Since being launched in 2003, Portland Fashion Week has faced a bumpy road getting where it is today. In 2004, Incubator Fashion, the organization that was producing PFW, discontinued staging the event. In 2005, SEMPER Fashion stepped in to revive PFW's production. Since then, PFW has had its share of contoversy and setbacks, as well as reasonable success in promoting sustainable fashion and emerging local designers.
Much of the tension that surrounds PFW stems from the required participation fee that designers must pay. Portland's fashion scene is made up of small, independent fashion labels, most of whom don't have a lot of extra money to throw around. Critics complain that the event generates income for the production team, but does not guarantee sales for the designers.
The PFW producers counter these complaints by pointing out that the participation fee does not go toward generating profit, but is necessary in order to be able to put on the desperately under-funded event. As Tito Chowdhurry, PFW's executive producer points out, this is a one-half-million dollar production and (it's) growing.
Given the number of local fashion events, not to mention shows put on by individual designers, that take place in Portland, it is easy to overlook the service that PFW provides to many emerging local designers. Part of one night of the weel is devoted to showcasing the work of recent AI graduates, who participate for free. This provides new designers who have no zero budget a great platform for promoting their work. It should also be mentioned that the cost of participation is a great deal less than it would cost an individual designer to produce their own show, which involves paying models, hair and makeup, etc.
It is difficult to come up with a solution that would satisfy all the diverse personalities that exist within the local fashion community. The solution would have to be cost effective for everyone involved, while providing designers with a strong platform to help them connect with buyers and press. Whether Portland Fashion Week is the answer or not, the local fashion community should strive to reach an agreement on how to effectively nurture all the local talent that Portland has to offer.
Toby Robboy
Showing posts with label Portland Fashion Week. Show all posts
Showing posts with label Portland Fashion Week. Show all posts
Wednesday, November 11, 2009
Tuesday, November 10, 2009
Top Favorite Designer at Portland Fashion Week
Portland fashion week was the second week of october. There were many designers from all over different areas. This particular video was from a designer named Suzanne Jaberg. Her collection is called Suzabelle. Suzanne is a designer based in Seattle. I found this to be very interesting because my family lives up near Seattle. Maybe I could get a chance to meet her sometime. I enjoyed watching this part of the runway show because her designs have a taste of uniqueness along with basic staples and styles. I like the empire waist in the dresses and skirts. This makes a women look more slimming to my eye. I enjoyed the drapery of the designs along with the creativeness and colorations. This clothing line has many variations of dresses that I can see myself wearing. They are designs that I can see being worn in every day life. Suzanne has casual styles in this line along with some more semi formal designs. I am very interested in her style of dresses. One day I hope to get together with her and pass some ideas with one another. A girl can dream right!!!!
http://www.youtube.com/watch?v=uMtM4bu7BR0
I hope you enjoy this video as much as I did!!!
http://24notion.tv/blog/wp-content/uploads/2009/10/suzabelle.jpg
Amanda Wooley Art Institute of Portland
Thursday, October 29, 2009
A Nice Breath of Fresh Air from the Mundane
Experiencing Independent Fashion in a refreshingly unorthodox, Portland manner
Unlike any other Sunday, which consists of sporting stretchy pants, gorging oneself with overly, processed cuisine purchased at the local Plaid Pantry, and stressing on homework that has been consciously stored away in the back of one’s mind for two days, my typical AI Sunday was greeted with a well received disturbance.
As stated in an earlier post, Content 09 sponsored an exploration of Portland independent fashion and design in an unorthodox, visual experience at the Ace Hotel, October 18, 2009. Serving as a platform for the essence of Portland fashion, Content 09 did way with the traditional runway show to exemplify an exciting shift in Portland fashion unity. In my opinion, it was very reminiscent of the Milepost 5 unique layout—Located on SE 82nd, which usually constitutes a guarantee to see prostitutes and fast food chains, Milepost 5 houses young, creative talent in renovated units (once were the homes of Portland’s elderly) and exhibits monthly art showings in the vacant units. In the same fashion, Content 09 featured many of Portland’s innovative, independent apparel and accessory designers in the vacant rooms of Ace Hotel.
Unlike any other fashion event that I have attended as of late, Content 09 exemplified an inimitable harmony where both event production and designer vision seemed one. Satisfaction of both the sponsors of such a marketing event and the participating designers involved seems to be a challenging balance.
Dayna Pinkham and Dutchess Room
Incidentally, Portland Fashion Week has been under criticism for executing a fashion event that is not always representative of regional designers. It seems that Portland Fashion Week, although a platform for local fashion to receive national and international exposure as it has never been able to before, has received some heat from the local community. Portland Fashion Week was non-existent until 2003 when Tod Foulk began orchestrating the runway events around the metropolitan area. Portland Fashion Week has grown from its early roots of bringing together local apparel and accessory designers in one roof in effort to solidify Portland’s mark as a viable market of innovative fashion. It is now the first and only sustainable fashion week and some have insinuated (local blogs and periodicals) that it is more focused on this promotional edge than the essence of Portland fashion. Complaints have circulated that Portland Fashion Week’s commercial success is distorting its service to the independent designers in the vicinity. Thus, two of the main complaints are that it fails to serve as a sufficient expression of what Portland fashion means and it’s too expensive (i.e. designers have to pay an entry fee and tickets for local constituents are $20 and up). Whether these complaints warrant validity or not is not the issue, the remains that there is a disconnection in Portland fashion and a viable platform is needed to serve the independent designers in the premises.
From my tenure spent waiting in line at Content 09, I learned from eavesdropping that the Ace Hotel event was in fact a revolt against Portland Fashion Week. Some independent designers felt as if a crucial service for Portland fashion was lacking in the area—a service that seeks to voice the message and essence of Portland fashion that, like with anything in Portland, goes against the grain. This service is in demand on both supplier and consumer level, and in true Portland execution, Content 09 delivered a distinctive and unforgettable fashion experience (just not an event).
As stated previously, Content 09 explored an unorthodox approach to a runway show that truly identified with the Portland, anti-cookie cutter approach. Our urban environment houses the creative youth (either in age or spirit) of Portland design—an environment that is responsive to deliverables that challenge the norm.
Bridge and Burn room
The vision behind Content 09 stems from the How We Develop Team (which is the first event of the popularized Portland blog) that includes the designer voices of Mothlove’s Gretchen Jones, AK Vintage’s Anna Korte, and Im:mortal’s Ada Mayer and Anna Korte. 38 of Portland’s visionary independent designers were showcased in 28 rooms that spoke of each designer’s passion and innovation. Each room was visually merchandised according to that brand’s lifestyle. Whether utilizing live musical performances, creatively merchandising displays, providing a mock up of everyday life, exhibiting a nostalgic look to inspirational eras, etc., each room gave a sense of what that particular brand represented. The unique layout committed to an intimate experience for participating attendees. For instance, by mirroring one’s desire to live in another time period or by projecting an image associative to the values one lives by, designers were able to translate their message directly to the viewer, as if it were an intimate conversation. Although each room was specifically merchandised for the varying designers, cohesiveness was achieved in the ideals and community pride of the event.
Stand-out designers not only had beautiful, well-constructed garments, but their branding was impeccable. It became a lifestyle experience that invoked all senses, not some lame marketing ploy. The 1920’s whore house visual sensation of Dayna Pinkham and Dutchess kicked off the event. The beautiful elegance of Liza Rietz communicated romantic, femininity. Bridge and Burns unique display of a mock tree with branches served as hangers for the quality of materials and construction that are utilized in there thoughtful design. The end of the hall featured Heather Treadway’s functional designs with remarkable details mirroring the visual aesthetic of woven baskets. In following the staircase back to the lobby, the event came full circle as the featured looks of AI alumni Joshua Buck and Jennifer Holcomb represented the emerging talent sprouting from The Art Institute of Portland. All 28 rooms brought a range of indie brands with unique identities. The spread of character embodied the aesthetic standard that should and is evolving from the regional area.
Liza Rietz room
Stay tuned for more from the ladies of How We Develop. Here is a link to their blog and Content 09’s site. Enjoy.
As stated in an earlier post, Content 09 sponsored an exploration of Portland independent fashion and design in an unorthodox, visual experience at the Ace Hotel, October 18, 2009. Serving as a platform for the essence of Portland fashion, Content 09 did way with the traditional runway show to exemplify an exciting shift in Portland fashion unity. In my opinion, it was very reminiscent of the Milepost 5 unique layout—Located on SE 82nd, which usually constitutes a guarantee to see prostitutes and fast food chains, Milepost 5 houses young, creative talent in renovated units (once were the homes of Portland’s elderly) and exhibits monthly art showings in the vacant units. In the same fashion, Content 09 featured many of Portland’s innovative, independent apparel and accessory designers in the vacant rooms of Ace Hotel.
Unlike any other fashion event that I have attended as of late, Content 09 exemplified an inimitable harmony where both event production and designer vision seemed one. Satisfaction of both the sponsors of such a marketing event and the participating designers involved seems to be a challenging balance.
Dayna Pinkham and Dutchess RoomIncidentally, Portland Fashion Week has been under criticism for executing a fashion event that is not always representative of regional designers. It seems that Portland Fashion Week, although a platform for local fashion to receive national and international exposure as it has never been able to before, has received some heat from the local community. Portland Fashion Week was non-existent until 2003 when Tod Foulk began orchestrating the runway events around the metropolitan area. Portland Fashion Week has grown from its early roots of bringing together local apparel and accessory designers in one roof in effort to solidify Portland’s mark as a viable market of innovative fashion. It is now the first and only sustainable fashion week and some have insinuated (local blogs and periodicals) that it is more focused on this promotional edge than the essence of Portland fashion. Complaints have circulated that Portland Fashion Week’s commercial success is distorting its service to the independent designers in the vicinity. Thus, two of the main complaints are that it fails to serve as a sufficient expression of what Portland fashion means and it’s too expensive (i.e. designers have to pay an entry fee and tickets for local constituents are $20 and up). Whether these complaints warrant validity or not is not the issue, the remains that there is a disconnection in Portland fashion and a viable platform is needed to serve the independent designers in the premises.
From my tenure spent waiting in line at Content 09, I learned from eavesdropping that the Ace Hotel event was in fact a revolt against Portland Fashion Week. Some independent designers felt as if a crucial service for Portland fashion was lacking in the area—a service that seeks to voice the message and essence of Portland fashion that, like with anything in Portland, goes against the grain. This service is in demand on both supplier and consumer level, and in true Portland execution, Content 09 delivered a distinctive and unforgettable fashion experience (just not an event).
As stated previously, Content 09 explored an unorthodox approach to a runway show that truly identified with the Portland, anti-cookie cutter approach. Our urban environment houses the creative youth (either in age or spirit) of Portland design—an environment that is responsive to deliverables that challenge the norm.
Bridge and Burn room The vision behind Content 09 stems from the How We Develop Team (which is the first event of the popularized Portland blog) that includes the designer voices of Mothlove’s Gretchen Jones, AK Vintage’s Anna Korte, and Im:mortal’s Ada Mayer and Anna Korte. 38 of Portland’s visionary independent designers were showcased in 28 rooms that spoke of each designer’s passion and innovation. Each room was visually merchandised according to that brand’s lifestyle. Whether utilizing live musical performances, creatively merchandising displays, providing a mock up of everyday life, exhibiting a nostalgic look to inspirational eras, etc., each room gave a sense of what that particular brand represented. The unique layout committed to an intimate experience for participating attendees. For instance, by mirroring one’s desire to live in another time period or by projecting an image associative to the values one lives by, designers were able to translate their message directly to the viewer, as if it were an intimate conversation. Although each room was specifically merchandised for the varying designers, cohesiveness was achieved in the ideals and community pride of the event.
Stand-out designers not only had beautiful, well-constructed garments, but their branding was impeccable. It became a lifestyle experience that invoked all senses, not some lame marketing ploy. The 1920’s whore house visual sensation of Dayna Pinkham and Dutchess kicked off the event. The beautiful elegance of Liza Rietz communicated romantic, femininity. Bridge and Burns unique display of a mock tree with branches served as hangers for the quality of materials and construction that are utilized in there thoughtful design. The end of the hall featured Heather Treadway’s functional designs with remarkable details mirroring the visual aesthetic of woven baskets. In following the staircase back to the lobby, the event came full circle as the featured looks of AI alumni Joshua Buck and Jennifer Holcomb represented the emerging talent sprouting from The Art Institute of Portland. All 28 rooms brought a range of indie brands with unique identities. The spread of character embodied the aesthetic standard that should and is evolving from the regional area.
Liza Rietz roomStay tuned for more from the ladies of How We Develop. Here is a link to their blog and Content 09’s site. Enjoy.
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