Last year, the Mercury held its third annual spring
fashion show. Unlike the previous two years, in which we stayed
basically true to a traditional runway event, with local designers or
independent boutiques presenting a series of looks on moving models, we
thought the format needed some shaking up.
The sudden prevalence of runway shows in town meant that it would be
difficult to go the traditional route without being repetitive. Also,
as someone who attends 95 percent of said local runway shows, I was
tired of the speedy glimpse one gets on the runway as a model swishes
past. One has time to register the overall look, but the best pieces
are those you want to see still and up close, to appreciate the detail
and answer the questions raised by your fleeting impressions. Likewise,
I felt that some of our most talented local designers were working in
the realm of accessory design, and that it is even harder to notice the
care with which these are assembled as they march on by on the
runway.
What resulted from these thoughts was “Installations,” a show
that gave designers the chance to showcase their product, their
creative and technical process, and their inspiration not only in a
standard runway stroll, but in a static installation: Each designer was
given a square of real estate on the floor of the Wonder Ballroom to
exhibit their work as they saw fit. Jewelry and shoes could be shown as
their own entity, not required to piggyback someone else’s apparel
design. This gave the audience a chance to mill through a temporary
exhibit that featured such varied interpretations as a pillowy cloud
room filled with balloon-toting models who would occasionally let loose
with a banshee cry before pouring out into the audience (Diana
Lang’s Open Clothed); dresses imprisoned in a gilded cage with
attendant butterflies (Gretchen Jones); a live model seated on a
high ladder with her huge skirt falling to the floor around her
(Julia Barbee’s Frocky Jack Morgan); or a literal shoe tree
whose components were in various states of completion (Donovan
Skirvin’s Ese Carnal). This culminated in a runway show of one more
look from each designer’s line, with the models weaving in and out of
the audience before perching on raised platforms, with the intention of
giving everyone in the audience a good look.
The show’s participants were selected by a panel of judges, and at
the event both the judges’ and people’s choice designers were awarded
with full-page coverage in the Mercury, in addition to all of
the designers being profiled in the spring fashion issue that coincides
with the event. This year, the panel sees returning judges Adam
Arnold and Holly Stalder, as well as last year’s judges’ and
people’s choice designers Leanne Marshall (of Leanimal)
and Julia Barbee (of Frocky Jack Morgan), and myself.
I’d like to put the call out to all local designers—even those
who participated last year—to submit portfolios to this year’s
panel. What we’d like to see is a short bio/statement of purpose, as
well as photographs, material samples, and anything else that helps
illuminate what your final project is and how you arrive at that
result—be creative. Drawings are wonderful, but should be
accompanied by a photographed example of finished work. Mail in your
portfolios to the Portland Mercury, c/o Marjorie Skinner, 605 NE
21st, Ste. 200, Portland, OR, 97232. Or email them to marjorie@portlandmercury.com.
Deadline is the end of February!
Once the panel of judges has selected designers to participate,
you’ll be asked to supply one model in one look to be photographed for
the spring fashion issue, attend a rehearsal (or two), and show up the
day of the event ready to set up your installation and show Portland
what you can do. Remember, the show is not limited to apparel
designers, and jewelry, bag, shoe, and accessory designers of all
kinds are encouraged to participate—it’s your chance to see your
work stand alone in a fashion show environment.
Being introduced to and giving exposure to burgeoning designers, as
well as debuting new inroads for people already prominent in the local
industry is what makes this exercise worth repeating. Here’s to the
excitement in seeing what Portland’s design landscape will yield in
2008.
Questions? marjorie@portlandmercury.com