photo: Pete Springer
Margaret Cam floored us. Put two fashion writers at a show with over 170 looks from 60 designers and you’re going to have disagreement. We arm wrestled over felted wool and Native American notes, but we were in enthusiastic agreement on the senior collection by Margaret Cam at the Art Institute of Portland’s annual fashion show last night at the Kridel Grand Ballroom at the Portland Art Museum.
design: Margaret Cam. photo: Jaycob DesRosiers
Cam’s colorblocked jersey dresses in a navy, purple, brown palette were topped with sculptural, minimalist strappy or cutaway vests in ivory wool some of which reminded us of climbing or maybe parachuting harnesses. The vests were brilliant, creating varying shapes with the muted color fields of the dresses beneath as the models walked down the runway. And on one dress, the model spilled out the long lavender sleeve ends that had been bunched around her writsts almost to the floor. Plus any designer who calls out Russian avant-gardist El Lissitzky as an inspiration is On. We’re going to be hearing more from and about Cam.
design: Carly Lofting. photo: Pete Springer
Another strong collection was that of Carly Lofting who somehow managed to marry mod, Americana, menswear (are you following this?) AND a nautical bent into a coherent collection with several killer looks like her mod pants and banded-hem mini-dress in a massive ivory and white check. She also takes the prize for most inventive use of a fabric, the regimental striped dress matched the tie of the man sitting behind us in the audience.
We understood from another senior designer that Todd Templeman, in conceptual/refusenik fashion would send out four models in the same set of garments mixed in various ways. They were drapey jerseys with piped edges, the generously hooded jacket worn on head, off and tied around the waist was a key piece. Tube skirt, wrappy belt, like the die in a Boggle game where all the players use the same letters to form myriad words, the models were style in unique piled-on or hanging off ways that would work well on the street knowing, directional, and ultimately fodder and encouragement for an individual statement with a big nod to Genevieve Dellinger’s most recent collection (see it at Denwave).
design: Bini Bloodsworth. photo: Pete Springer
We liked Bini Bloodsworth’s tweed jumpsuit over the black puff-sleeve blouse and pieced pants (coincidentally echoing Eley Kishimoto’s long chevroned socks for fall) as did the judges of the evening: designer Adam Arnold, designer Anna Cohen, retailer Jo Carter of Physical Element, and designer Amy Christensen of Sameunderneath.
design: Stephanie Ricker. photo: Jaycob DesRosiers
Recognized rightfully by the judges as well was Stephanie Ricker’s tight (in the sense of fit, conception, and the slang usage of the word which shakes out something like “awesome”) denim collection with skinny, low-waisted jeans and banded bottom burmuda shorts shown with form fitting (some princess-seamed) vests, and one peplumed jacket with a mandarin collar, all with contrasting stitching.
And closing in traditional fashion show fashion, we have to give a nod to Kelsey Stockey who took vintage linens trimmed in handmade lace and applique (her mum’s exquisite placemats) and transformed them into clean, unfussy and eloquently trimmed bridal looks. Stockey herself turned up last night in a killer little ivory A-line tank dress that had us asking whether she would focus on bridal exclusively…because if not, we’re standing in line.
The seniors had had most of the year to design and construct their collections. So it means something that several of the undergraduate designers at Sunday’s Art Institute fashion show at the Portland Art Museum more than kept pace with their senior peers. David Raffin was among the best in either part of the show. He showed a cohesive collection of menswear which was as memorable as it was well put together. A tan sweatshirt/trenchcoat jacket cut short at the waist. Skinny acid-washed denim and flowing cotton genie pants; Melted clothes in a loud cotton candy pastel palette with influences from punk to rave, Raffin’s line showed a fine eye for detail while also elaborating one heck of a vision.
Another highlight of the undergraduate section was a finely layered raincoat by Valerie Mathis. Evelyn Bennett was no slouch either, topping as she did a simple but striking deep green and orange print floorlength dress with small explosion of a hat inspired by a Bird of Paradise.
All of the previous designs were recognized at the end of the evening for their workmanship and innovation, but there were several other designs which bear mentioning.
Following the melted menswear and in the same spirit was a quilted synthetic spacesuit skirt and puffy jacket in grey nylon with blue trim and a playful loopiness in the quilting which in no way detracted from the precision of the execution. Another tightly constructed look was a 70s inspired dress in cream satin with a razor sharp looking band of pleats jutting upward from the natural waist.
We’d love to tell you who did the three print dresses on light white cotton, a silhouetted leaf-print sundress pleated into a geometric wonder, a smooth resort-ready 3/4 sleeve block-leaf-print in chocolate milk, and the last in a silhouetted print of Queen Anne’s lace. They were crisp, modern, and right.
Jackets were the standouts of the night from Emily Wygants trim cape to Jan McIntyre’s shawl collars and Andrew Van Zanten’s ivory quilted jacket for men.
So while the seniors took the night, with room to flex, it was clear that the Art Institute will bear watching in years to come.
Is a picture worth a thousand words? You bet. Tune in tomorrow for photos of the many and varied* looks of the night.
– Will Levin and Lisa Radon
“Grace to be born and live as variously as possible” — Frank O’Hara
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