About last night. It’s overwhelming sometimes in multi-designer fashion shows with a zillion looks to make sense of it all, but that’s nothing…last night’s Evolution fashion show, the Art Institute’s annual scholarship benefit, featured work by more than 40 (we stopped counting) designers including students, senior collections, alumni, and staff!
If you close your eyes and squint, going for the 10,000 foot view, you’d see shots of yellow, lots of grey, plenty of suspenders and faux-spenders, cutouts turning up everywhere from head to hem, more tulle than you’d expect. Is there something in the water? Maybe.
So what stands out from the roiling crowds?
Adam Andreas pushed further than any other designer with directional looks for men that both appropriated tactics found in womenswear (like 3/4 sleeve jackets and interesting layering) and created shapes that menswear just doesn’t see and are hard to describe…jackets and vests that don’t meet in the front but are closed with oversized tabs, for example, or a wrapped coat cutaway in front. It was so exciting to see Andreas’ cowl neck sheer vests worn over shirt and tie–yes, give American men something new. Meanwhile, he cut beautiful slim slacks and gave menswear the kind of interesting detail–buttons that looked like stones–it usually doesnt’ see. We weren’t within touching distance of these pieces, but from where we viewed, their construction was incredible. Ideas with a capital “I” plus execution? He’s our man. If only we were in London with headless houses or independent backers circling around to pick up new talent. The fact that he called the collection Geology and cited Kasimir Malevich as an inspiration only endeared him to us more…we love rocks almost as much as we love Constructivism.
Brady Lange showed the most complete and well-conceived collection with lots of layering and innovative pieces like a low-draping jersey halter (which after it had appeared a couple of times on the runway, made a surprise appearance over one shoulder, yeah!), topless dresses (essentially very high waisted skirts) worn over woven bandeau or strapless tops maybe even with a halter thrown over it, and more. For women who love to layer, and it’s practically an epidemic, Lange gave new options all with the foundation of the woven play clothes–bikini, highwaist short short, strapless romper he sent out at the end. Most interestingly, Lange’s collection was the kind of clear and thorough working out of a number of ideas it’s so exciting to see.
The AI was right in throwing a little PR muscle behind the work of Erin Glanz whose color and fabric choices (fabrics confounded many other designer’s otherwise good work) and finish work were as exceptional as her designs of party dresses in a heavy satin with a colorblocked in surprising combinations of wine, pink red that she said were inspired by lipsticks. She sent out all her models in brown bobbed wigs which worked well with the mod overtones of the work. Loved her architectural lines, innovative giant pockets in a party dress, and a cool cross between a poncho and a little capelet.
It was good to see Jasmine Zamora’s extraordinary knits on the runway, and her wrapped grey pants (kind of early 80s avant-Japanese) were especially interesting in motion.
Menswear looked great this year. Often the students focus on womenswear, but this year some of the best work was for men. Beginning with AI alumni Andrew Van Zanten, who now designs for Sameunderneath, through Tim Gahr’s (when do men ever get waistband’s with geometric stitching detail? excellent) and Daniela Tarasut’s polished casual looks, there were great options for men. Most interesting, though, was Brea Day’s collection, pieces of which felt especially contemporary (excepting the stripey coat which veered into costume) even though she was inspired by Clockwork Orange and Edwardianisms. Her super straight black pants with four side buttons at the hem (and even the buckle-cuff cropped pants) were particularly good.
And mens looks carried over into womenswear in numerous ways, including the aforementioned vests and suspenders. Best example Alexis Buck’s collection with double-layered, or back cutout vests, trompe l’oeil suspenders…if only she had pushed beyond the low-waist to the future of the trouser. Still and all, like Lange, Buck took several ideas and worked them out. Also good was Kehle Schmeller’s collection giving women the option to dress like a sea captain (high waist button flap front pants, double breasted ivory coat) or his lover, who wore some killer button-up-the-side over-the-knee leggings with her filmy empire waist dress.
We have no love for the ubiquitous hoodie (except on a foggy morning), but there were a few great hooded pieces including Maria O’Connor’s hooded black backless mini-dress, and Elizabeth Buss’ red hooded jersey pullover with side cutouts and her hooded assymetrical red wool coat.
Lest you think it was all on the straight and narrow, there were Blessed Virgin Mary appliques, half-naked wood nymphs, tutu underskirts, prom and mother-of-the-bride dresses, and some dresses in a fabric for a Stars on the Ice version of Finding Nemo.
Finally, the littlest models (one in particular, a beautiful little brunette who was just a little to bashful to do the runway…like the Winnie the Pooh of models) got a workout with a number of designers doing sweet children’s looks, especially good were those from Sandra Mackey and Rebecca Hatton.
Missing in action were R. David Rafn, who took home a scholarship award, but didn’t show his collection, Valerie Mathus, and Josh Buck. All worth watching. We can’t wait to see what they’re up to.
–Radon
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