Isaac Hers – Fall 2012
It’s been a fashion drought ever since the boom of the holidays. Like the Sahara desert, and Isaac Hers’ Fall 2012 fashion show is the watering hole we’ve all been waiting for. And when I say we, I mean Eden Dawn who takes her front row seat with a pen and pad in hand, Sami Boyle of Portlandlookbook, and Ashkan of dayafterpdx, who has photographer Jaycob set up beside me. Nicholas Peter is here with his muse Zoe, and his mentor Levenda is somewhere to be found. Meanwhile Mike Andersen and his Woodlands crew circulate the room waiting for this triple-feature fashion show to begin. Pale light comes through the windows of the warehouse space that Jillian Rabe found to throw the party and show. The space has some of my favorite features for creating pageantry in the city, like the busy one-way street outside where motorists roar their engines past the crowded sidewalk while everyone begins to push inside.
The show begins with mist billowing from the runway, and we see Barbara Seipp’s new Fall 2012 looks. New looks, yes, but also some familiar ideas which have been proven in past collections. Like the maxi-length silhouette that Seipp has made into somewhat of a science, a silhouette that defines her iconic Diablo skirts and now reincarnates for Fall as a long maxi jacket with slim fitted sleeves, wide peaked lapels that lie subtly flat, and a midnight blue lining that flitters to be seen. The two lobster claw clasps make the hourglass-shaped front opening possible.
As far as models, Kate and Meredith need just step out for a second to remind everyone that it’s their classic look and flawless runway performances that allow them to dominate the Portland indie scene. Meanwhile, Zoe seems to be the newest standout, walking in Solestruck shoes and sporting some of the earlier Isaac Hers spring collection and doing it so well that someone may wonder why she wouldn’t be in future lookbooks. And I’ve yet to mention all the guys walking for The Woodlands who, needless to say, killed it.
Seipp’s shirt dress also covers a lot of ground. It’s topped with a wide soft collar, then midway there’s no cinch to be found, just a natural waist with a straight drape that terminates in a slight high-low hem (I just stole that term from Ashley, thanks!). I’d still like to see this dress up close because I couldn’t quite make out the stitch that lines and decorates the hem; also I’d like to see the triangle stitch where the collar closes because I think it’s a great detail to showcase on an otherwise streamlined garment.
The last detail I’ll mention is the use of “baseball tee” constructed sleeves on the blue-black maxi and the sand/copper blouse. On the maxi (below), the black sleeves crop the silhouette change the shape of the torso, which really makes the face pop. The effect is more subtle on the sand/copper top (above), but the blocking effects from the sleeves are tremendous as the garment becomes geometric and broken up, but at the same time remains clean around the shoulders. What makes the sleeves a different color? Is it right way/wrong way, or is the bias faced differently? I can’t tell from the picture, but it adds a great shape to the shoulders.
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