Spring Break
Baltimore Struts Its Stuff
Issue date: 9/20/07
Thrift Store Thieves' contribution to the sustainable show was either a swimwear line or a wardrobe for global warming. Their take on the future of sustainable fashion, a series of ripped t-shirts and strings, covered the bare minimum. Many of the models sported more body paint than actual clothes and "jigged" rather than strutted down the runway. Their show had more nip-slips than a night with Paris Hilton, with ample tan lines and pubic hair accents for the men's line.
Bringing an end to the Sustainable Fashion show was "Made in Able." The line, the most ready-to-wear of the bunch, was a compilation of street-wear fashions. Sleeveless hoodies paired with striped shirts and shorts seemed more L.A. than Baltimore, but it reflected the traditionally spring lineup of fall fashion weeks. The runway theatrics matched the energy level to the spirit of the clothes. My favorite look was a simple jean skirt and a T-shirt paired with a studded bandana, very urban-street-thug-moves-to-the-suburbs. Fashion Week, already having finished its Thursday show, hadn't yet lost any steam.
On Friday, storm clouds drove the hotly-anticipated outdoor Couture show inside the Metro Gallery.
Like any good fashion show it started late. Nicolette LeFaye's designs were first in an amazing display of costume creation. One look was a blue velour empire waist gown, the model adorned with what seemed to be a gold tree on her head. At one point a man stumbled onstage, visibly uncomfortable in heels, wearing a delicate wedding dress which lay in stark opposition to the stiff mohawk spilling over his forehead. One gown, a black and gold lace piece that left little to the imagination, was nigh red-carpet worthy and harkened back to an era where pin-up pictures were the epitome of coy sex appeal.
Tita Rudledge's designs weren't couture in the "fantastical dress" sense. Rather they were more in the '20s era flapper style and were painstakingly hand-beaded, a requirement for couture. What heroin-chic was to the '90s opiate-chic was for Rudledge's line. Models with lopsided tiaras sauntered down the runway with beaded tassels swaying. One dress, a peach gown with spaghetti-straps, stood out above the rest, detailed with intricate beading that glittered blindingly under the spotlights. Some looks seemed unfinished, but it was a coherent enough line to be marked in memory as something more wearable than couture.
Bringing an end to the Sustainable Fashion show was "Made in Able." The line, the most ready-to-wear of the bunch, was a compilation of street-wear fashions. Sleeveless hoodies paired with striped shirts and shorts seemed more L.A. than Baltimore, but it reflected the traditionally spring lineup of fall fashion weeks. The runway theatrics matched the energy level to the spirit of the clothes. My favorite look was a simple jean skirt and a T-shirt paired with a studded bandana, very urban-street-thug-moves-to-the-suburbs. Fashion Week, already having finished its Thursday show, hadn't yet lost any steam.
On Friday, storm clouds drove the hotly-anticipated outdoor Couture show inside the Metro Gallery.
Like any good fashion show it started late. Nicolette LeFaye's designs were first in an amazing display of costume creation. One look was a blue velour empire waist gown, the model adorned with what seemed to be a gold tree on her head. At one point a man stumbled onstage, visibly uncomfortable in heels, wearing a delicate wedding dress which lay in stark opposition to the stiff mohawk spilling over his forehead. One gown, a black and gold lace piece that left little to the imagination, was nigh red-carpet worthy and harkened back to an era where pin-up pictures were the epitome of coy sex appeal.
Tita Rudledge's designs weren't couture in the "fantastical dress" sense. Rather they were more in the '20s era flapper style and were painstakingly hand-beaded, a requirement for couture. What heroin-chic was to the '90s opiate-chic was for Rudledge's line. Models with lopsided tiaras sauntered down the runway with beaded tassels swaying. One dress, a peach gown with spaghetti-straps, stood out above the rest, detailed with intricate beading that glittered blindingly under the spotlights. Some looks seemed unfinished, but it was a coherent enough line to be marked in memory as something more wearable than couture.
Be the first to comment on this story