A steady beat pumps out over a glossy white runway. A curtain shields models wearing items from up-and-coming designers, in a show creative directed by early Alexander McQueen collaborator Simon Ungless. Was this New York Fashion Week? Paris? Or Milan?
In fact, this was the Friday evening “main event,” of the May 16-18 Cilker Annual Art + Design Expo at West Valley College in Saratoga, a celebration of retiring Design Faculty Chair Diane Hurd.
It was an opportunity for the students to prove they’re ready to take on the fashion industry. And with a wide array of unique creations—from a pompom jacket bursting with color, to a lavish crocodile skin gown—the students and alumni of West Valley demonstrated they have a firm grasp on their fashion identities.
Folky Fare
The most playful collection on the program was “Folk Dance,” by graduating student Brandi Robertson. This was achieved through constructions of tan corduroy, jacquard ribbon and rib knit fabric that blended a groovy 70s vibe with European traditions.
Elizabeth Clar, of Vintage Fusion Jewelry, contributed items for the collection, resulting in a pleasant harmony of waist chains and innovative crown elements. “I created a belt and two headpieces for her collection which featured a lot of pompoms,” Clar explained. “It’s just been an amazing experience.”
Robertson’s most remarkable ensemble—a baby-pink ribbed knit teddy, with its high-neck and jacquard ribbon wrapping around the model like a garter—was the core of a look that served as an ode to tracing the contours of ultra femininity and the innate sexuality of the modern woman. A cropped jacket apparently made entirely of spherical tufts in his theme’s colors (green, pink, red and tan) was layered on top.
The silhouette recalled the May Queen Dress designed by Andrea Flesch for the A24 film “Midsommar.” A large gathering of multicolor flowers around a doomed Florence Pugh. But of course, Robertson’s understated counterpart lacked the threatening and murderous undertones of the movie’s floral mound.
Separately, the elements could be considered innocent. But together—and styled in such a sensual manner—Robertson delivered a commentary on self-assurance. “I’m definitely playing on femininity and sexuality; but also, if you wear the jacket, it’s like armor,” Robertson said. “I wanted to play on the confident, strong woman.”
Tweedy and Earthy
Nods to modern femininity were woven through the show. A tweed coat by Surayya Modhaddam embodied the essence of timeless sophistication in a blend of silver, tan and dark blue. A structured coat exuded the elegance of 1960s womenswear. But the mesh pockets and breast overlays gave it a modern update, while still paying homage to Chanel’s wool cloth legacy.
Eliot Brammer unveiled a captivating earth-toned collection sprouting with florals that embraced innovative layering techniques. Among the highlights was a striking emerald jumpsuit with pleated silk sleeves. These began bubbling in sections down the expanse of the arm and flowed into open panels. But what made this piece unique was its versatility—courtesy of removable bands (as demonstrated by the model).
Jonathan San Juan arrived in a moodier light. The returning alumni’s attention to detail displayed his recent growth beyond the walls of the school. Black and red, the colors of his theme were powerful and sultry. His opening look, a black high-leg bodysuit featuring a plunging neckline was complemented by the vibrance of red-mesh peasant sleeves. It was paired with a two-tiered, floor-length skirt, cinched at the waist with a sizable panel left open to offer a leggy exhibition.
A silk jogger embellished with a side stripe and red lining, was coupled with a matching jacket. Its opaque bodice contrasted with mesh sleeves. When shed, it revealed its true form: a sleek, thin-strapped jumpsuit with detailed beading.
San Juan imagined a powerful woman in his collection, his nod to sultry prevalence and purpose. “She’s not afraid to show her sensuality with the toughness, while being a woman in America,” San Juan said.
(Photo by Dan Fenstermacher)
High Fashion is Not a Crime
Joshua Cruz, a designer who goes by the brand name Public Crimes, authored one of the highest-fashion chapters of the night. For example, a sleeveless black trench coat, with its shapeless silhouette and raw hems, allowed for plenty of movement, conferring an air of nonchalance.
Then, a cowl neck reptilian gown commanded attention. It draped along the body, evoking the sophistication of a professional exhibition, akin to Porterville, California-native Rick Owens’ powerful aesthetic.
A two-toned gown captivated with its contrasting elements: a snakeskin bodice featuring sultry cutouts at the hips, seamlessly transitioning into a lengthy skirt, complete with a side train, showcasing a blend of textures in a contemporary take on classic glamor.
Notable splashes included pieces by graduating students Kayal Muthukumar and Narges Jamshidi. Muthukumar displayed her proficiency with heat transfers on unconventional fabrics.
The assemblage of bright pinks, blues and greens shone through thanks in large part to lip decals. Jamshidi presented a black and white closet, referencing 20s slip dresses and silk paneling of nightwear past.
A chevron-constructed dress and lacy pieces with silk counterparts were the epitome of classic.
The looks showcased throughout the evening, which was organized in partnership with Content Magazine, represented just a sampling of the sartorial ideas bubbling up from West Valley College’s fashion department.
The program appears to have a bright future, and will no doubt bring more top fashion minds to the forefront in the years to come.
