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American Dreaming: Michael Cepress’s spring/summer 2013 collection for men and women, presented at the Century Ballroom on June 21, 2013.
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American Dreaming: Michael Cepress’s spring/summer 2013 collection for men and women, presented at the Century Ballroom on June 21, 2013.
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American hippies and heritage fabrics from India: those were the common threads as models (real people actually—dancers, students, actors) took slow, steady turn-by-turn strolls down a center aisle on the floor while rootsy ’70s tunes suggested that you just kick back and enjoy the ride. (And if anything was wrong with the show it was the length of the ride; it may have been ten minutes or so too long.) This particular dress came in a couple of iterations and the bodice showed up as a top, too.
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American hippies and heritage fabrics from India: those were the common threads as models (real people actually—dancers, students, actors) took slow, steady turn-by-turn strolls down a center aisle on the floor while rootsy ’70s tunes suggested that you just kick back and enjoy the ride. (And if anything was wrong with the show it was the length of the ride; it may have been ten minutes or so too long.) This particular dress came in a couple of iterations and the bodice showed up as a top, too.
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Cepress isn’t one to use inspiration lightly though, so the boho gear and the textiles were rounded out by a third set of influences springing from the designer’s collection of Oddfellows collars and other antiquated accessories. These objects seemed to have influenced several silhouettes as well as some fabric choices—which you’ll see in a few slides.
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Cepress isn’t one to use inspiration lightly though, so the boho gear and the textiles were rounded out by a third set of influences springing from the designer’s collection of Oddfellows collars and other antiquated accessories. These objects seemed to have influenced several silhouettes as well as some fabric choices—which you’ll see in a few slides.
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But while history came to the fore in almost-full regalia here and there, it also came through very sweetly at times. There were a number of local buyers in the audience that night, and I’m guessing most of them had their eyes on dresses like this one.
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But while history came to the fore in almost-full regalia here and there, it also came through very sweetly at times. There were a number of local buyers in the audience that night, and I’m guessing most of them had their eyes on dresses like this one.
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This particular India-made cloth was a standout; here it was used for a men’s robe.
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This particular India-made cloth was a standout; here it was used for a men’s robe.
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Swingy, ruffled skirts showed up in a couple of fabrications, as did poncho tops—like this one linen, finished in vibrant Ikat trim.
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In a juxtaposition involving those flag waving/burning hippies and the colonial-era antiquities mentioned earlier, the final few scenes featured vests and halters sewn from Old Glories. While it’s not clear just what Cepress is expressing with these red, white, and blue pieces, the chilled out guitar rock and salt-of-the-earth styling suggested it was nothing altogether heavy.
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In a juxtaposition involving those flag waving/burning hippies and the colonial-era antiquities mentioned earlier, the final few scenes featured vests and halters sewn from Old Glories. While it’s not clear just what Cepress is expressing with these red, white, and blue pieces, the chilled out guitar rock and salt-of-the-earth styling suggested it was nothing altogether heavy.
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And then an American flag kaftan came out on a gorgeous African American woman. It could have felt like a loaded moment but it was beautiful. The room trusted Cepress, and I think consumers would, too. Sure, the double-layered, time-worn final showpiece wouldn’t likely be one he’d market to retailers, but a general sense of sun-loved texture, fraternal togetherness, and the complexities and simplicities of history carries through the collection. Cepress proved he can tell a story. I can’t wait to see how Seattle picks it up and makes it their own.
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And then an American flag kaftan came out on a gorgeous African American woman. It could have felt like a loaded moment but it was beautiful. The room trusted Cepress, and I think consumers would, too. Sure, the double-layered, time-worn final showpiece wouldn’t likely be one he’d market to retailers, but a general sense of sun-loved texture, fraternal togetherness, and the complexities and simplicities of history carries through the collection. Cepress proved he can tell a story. I can’t wait to see how Seattle picks it up and makes it their own.
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Swingy, ruffled skirts showed up in a couple of fabrications, as did poncho tops—like this one linen, finished in vibrant Ikat trim.
We take you front row and center stage for the Seattle designer’s recent solo show at the Century Ballroom on Capitol Hill.
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