland or heavy-handed pieces to ignore, but since I’m rooting for PDX darling DeCourcy, let’s get some of those basics into stores so we can shop local instead of Old Navy. Plus, I really want to try on that black dress!
Seattle designer Jesica Milton was a nice follow-up with her modern romantic creations. Milton recently won Seattle magazine’s “Most Cohesive” collection award for her fall ruffle-inspired looks, and I can see why. Looking forward to spring, she worked in an entirely black-and-white palette going for, in her words, a “borrowed-from-your-boyfriend” feel. That was certainly evident in the boxy interpretations of the basic white oxford, though I wasn’t such a fan of the awkward lace panels and cutouts. Instead, I loved the one shoulder sillouettes (in both a top and dress), pleated and cuffed cigarette pants (‘80s Audrey Hepburn), and a finale dress that featured the tie-dye-meets-vascular print that ran through the collection, with a black lace overlay and top-to-bottom center zipper. All those elements could have been too much, but they were amazingly, well, cohesive. It was Suddenly Seeking Susan-era Madonna updated for 2010.
WyattOrr showed next, a line from design duo Liise Wyatt and Karly Orr, also based in Seattle (and another Seattle magazine award winner). A few shapeless men’s coats starting things off, but they really hit their stride with some of the womenswear, ranging from an army green, faintly-Cossack jacket softened with puffed shoulders and curved hem, to the pretty and feisty space-age dresses. It wasn’t all great—a peach and white chiffon number looked like it belonged in a Florida retirement community rather than a Fifth Element future. But how lovely is that fade-to-dark gray ruching, sassy with chartreuse lining—then turned naughty with a backless cut that threatens to show more than meets the eye?
The night wrapped up with showings from two local designers, both with boutiques in Nob Hill. (Wow, three Portland pros in one night? That’s the most we’ll see at once during all of Portland Fashion Week…). Modi Soondarotok’s Idom (both the label and store) is known for world-class style innovation and impeccable details—not surprising considering Soondarotok’s international roots and NYC experience at designers like Peter Som and Donna Karan—and both were on display Friday night. It’s hard to say what the common denominator was, aside from the very professional construction and consistent fashion-forward designs; instead there were several mini-themes that ran throughout the collection. The first two looks literally took my breath away. In addition to the graphic energy piping through those white swirls, both the jumpsuit and the dress featured unexpected cuts that enhanced the movement of the heavy black fabric and set them apart from the typical sillouettes—wide legs cropped at the ankle and a slightly winged skirt.
A series of floaty dresses gathered into fabric shoulder corsages offered something a little more delicate, while a couple very different angular necklines highlighted beautiful collarbones. I imagined a mid-century factory worker getting so overheated that she ripped open the prim top of her shirtdress—offhandedly sexy.
More flattering updates on retro looks included an early ‘60s gold cocktail dress simply embellished with a feathery skirt and a salmon caftan that belonged poolside under the scorching Palm Springs sun. A few bottom-heavy dresses were less successful, but could it be because they were hanging off models too skinny to pull them off? The collection was certainly scattered, but with enough hits, I’ll be visiting Idom very soon.
Similarly, Allison Covington’s new Amai Unmei offerings were widely varied, but with a less striking result. It seemed that printed fabrics were often the only thing unifying the collection—but the choices were safe and dated. The dress shapes couldn’t save a mod graphic that looked better suited for a tablecloth on the Friends set in 1995 (and speaking of tablecloths, the later lace dresses could have been literally made from my great-grandma’s old linens), while the slightly ethnic black-and-white print would have been more interesting if it was less symmetrical—though the black edging, obi belt, and U-shaped cutaways turned it into a nice Tory Burch-esque sleeveless tunic. And the sheer black blouse was simply beautiful.
I was confused by a few random ensembles that came out of left field—how did a hippie linen maxi embroidered with flowers you’d find on some cheesy stationery and a black-and-white bolero skirt suit came from the same designer?
Covington’s use of color-blocking was also hit-or-miss—stunning in two pieces on a tank dress, but crowding the bust on another. Ultimately, the purple kimono and sweeping black bubble—my two favorite looks—were, yes, very different, but won me over with flirty fits mixed with eye-catching closures
It’s too bad that the night featuring the most Portland designers was such an aggravating ordeal, but the production aside (a critique of which deserves its own article), I suppose that the bursting-at-the-seams crowd shows a fierce local support for our own. And of course, I absolutely want to support these women who have created successful businesses out of their creative vision. But after watching the Seattle designers, who integrated a defined aesthetic and strong concept into their collections, the Portland offerings seemed more haphazard. Designers who have a signature style that they can communicate clearly through innovative looks find a place on the global runway. Is Michelle DeCourcy sweet or sleek? Is Amai Unmei retro or modern? Idom was the most consistently awesome, but with so many diverse looks, what is her specific message in the larger fashion conversation? Portland isn’t short on an anything-goes acceptance of individual style, but what we need more of is discipline to graduate to the next level.
How did Saturday fare, with its action-packed bike-themed matinee and the night’s celebration of Jantzen swimwear, Portland’s old guard? Stay tuned…
Tonight’s finale features a showcase of sustainable designers, a trend I hope becomes the norm in the coming years. Anna Cohen is one of our strongest local designers, who has found a place in the international fashion scene by showing that sophisticated design and eco-friendly practices are not mutually exclusive. Her new Imperial Collection is a “ranch to runway” line using fibers from the historic Imperial Stock Ranch in Central Oregon. This will surely be the high point of Portland Fashion Week.
Portland Fashion Week
October 7–11, 2009
Vigor Industrial Shipyard, Bldg. 10
5555 N. Channel Ave.
Portland, OR 97217
www.portlandfashionweek.net
Doors open at 6 p.m., seating for shows at 8 p.m.
Tickets are $20 in advance, $25 at the door (other packages available)
Full schedule here!
827 NW 23rd Ave.
Portland, OR 97210
503.477.6818
www.idomdesigns.com
2275 NW Johnson Street
Portland, OR 97210
503.234.3020
www.amaiunmei.com
Related Links
Portland Fashion Week: Day 1
Portland Fashion Week: Day 2
View the slideshow for more images of Portland Fashion Week or visit our Flickr gallery:
Beautiful pieces from idom!!!
The official PFW blogger speaks very highly of herself ... even going as far as saying something like "people give me compliments on my writing skills." I honestly think she'd benefit from using more commas. And the first paragraph of every post talks mostly about ... her? Just an overall observation, not trying to hate on anybody here. :)
Well, I wasn't going to say anything, but....I'm glad I'm not the only one who thinks that! I would also suggest more active syntax and consistent use of tenses, but that's just my humble opinion. Yet another part of PFW that could be polished up?
p.s. Sorry for the delay on the last two days - traveling makes it hard to get back in the groove. But you can spend your Friday reading three, count 'em, THREE new reviews!