Cake In 15

…that’s what we’ll be wanting to see here soon. If you’re not already doing this, then get on it. Vote for local premier DJ, mid-century modern design aficionado and Mad Men Maddict Jake Rudh to win a walk-on role on the the show. He made a valiant run last year, beating out many period-incorrect haircuts and tie widths, so this is the year to make some silver screen memories for the man. Plus, with a photo like that, who would think he could lose? You can vote every day, so click on this link to AMCTV to make send our man through and send him over the moon.

Designers Joynoelle, Ivan Idland & Kerry Riley pose with models.

The 5th annual RetroRama, which was last Thursday was set the Minnesota History Center, is something of an odd duck: a combination of sock hop, rummage sale and fantasy camp, it is all set up as great excuse to don some vintage duds and have gimlet in an imposing building.

There was some great fashion on display, both on the party-goers and on the designers showing looks in the tented runway area. Designers took inspiration from a specific decade and showed two looks inspired by the times: Ivan Idland was a perfect fit for the 20s, with his art deco arches and a brown trenchcoat with a vaulted finish to give it the lift of a zeppelin. George Moskal Joynoelle had a standout look from the 30s 40, with a glamorous evening gown in a metallic green topped with layers of shimmering copper organza, like a lithe koi fish, and Max Lohrbach‘s clear vinyl-covered lacy cocktail dress was a wry nod the protective housewife of the 50s. Since everyone else was dressed to the nines, the participant fashion show, where people could get up and model their own outfits was mix of high class and kitsch, and a blast.

1930s by Joynoelle.

Later in the evening, Dark Dark Dark played in the high rotunda of the atrium and as much as we love DDD, they had a tough row to hoe, competing with the unexpected Etta James bleed from the classic karaoke going on below. Still, everyone had a good time, Blacklist Vintage and the other vendors sold their wares, we got a recipe for classic tomato soup and the future looks good through the eyes of the past. Staciaann has a photoset up for Vita.mn, so check that out here.

By now, I am sure that with the great American marketing mechanism- word of mouth buzz- you have heard that Pepsi is giving away a bunch of money with their “Refresh Everything Challenge” to fund various arts, cultural and political proposals. As always, need is greater than resources and since television and marketing based competitions seem to be the last bastion of pure democracy (all you need is an idea and people!) here is something we think worth voting for: MNfashion has a proposal in for a $50K grant to fund a sewing co-op that would provide jobs, resources and support to local designers. We’ve written about this before, when we posted about MNfashion’s member drive, and when I interviewed Executive Director Anna Lee about Voltage two years ago for The Onion, it was something that she brought up then. So they need your vote- the top ten proposals in that category get funding and as of this writing, MNfashion ranks 174th. Daunting, yes, but no-one gave an untested Illinois senator good odds before the Iowa caucuses, and it’s just so much fun to be the underdog. Minneapolis likes to surprise you like that. Go vote here, and vote everyday until May 31st.

Also, if you are Art-a-Whirling this weekend, swing by the MNfashion space in the Grain Belt Bottling Building on 13th and Marshall. Not only can you vote from their computer there, but you can also check out Staciaann’s awesome photographs up on the wall, as she is an official MNfashion photog. Double win!

Also, again about the Refresh Everything Challenge, there are multiple winners in all categories and a number of local entries, so look around and find stuff to vote for. Since we pay for the companies to exist, we should be getting something back other than dentist’s visits.

This sort of falls under the “Shameless Self Promotion” category, because a) Domino Davis, the frontman and driving force of Dearling Physique is a friend and collaborator and b) because I constructed some fluorescent light sculptures for the stage show tonight, but there is good reason to go and catch this show- lights, smoke and some of the most engaging performance art that the Twin Cities is home to now. With The Currency EP dropping, it’s a whole other world for Dom and Dearling, as he put it in this City Pages feature: “Imagine you’re very sleepy behind the wheel and see a deer on the side of the road, but when you look again you see nothing there. That’ll be the experience. The entire stage will be an illusion if we can pull it off how we want to. It’ll all be very confusing.” Bring on the confusion and the sights. Tickets to the show at the Varsity tonight are $10 at the door (with an awesome lineup of The Alpha Centauri, Xavier Marquis and No Bird Sing) and if you went to Voltage, or were a part of that show, get in for $6.

Once again it is time for Voltage Fashion Amplified, and Staciaann will be down there snapping away for MNfashion. I cannot be there as I will be on stage for The Awakening, and I suggested to the mnFashion folks that they set up a live feed so that I could stream it backstage and twitter snarky remarks, but it is not to be. Still, if you can get down there to catch the action, it will be well worth it, with one of the strongest lineups of designers including local fashion plate and impresario Emma Berg, who, during a tour around her house-cum-studio to show off her debut line (complete with specially printed fabric from a painting by local artist Ruben Nusz) remarked on the connections and ambition of her line and this year’s crop of designers. “To me I have to really make sure what I do is worthwhile so that they won’t be like, “Oh, of course, of course Emma’s in Voltage.” I want to make sure people feel like it’s well deserved. I want to put out a good product all the time, something relevant.” Get down to First Ave tonight to see what’s relevant now.

Also: Check out MNOriginal‘s profile of Emma:

Local store of awesome Cliche hosted a private viewing of the Kjurek Couture & Amanda Christine spring collections, followed by a trunk show with music, cocktails & hors d-oeuvres.

Sponsored by Cliche, Ignite Models, Kjurek Couture & Amanda Christine.

Photos taken by Staciaann for MnFashion.

In the world of non-profits, memberships are as necessary as important to the success of the organization as seeds are to farming. MNFashion, the non-profit behind MN Fashion Week and the annual Voltage: Fashion Amplified! blowout announced yesterday that they were launching a Founder’s Member Drive, seeking 100 new members in order to receive a $10,000 matching grant from the Pohlad Foundation. It is not the first time the Pohlad Foundation has helped out MNFashion, they were the granting organization that has made the holiday pop-up store in Gaviidae Commons possible the last two years. the press release went out yesterday and the final details on how to join will soon be available on the MNFashion website, but in good member drive fashion, they aren’t skimping on the giveaways: the first 45 people to join get a gift bag from Gigi’s Guide (valued at a $100), consulting time with MNFashion chief Anna Lee, invitations to closed-door events and that halo of prestige that comes with being in on something. Membership is $50, and just follow the link to join.

Obviously, MNFashion’s most visible contribution to the Twin Cities fashion & design communities is Fashion Week, culminating with Voltage (Friday, April 16th at First Avenue) but the organization has plans for much more, from business consulting for designers to talent development to a sewing co-op. With a sweet new office/work space in Northeast and this new member drive to get their footing solid, what started with a late night drunk joke about mixing rock and roll with a fashion show just might turn into a sustainable support system for all kinds of artists. If you want to support MNFashion further, there are two opportunities tonight, with an preview party tonight at Spill The Wine from 7-10pm to mix and mingle and then taking over Transmission at Club Jaeger at 10 for the CD listening party. If you were looking for something to do on your Wednesday night, now you got it.

In Which Your Correspondent Gets Tired or “I didn’t say rosebud”

If you have ever surfed or studied the ocean, you’ll know about the rip tide, the reverse current from the shore that quickly pulls back out to sea. It is especially dangerous to surfers and swimmers, who, after feeling the exhilaration of surging momentum of the wave, find themselves dragged under and away. Friday at SXSW had that dangerous rip tide quality. The running around, late nights of music, writing, editing and getting up early to finish and post, the drinks and smokes and adrenaline rush of crowds surging crests and a crash is dangerously imminent. I could have been done after the SPIN party at Stubb’s, having seen a killer lineup. I also could have been done after the AOL/Spinner Soul Revue, having been funked and romanced to bed. But you are not here to hang out in a hotel room. You have to find some reserves and get out and see things, keep swimming against that rip tide of exhaustion and deadlines.

The SPIN party was pretty a-fucking-mazing. They throw it every year, and although as Staciaann warned me, the crowd can be a little uptight (it is, after all, an invite-only, industry heavy crowd) the lineup they picked definitely had the potential for mayhem: the re-united Hole, Sharon Jones & the Dap-Kings, Free Energy, Harlem, Miike Snow, Rogue Wave, and Fucked Up. Oh, Fucked Up. I’m going to start with them, even though they were more sort of in the middle, and I am just going to let the photos do the talking for the most part. I wrote a blog post for City Pages on it, and that should be enough and up soon. I’ll link when it is. Suffice to say this- it was so good that once it was over, we watched the entire show again silently on a friends videocamera andif I hadn’t taken a shower last night, I would still have mud on my body and Pink Eyes’ belly sweat in my hair.

Sharon Jones killed it again. She has been everywhere this South By and played two big shows yesterday, the SPIN shindig and the AOL/Spinner Soul Revue that we hit up later that night. Her guitar player introduced her as “the super soul sister with the magnetic je ne sais quoi” and that doesn’t disappoint. She is so buoyant and electric, it almost seems like an undersell. For the tune “If I Give You My Love” she brought Travis McCoy of Gym Class Heroes up on stage and sung it to him and although he stands a good two feet above her and is covered in tattoos, by the end of the song, he was on his knees hugging her. It was so sweet and maternal I had to text my mom that I love her, but it was also sexy, so now I know I have some Oedipus issues to deal with. Jokes aside, Sharon Jones deserves all the success she can get- before breaking into demonstrations of dances like the Mashed Potato, the Funky Chicken and the Boogaloo, she talked about getting on the soul train in Augusta, Georgia in 1965, and that train is still driving strong, thanks in no small part to the Dap Family. They have a new record out in April, I Learned The Hard Way, and it is knowledge you should share in.

Sharon Jones & the Dap-Kings from CakeIn15 on Vimeo.

Tired. This is just easier now:

Hole Setlist (with notes and Courtney quotes)

Sympathy for Devil (Rolling Stones Cover)- An awesomely canny way to come back; a total rock tune and a fuck you to people who think she killed Kurt Cobain/ruined their lives/is a walking disaster.
Skinny Little Bitch- Courtney has the best green satin pumps on, which she reveals when she puts her foot up on the monitor and spreads her legs, which would be great except she misses several times and her foot goes skidding down the wedge.
Miss World- “I said Hole. I didn’t say big hole or little hole. I didn’t say rosebud, or big flapping vagina, I just said Hole.”
Nobody’s Daughter
Violet- Jokes about Brett Michaels and a “powerful ballad.” Then she sings part of “Every Rose Has It’s Thorn.” Then talks about her and BM running off together- “I’m gonna make that fucker get preg so fast.”
Letter To God- Introduction of the band members, including “Invisible Dave,” who is there to “shadow my shitty guitar playing.”
PCH
Reasons to Beautiful
Malibu- Followed with jokes about hate sex, where “you’re going ooh-ooh and then you punch them.” Next level up; kicking!
Dirty Girls- Overheard before the show, “I feel like I’m re-living my angst at 13 years old.” Despite whatever diminished expectations there may have been for this, thee women surrounding us who were in the CD buying demo circa ’96, this is pretty thrilling. Especially for the chick wearing the sundress made of fabric with Courtney all over it, who Courtney recognizes and has a moment with.
Honey
Samantha- “People like you fuck people like me,” is a pretty catchy chorus, but not with a ten-foot pole, love (idiomatically, not last-namely). They’re kicking her off because we’re at time. She cusses us out, smiling. It’s funny she’s still here, but that’s a walking example of pulling out the Disaster Principle.

Also awesome at the SPIN party: Goons of Doom. Foul-mouthed heavy Aussie rockers with choruses like “Burn alive, burn alive, every motherfucker’s gonna burn alive.” Towards the end of their set, one band members pretended to swim on the ground in front of the stage while another charged through the crowd with a shitty hand-made shark fin held above his head, then jumped on top and pretended to eat his bandmate, all to a song with the line “The shark that ate my lover, I want to buy that shark a beer.” Their recent recod on Volcom Entertainment is called I Hate My Hair and Want To Die, so if they are touring, find them and bring your harpoons.

After all that mayhem, bed seems good, or walking around, or eating, or anything seated. But there are legends to see and soul to have, so we hop a pedicab over to the Austin Music Hall and on the ride, roll past Andrew WK doing an interview in the back of another pedicab, which doesn’t seem all that surprising. We got to the Soul Revue in time to catch Austin’s own Black Joe Lewis & the Honeybears tearing into some punk rocker Delta blues, some seriously heavy wailing with a tight brass section. Lewis not only covered Iggy Pop in his set, but busted out the harmonica and put on a serious show with tunes like “Sugarfoot” and “Bobby Boucher” and had his band working so hard that the drummer lost his glasses.

Raphael Saadiq from CakeIn15 on Vimeo.

After Black Joe Lewis cleared off, Raphael Saadiq had his band in black suits with skinny black ties warming up the crowd. Saadiq, formerly of early 90’s R&B-styled group Toni! Tony! Toné! has styled this soul singer persona as a mix of the Temptations mixed with James Brown and when he bounded on stage in a fire-engine red suit, Saadiq’s ineffable energy was contagious. Vamping with performative sexiness and dancing in unison with his sideman, Saadiq wailed through tunes like “Sure Hope You Mean It” and “Let’s Take a Walk”. He definitely fed off the crowd and there were definitely some moments of stroking Saadiq’s own ego, continually asking “Do you love me?” but the answer was yes, so get some self-esteem and perform already. Still, the band made the show bounce so hard that bits of confetti that were stuck up in the rafters were shaken loose and Saadiq has a clothes-melting tenor. School of Cool was definitely in session, and one of the big lessons was “Always leave them wanting more” as Saadiq performed for barely half an hour in order to keep on schedule for Smokey Robinson.

OK, so Robinson’s songs are part of the American canon of romantic songs, and I am sure there are many people walking around today who owe their existence to his tunes. I am also happy that I got to see him sing “Second That Emotion” but Smokey doesn’t move so well these days and his voice isn’t as powerfully smooth as it once was. He’s also had some work done so he doesn’t blink all that often, meaning that his live performance seemed, well, a little animatronic. It doesn’t help that he had some seriously cheesy, slightly peaked dancers gyrating around him, emphasizing his own diminished movement and by the time there spotlight fell on one musician for an extended flute solo, that was about as much 70s-style loving I could take.

That really should have been it, the plan was to wander lazily and and then head off to get to work, but the more we were on 6th street, the more random Minnesotans we ran into, Lucy Michelle and her crew, the Anthem Heart gang, Tony Zaccardi, Bella Koshka peeps- everyone is better friends with their countrymen in a foreign land. Snapping some pictures, eating some street pizza, laughing at the people coming out of the drum line dancing, it was a great night. Aimless and lovely and possibly a perfect note to go out on.

Drumline on 6th Street from CakeIn15 on Vimeo.

But still, tiredness shall not win out and The Very Best, one of the bands that I had already missed twice was playing the late slot Emo’s. There seem to be two tacks for closing out the night at SXSW, something calming and relaxing (Sondre Lerche on Thursday) or crazy dancing (dubstep and Surfer Blood on Wednesday). The Very Best is some of the greatest dancing around, beautifully voiced Malawian singer Esau Mwamwaya chanting and singing atop western pop hits re-cut and mixed by the London-based Radioclit DJ/production crew. Their free mixtape and record have been in heavy uplifting rotation for almost two years now, and when I saw them last at Pitchfork, it was one of the best dance parties ever, starting with 150 people or so and ending up with 2000. Crazy and not to be missed, damn the tired. Live on Emo’s small stage, Esau did not disappoint, but the things that were off-putting at Pitchfork were magnified, namely stupid hypeman doing all the blah blah blah bullshit hype stuff and the fact that the Radioclit guys are kind of douche-y and not great DJs. They are basically playing a CD, and it can still get glitchy. Still, dance on, including their new hijack of Yeasayer’s “Ambling Alp”, “Tengazako” from M.I.A.’s “Paper Planes” and when they got told by the venue that they were going to get shut down, those of us up front hopped on stage to dance to “Warm Heart of Africa” before wrapping it up in the dark to the overdub of Michael Jackson’s “Will You Be There”. Too short, for sure and although the Very Best crew was running shuttles out to the ranch where they were staying to keep partying, it seemed the better choice to wander around towards home at that point. Tiredness will have out, but not before one last back-alley impromptu show by Austin’s Not In The Face, a rip-roaring country-punk duo stealing power for their mic and amps who sent me home with a cover of The Ronettes’ “Be My Baby”, which is a fine thing to sing to music, your lover and your muse.

Not In The Face from CakeIn15 on Vimeo.

On Saturday evening, the graduating Seniors of the University of Minnesota Apparel Design Program showed off their final academic works in what was one of the most cohesive and well-constructed shows of a young year that has already seen some quality design. Hosted by Anna Lee of MNFashion, the show was titled “Insight”, and promised to give a look into the workings of each of the students. The sets by each designer invariably contained a dress, a skirt a blouse and trousers in some combination to show the versatility of the designer and the overall quality of construction showed that they had paid great attention to the practical application portions of their coursework. If these designers continue to work independently and in collaboration (as some already are doing, getting a real-time education as well) then we should look for some exciting design in our boutiques and on our catwalks soon.

Carey Magnus opened the evening with a summery vision of khakis and pastel aquatic blues and lilacs, cut in tank tops, shorts, jackets and dresses, appropriate for drinks in St. Barts or golf-clapping business casual. The pieces were well cut and set a precedent for the next few designers of a well constructed set of clothes that offered a more sensible and demure vision thank one might expect from a young set.

Emily Bryngelson, who has recently launched her own line, Tender Cuts, offered a line that although it incoprotated some bold colors and origami designs, seemed less effervescent than the works she showed at the Cliché “Avoid the Grey” showcase. However, the construction of the pieces and the eye for detail continued to show promise for the young designer. Particularly astute was an outfit consisting of a white blouse with a light grey whorl print paired with a two-tone red skirt with a diamond panel front and peek-a-boo pockets lined with the same whorl pattern in red.

Amanda Brossard offered up the first real outré taste of the evening with her crocheted pieces worn over slim cut trousers, blouses and dresses. With their loose brown yarn, the jackets and singlets were a nod to the contemporary craft renaissance and the simple dress whose knitted bolero coat gave the impression of butterfly wings was elegant statement.

Inspired by the architecture of Los Angeles, Cassie Hanson brought a series in creams and rich brown wool patterned in both over-sized and micro-check wools. The cuts gave generous folds and collars that draped structurally to reveal touches of royal blue in the linings, a welcome luxurious touch. At this point in the show, though, it was not without irony that I noticed the coupon for 25% off Banana Republic on the back of my ticket.

Then, to the bouncing strains of “Jump in the Line (Shake Senora)” Dee Bayley sent out a four models in Reebok flats and sunglasses, dressed in a line of sportswear that channeled summer in the Hamptons. A buoyant mix of navy blue, tan and mustard yellow, the shorts, culottes and jackets were a confident vision of summer fun that added some verve to the proceedings. The models too, seemed to be enjoying the confidence of the clothes and the whole line was ready-to-wear hit.

The evening’s lone male designer, Lee Jackson was a direct counterpoint to Bayley’s summer fun, presenting a line of austere black and white numbers whose cited “abstract expressionism” influence was much more Robert Motherwell than Jackson Pollock. Jackson’s balanced but asymmetrical designs could definitely be an addition to the little black cocktail dress/80s party girl collection, and done up with a well-chosen accessory.

Judy Bender’s line that followed, I say pretty emphatically, was one of the best things I have seen in the Twin Cities, not just in this young year, but for a good while. Bender’s bio started with the Coco Chanel quote that “A girl should be two things, classy and fabulous”, which is a lot to live up to, but the chess-inspired looks were ravishing. The bold patterns and classic lines of the dresses, high-waisted trousers and jackets, trimmed with pencil-thin coils of patent leather and exquisitely sculpted ruff pleats were not only exactingly cut and sewn, but imperially poised. The whole line felt like it belonged in a ’66 Alfa Romeo, on the way to Cinecittà to lunch with Marcello and Sophia, and then look over the Federico’s rushes.

It was no mean feat following Bender, but Dawn Charbonneau’s over-the-top line based off the fairy tale of Alaeddin was far enough afield not to warrant any comparisons. Charbonneau deserves credit for going all out with the Vivienne Westwood-esque line and although two of the four looks (“Alaeddin” and “The Magician”) felt hodge-podge and incomplete, the cut-out cape effect that swirled like smoke around the feet of “Princess Badr al-Badur” and gold trussed and crinoline dress of the “Jinni” were well-concieved, constructed and wild enough to promise us an interesting ride.

Jennafer Crammer’s Rococco line had it’s charms, especially with it’s use of silks and floral brocade touches on dresses and chemises that recalled mid-century designs from Oleg Cassini. The quality of the clothes, however, was offset by the hair and makeup of the models- the pouty geisha lipstick and off-grey matted gel in the hair did nothing to complement the aristocratic bent of the clothes. Take it as one last lesson.

As soon as Shirley Schlievert’s first look, a white chemise with charcoal trousers and a metallic grey shawl, I thought to myself that this was something that Dame Judi Dench might wear out. With gossamer petal shoulders on a Payne’s grey dress, the elegantly minimal line focusing on silvers and metallic greys seemed more restrained than your average undergrad, and when Schlievert took the stage, her simple black slip dress and long silver hair fit right in.

After some more restrained lines, even the relatively demure palette of Christina Armstrong’s roses, teals, grey, royal blue and gold thread seemed a riot on stage. Armstrong had hand silk-screened details, as well as taken the challenging step of hand burning velvet to create patterns that provided an embellishment on her looks and had partnered with BMF Jewelry to create custom bracelets and earrings in the form of linked gold cogs to emphasize her steam-punk inspiration. All these embellishments were well-executed, however, layered on top of eachother they all fought for focus, returning to the axiom to always take one thing off before you leave the house.

It’s amazing that we got this far into the evening without someone playing Lady Gaga, but Carmen Tsang finally buckled down and did it. Gaga, of course, now comes with certain sartorial expectations and although Tsang’s black-based with a shot of neon color looks was certainly not as outré as Ms. Germanotta’s wardrobe, they did hold their own independently. Fond of swooping drapes, such as the crossed hood of the dark cerulean jacket or the acid yellow chiffon punctuating a dark pencil skirt and high-necked jacket, the clothes were one big punch, as opposed to death by a thousand angles or hula-hoops.

The line of long flowing dresses shown by Carol Berger would have been right at home in a Tennyson poem, or maybe an artist colony in Laguna Beach. Her hand dyed fabrics in blues and greens definitely recalled Monet’s “Waterlilies,” as was her stated intention and she had full panels of shimmering burnt velvet, and the execution was all there, even if the design of the clothes felt more rote by classics than inspired by contemporaries.

The final designer of the night, Mae Rodgers, ended the night with explosions of organza and lace, tumbling out from under the structures of hoop skirts, bursting around necklines. This added a light and playful feel to her elegance that counter-pointed the somewhat Victorian inspiration and slate grey flannel suiting, a delicate balance that Rodgers struck well. The patchwork and stitching used as detailing on her looks were an appropriate nod to the craft of tailoring that she, along with the rest of her class, seem to have taken mastery.

Before the Seniors went out, the Junior and Sophomore classes each had the opportunity to show a look, and there were some names and looks there are a good omen for the future of the program. Of particular interest were the unisex, hooded jersey slip of Nick Ruffalo, Laura Heslin’s large-paneled camelhair peacoat as well as a quartet of corsets, of which, Kelly Ver Duin’s wide-whaled herringbone number stood out. Sophomore Sara Lopez also stood out with a long-sleeved, electric chartreuse mini-dress that would kill out on the town. The kids are going to be alright indeed.

See all of Staciaann’s photographs of the event here!

Tuesday last, well-dressed and good-looking people gathered in the live/work loft of Vision Management Inc. honcho Teqen Zéa Aida for a preview of this April’s Voltage! Fashion Amplified designers, and get a chance to order the goods. The evening had all Voltage! participants showing; the perpetually well-styled Raul Osorio, Frances Zerr (who also showed as part of the La Nouvelle Femme show last fall), Kelson, clubwear from Elena Mercurio, a very Katherine Hepburn line from Danielle Everine, a breakout selection from Carmichael Claith (more on that later), Voltage! vet George Moskal, a menswear line from Kevin Kramp, taking his oversize knitwear to a body-swaddling end, deliciously painted silks from PFT Couture and elegantly cut works from MPLSART doyenne Emma Berg. All of it made for an exciting look at what to expect, as Voltage! and parent group MNFashion continue to push for high standards of concept and construction amongst local designers. You can see Staciaann’s full set of photos here.

On Thursday, Uptown boutique and outlet for local fashion Cliché hosted their annual “Avoid The Grey” fashion show at the Old Arizona Theater. Pulling in from the freezing wind, a man in a dark suit and wolf mask pulling off a large silver flask held the door open, suitably setting the tone for the fairy-tale-gone-dark evening. A total of 16 designers showed 5 works apiece, complimented by 9 accessories designers, with some highlights, lowlights and recurring themes. Little Red Riding Hood made an appearance in Arwyn Birch‘s athletic and functional riot grrl inspired line, as well as in a diaphanous and flattering vision from Amanda Christine. Kelson, Red Shoe Clothing Co. (Kerry Riley) and Dawson all showed dresses or skirts with the hips cut out on the diagonal, ostensibly to create a more flattering form and volume and in Kelson and Red Shoe’s case, a bold geometric contrast. Speaking of volume, one of the favorite looks from the night came from Jenny Carle: a simple empire babydoll with black top, grey and black bottom held aloft by black lace crinoline, a lovely example of how fabric can shape if given something to work against.

Well established designers continued to show strong work, Amanda Christine expanded her airy vocabulary and Ivan Idland‘s Art Deco constructions continue to flatter, although Kjurek‘s summery dresses felt a little underdone in the dead of winter. The strongest lines overall were ones that were driven by force of personality and had cohesion of practicality and couture. Niki English, known for her handbags, showed a line of form-fitting party dresses whose flourished shoulders and severe cuts owed a debt to the Italian excesses of the 80s, but made a ravishing statement. Carmichael Claith’s designs were the most revelatory and bold- although she has always shown a firm grasp of construction and tailoring, her previous all-tartan, all-Scottish lines seemed overly twee and conceptually contrived. Not so anymore- her five looks were distinct and differentiated, but a wonderfully balanced blend of patterns, bold cuts and restrained ornamentation that nailed not only high concept but practical wearability, the best a boutique can offer. Coupled with some strong looks from Sydney Ilten, sexy librarians from Kathryn Sterner and the youth of Tender Cuts, Cliche should be a fun place to shop this spring. Just remember to try before you buy, and that all the designers are local and looking for work! You can see Staciaann’s full set from the evening here.