This outfit was from a card I received
Congested traffic patterns, long lines and raucous crowds enveloped me as I pulled open the north doors of the Cleveland Museum of Art. Today is January 4th and it is time for the first Friday event; Runway is the theme. I knew this event in particular would bring in a large crowd. I instantly thought as I stood in the ticket line that I should have gotten here sooner.
The box office line, however, was moving along nicely where
everyone stood patiently to retrieve their “physical” ticket. It didn’t matter if
you got your ticket online or not, you were expected to stand in line for an
old fashioned, paper ticket. Soon thereafter, I walked up to another counter,
and enthusiastically gave her my plain white ticket with the Cleveland Museum
of Art logo displayed along the top. A Tyvek® red wristband was loosely put on
my left wrist.
I was thrilled as I gazed into the massive atrium that the crowd
already had their ringside seat along the runway stage. The event began at
five, but there was a “Textile Art Alliance” wearable art already walking down
the runway. As I walked around to see if I knew anyone, I saw some of the extraordinary,
exotic weaves that was being displayed through the crowds. High tables were
already being taken over by participants along with the din of the audience was
intoxicating. Who doesn’t like a fashion show to get the New Year off to a good
start?
It didn’t matter that I missed the first show; there was plenty
to see. Following the Textile Art Alliance, Virginia Marti College of Art and
Design student designs will take the stage at six thirty. Featured event,
Project Tunic will display garments influenced by the “Wari: Lords of the
Ancient Andes” at seven. Lastly, Yellowcake, fashions by Valerie Mayen, will
show at seven-thirty; the Project Tunic winners will be announced at eight.
The Virginia Marti students had various free flowing gowns coming
down the runway. The designs displayed a lot of fabric, which I found out later
as I spoke to a model (Virginia Marti alumni) that it was silk. One gown that
caught my attention was deep red with a short hemline in the front and hitting
the floor in the back. I am not sure if I saw the garment correctly but it
seemed like the lining was showing. I guess I’m critical because I was a
fashion design student at the University of Cincinnati. The Design School
demanded good construction plus presentation was critical.
Because silk is a natural fiber, it is difficult to sew the folds
perfectly as it was shown on the runway. The model told both my friend and I
that her gown was sewn entirely by hand. The student used a slipstitch, which
is a stitch that can’t be seen if done correctly. The entire gown, to my surprise, took weeks of tedious
stitching to get the gathers to flow correctly. Thinking about this process
makes my head hurt. I applaud these students for their tenacity for creating
these garments.
Not only is learning how to sew important, but figure drawing is
a required class at Virginia Marti. My friend thought it was odd that you need
to learn how to draw well. Well the way I look at it, in order to convey your
design ideas to be interpreted correctly, drawing is imperative. When I was a
student, I remember taking many drawing classes especially croquet sketches
(drawing). This is a quick sketch that enables the viewer to visualize the
designer’s perspective on style and concept. We drew so many of these sketches
using a live model for a few minutes at a time in trying to get the “attitude”
of the garment she was wearing. It was harder than you might think.
Seeing this fashion show brings me back to when I took my first
fashion design class. That first class was called “construction” where you
didn’t necessarily need to be an expert seamstress. However, the first question
the instructor asked was, “Who knows how to sew? Not knowing any better, I
enthusiastically raised my hand. I thought I would have the upper hand. Nope,
in actuality it was better to learn from scratch. I learned quickly how
challenging this class was - yards and yards of muslin fabric was sewn and then
ripped out. This process was repeated several times before a project was turned
in. Moreover, spending endless hours perfecting the perfect stitch that never
transpired for me. Hence, the seam ripper ultimately became my best friend.
As I watched the fashion show, I thought: What’s important about
fashion? In my opinion it is construction (how is the garment is put together,
the quality) and presentation (how does the garment look with accessories: the
shoes, necklace and earrings; the finishing touches)? Moreover, what image are
you trying to portray? Is the garment utilitarian or elegant that is to be worn
at night? There are many decisions to be made.
The featured event, Project Tunic spanned the creative gamut. In
one garment, the model walked slowly down the runway keeping her outfit
balanced - she wore an elaborate piece on her head. It sculpturally represented
the “WARI” exhibit, which was inspiring. The entire outfit was weaved out of
used plastic bags, then either painted or dyed black and silver- it won third
place for its creativity.
There were tunics, weaves and long gowns. First, entries involved
preliminary sketches then full production of the piece. My favorite that I
thought perfectly mimicked the “WARI” show was a long yellow and black dress
with a unique iconic figure sewn on the front. I like the simplicity that
exemplified the exhibit.
The winner was a tan, woven scarf that displayed a unique pattern
inspired by the exhibit. As first place winner, the piece will be for sale at
the museum store. What an honor it is to have your design for sale.
If the endless coats check line was an indication of success,
then this was definitely a wonderful event for the museum in early 2013. I
think this is the right direction for the museum - reach out into the community
with a “reason” to visit. I never need a reason as long as the museum continues
to show great works of art.
Cleveland Museum of Art
Yellow Cake by Valerie Mayen
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