Charleston Fashion Week concluded Saturday with the presentation of the three Emerging Designer finalists' collections. It was the undisputed highlight of the week, which is saying a lot after Tuesday’s auspicious start.
First up was Russian transplant Alena Fede, who explained to the audience in her pre recorded video clip that she strove to create a unique collection with a big city feel. The show was an edgy mix of whips and pearls. Angry looking models with dramatic, smoky eyes took to the runway with hair pulling shrieks and whip tossing turns. Standout pieces included two early looks – a sideless top with a high-waisted skirt and a plunging neckline halter dress. These feminine frocks were infused with a dark and unexpected eroticism that artfully opposed the soft ruffles and delicate fabric. The show quickly turned towards an overt bondage theme, which was played out through a confused mix of Victorian influenced blouses and the hard sexuality of Madonna’s erotica years. While I applaud the boldness of the runway show, the clothes lacked the beauty and originality to make the theme come off as fresh. Conspicuously overused was a heavy, blue fabric; featured in everything from dresses to overalls, it was caught somewhere between a denim and a tapestry. Despite the criticisms, Fede proved her burgeoning talent in her innovative tulle work – my favorite being a black, spaghetti strap mini dress, belted at the waist with a transparent bubble skirt full of white tulle. The result was a skirt that floated ethereally around the model’s waist like a cloud trapped within a black net. Also commendable were Fede’s tulle collars: imposing three dimensional constructions of starched fabric that recalled both a punk’s spiked dog collar and the Elizabethan Ruff.
Next, North Carolina native Lindsay Carter presented Troubadour, a collection that charmingly combined Latin, pirate, and rock ‘n roll influences. Models disguised as punk rock goddesses set the tone, styled with tall faux hawks, Ray Band Wayfarer sunglasses and ample leather accessories. The story was told in mostly black with pops of neon yellow, electric blue and metallic silver. Flirty, strapless mini dresses were revised with bubble hems and ruffled skirts. Rock ‘n roll details renewed familiar shapes; a row of silver spikes defined each shoulder and outlined the pockets of a black mini tunic dress. The power of Carter’s collection was in the thought out details and accents, such as colorful arm warmers, exposed zippers, and metal hardware. The collection featured consistently outstanding jackets - from a glossy black boyfriend blazer paired with high-waisted cream colored satin shorts, to the perfectly oversized outerwear jacket fastened with two simple, diamond shaped novelty buttons. The Troubadour collection channeled the backstage edginess of LaRok and revised-vintage aesthetic of Elizabeth & James. The runway show concluded with an of-the-moment plaid flannel shirtdress and a sexy silver mini dress, perfect for a night at CBGB’s!
Even before celebrity guest judge Cynthia Rowley made the announcement, the results of the Emerging Designer competition were clear – Marysia Reeves, a Polish native who came to Charleston by way of LA, was the winner. The collection was beachy, sexy and fun – the embodiment of Charleston – and the runway show played out like a contemporary Gidget’s “coming of age” story. The Sun kissed models wore their hair up in high bow tie shaped buns and sported soft, natural makeup. The first model stepped out in an asymmetrical bubblegum pink mini dress with a ruched yellow side zip that opened up to reveal a matching pink one-piece swimsuit underneath – the audience gasped in approval. Reeves showcased her uncanny ability for endowing the girliest of embellishments with a sporty, surfer-girl aesthetic while keeping the look unmistakably feminine. Playful ruffles mimicked waves across bodices while tutu’s adorned swimsuits without a hint of absurdity. Even a strapless, harem pant romper in ballet-slipper-pink managed to be sexy, not silly. Reeves played with texture in an extremely wearable way. For example a pale mint mini dress featured a panel of off white semi-circular chiffon ruffles down the front. Halfway through the show the aesthetic became more modern with peach, red, and bright yellow tones. A futuristic tunic dress featured architectural shoulder detailing. Fun prints emerged, studs began embellishing bows and pinks became more vivid. The collection was an outstanding finish to a dazzling week high fashion in the Low Country!
By Maggie Winterfeldt
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