Couture & Cars 2022 Full Recap
10 min read | Runway | Summer ‘22
1936 Auburn 852 Speedster on display at LeMay America’s Car Museum as part of the Reclaimed Rust exhibition, July 2022.
BY TAYLOR GRIFFIN |
August 29TH, 2022
Elegance. Luxury. Innovation. Design.
Did you picture a clothing line or a Cadillac?
On the surface, apparel and automobiles seem to have little in common. Hemlines and headlights don’t mix. Blouses and brakes live in different worlds. But the stark dichotomy begins to blur when what fashionistas love about fashion is juxtaposed with what car fanatics love about cars.
Sleek silhouettes. Custom creations. Arriving in style. The list goes on.
FDNW Volunteers manage entry as Lines form outside.
The 2022 Couture & Cars Fashion Show, arranged and hosted by Fashion District NW, was a testament to this notion. On Saturday, July 28th, the LeMay automobile museum in Tacoma was transformed into a high-fashion runway allowing attendees to indulge in the apparel and accessories collections of eight local designers as well as the classic car collection of heavy-metal icon and Metallica lead James Hetfield. David Bailey, CEO of FDNW, aimed to “support the talented northwest couture designers by offering a platform that focuses exclusively on couture fashion.”
FDNW Lead Photographer Jared Ribic (center) preparing moments before the show.
Chairs were carefully arranged around Hetfield’s one-of-a-kind automobiles, providing guests with somewhere to sit and carving out a pathway for models to stride beside the gleaming 1956 Ford F-100, the sleek 1948 Jaguar, and a polished 1953 Buick Skylark amongst the musician’s many impressive vehicles on display. The exhibition, titled “Reclaimed Rust,” was an ode to the resurrection of vintage rides. LeMay’s unforgiving concrete floors challenged the warm wooden beams arching up and over the contents of the museum, encasing the cars in an elongated dome, capped at one end with an impressive window that welcomed natural light and city views. As the sun set, however, the florescent lights pitched in, giving the space an appropriate industrial feel while maintaining the venue’s initial sense of posh that had been thoughtfully curated by Fashion District NW’s team.
VIP Guests enjoying a pre-show cocktail.
Another fixture of the Couture & Cars Fashion Show that sought to elevate the evening’s already high-profile was Gene Juarez Salons & Spas. With a 50-year legacy in the Pacific Northwest, Gene Juarez is known for their ability to “leave each guest feeling better than when they arrived,” as well as for its generosity in our local independent arts scene. As a major sponsor for Couture & Cars, the GJ team donated hours of hair and makeup magic to ensure the 30+ models were ready for the runway.
Photographer Tim Lawrence (left) capturing guests on the red carpet.
In accordance with FDNW’s desire to produce an event with an ambiance akin to that of New York Fashion Week, a red carpet was rolled out for attendees, and Seattle photographer Tim Lawrence captured many of the most fashionable individuals of the evening, which was just about everyone.
Guests in attendance at Couture & Cars, July 2022.
The VIPs, the second and third-row guests, and the standing-room-only ticket holders were all dressed to impress. I was in attendance as FDNW’s Social Media Marketing Manager to get the 411 on who and what was being worn. Luxury brands were sported (Louis Vuitton, Gucci, Fendi), brands known for their trendy affordability made an appearance, (Zara and ASOS), and a few ladies, including myself, donned the work of Couture & Cars featured designers, such as Ivan Delfín, Lisa Marie, and Namiko Abloom.
Showtime
Santiago Alejandro
The night began with the stunning work of Santiago Alejandro—or more appropriately, Santiago and Alejandro. Originally from Mexico, the two men grew up helping their mothers sew dresses, which inspired them to specialize in gowns for weddings, quinceañeras, and pageants. Santiago and Alejandro have been designing together for 17 years and enjoy crafting with challenging materials, which is a delight that is undisguised in their new collection. Bedazzled bustiers hugged the model’s waists where skirts bloomed like flirtatious explosions of tulle. Santiago and Alejandro gave every look something to “wow” the audience and tied the collection together with the use of feathers, which could be seen in each design in varying quantities. Some looks incorporated a few quills as an accent on a billowing neckline or the hems of romantic bell sleeves, while other looks were made entirely of plumage, bodice and train alike.
The most memorable gown from Santiago Alejandro resembled a monarch butterfly, keeping with their unspoken theme of flight. The ensemble was complete with a head-to-toe jumpsuit drenched in rhinestones, a large crown of orange and black feathers, and of course, a glittering pair of wings constructed to be fiercely fluttered down the runway. Santiago and Alejandro continued to set the bar for refined extravagance, and they’re clearly experts in their ability to embellish without taking away from the dresses themselves. If you don’t want to be the center of attention at your next special event, you may wish to look elsewhere because you absolutely will be turning heads wearing Santiago Alejandro.
Chance Watt
Up next was Washington-based Chance Watt who further reminded everyone in attendance that fashion is a form of art. Watt’s expressive background began developing at a young age as both a designer and a painter, and his new pieces were undoubtedly an electric fusion of these two passions. His leather garments served as a canvas for his unruly brush strokes. Yet if you know Watt, you know that each slash of pink, green, purple, and yellow was purposeful in its execution. Angular, broad-shouldered blazers paired with structured, trapezoidal skirts shaped the models into exaggerated hourglasses. Knee-high boots and geometric lines, along with the symmetrical nature of the attire gave the designs an authoritative feel, while glimpses of skin from crop tops and vests added a taste of rebellion. Chance Watt’s work was untraditional, it was bold, it was assertive, and it was exciting.
Ivan Delfín
Following Chance Watt was Ivan Delfín with a collection best described as versatile and chic. Although Ivan was born and raised in Tijuana, his new studio can be found here in Seattle in a space I’ve had the pleasure of visiting. The room was bursting at the seams with Ivan’s designs, a few of which he let me try on. Each gown was made up of two to three components, and as Ivan assembled them onto my body he explained his intention behind his new collection, which was to allow for adaptation.
One of Ivan’s of the looks—arguably my favorite—was a long forest green top, embellished with sequins and dripping beads layered over a matching pair of ankle-length slacks and belt. However, when the pants are removed, you are left with a seductive cocktail dress as well as an eye-catching pair of trousers that may be dressed up further with a heel and a blouse. Similarly, a second look in a silky chartreuse was worn with a detachable sleeve elegantly anchored around the wearer’s neck. The gown alone, with one shoulder and a high conspicuous slit, working together to expose enough skin for our typical summer weather, was simple and playful. But, when adorned with the sleeve, the dress was given more body, transforming the daytime look into evening wear. Though the two aforementioned pieces were green—serving as a starting point for Ivan’s chosen color palette—we also saw navy, crimson, dandelion, and peach hues as well as a variety of materials including lace, satin, and even feathers. Nothing was off limits for Ivan. But despite the miscellany of design choices that he implemented, the collection ultimately coalesced into a subtle cohesion of understated glam with his dedication to creating multifaceted, modifiable looks.
Vouture by Vien To
Vouture by Vien To, an award-winning fashion house located in both in Portland and Salem, initiated a change of pace with a collection primarily featuring bridal wear. Each gown was delicate and dreamy, many of which were clearly influenced by the 1950s and 60s. Tiers of tulle created full, fluffy ballgowns; silk-taffeta skirts could be seen on swing dresses; and lace was used in abundance. Conservative long sleeves, high necklines, and bolero capelets accessorized with pearls wonderfully reflected the brides of the Golden Age. In addition to the more traditional silhouettes on display, Vien kept her line fresh and fun with dresses resembling bouquets of flowers, one of which calls to mind an Oscar de la Renta evening gown Taylor Swift wore to last year’s Grammys. Whether traditional or modern, each dress was equally romantic and fitting for a spring or summer wedding.
Julie Danforth Design
Julie Danforth Design, the eponymous label by Seattle-based Julie Danforth, showcased a collection that was the most on-theme in regard to Hetfield’s classic cars. Like the rockstar’s relics, and some of Vien To’s work, Danforth’s creations were a nod to an earlier period in American history. Her line can best be described as a modern take on the most beloved trends of the 1960s. Fit and flare dresses hemmed mid-calf, and satin pencil skirts draped at the knee, softly accentuated her model’s feminine figures. Contrastingly, an oversized blazer hinted at the era’s turning point when women began to style themselves with more masculine pieces. Low-hanging cowl necks, fur scarves and swinging pearls gave the attire a relaxed feel, while the sleek hairdos and tight elbow-length gloves kept the looks clean and classy.
Other designers indulged in every hue, and while it was stimulating, I am a sucker for a selective color palette. To wit, Julie Danforth expertly decided on pitch black, pure white, and hot, hot pink. Black and white is a timeless combination, and pink was the apt choice of shade taking Danforth’s designs from safe to strong and from flat to fun. Further, the daring yet girlish nature of hot pink along with hints of the Swinging Sixties—a decade where women were breaking gendered fashion norms—gave the collection a feminist flair. The line was empowering, and brilliantly reminiscent of an iconic time in the fashion world. If it were possible, Julie’s work would surely capture the attention of Audrey Hepburn and Jackie Kennedy alike.
Gustavo Apiti Couture
Gustavo Apiti—a bespoke tailor and dressmaker from Democratic Republic of Congo, now well established in Seattle—showcased a collection of suits for all occasions and gender identities. Several suits were complete with embellished lapels, padded shoulders, beaded tassels, and tapered flaps, bringing an air femininity to an objectively masculine silhouette.
One would think that watching men’s dress wear parade down the runway would only invoke thoughts of business or professionalism. However, as it is explained in my current rooftop read Dressed: The Secret Life of Clothes by Shahidha Bari, the suit indeed has a secret life: “We might mistake it for a uniform, worn with mute obedience, but it possesses its own power.” In line with this statement, each Gustavo garment commanded the room with both structure and color. Oranges, such as terracotta and tangerine; purples, including plum and merlot; as well as cool tones, like emerald and navy, gave these suits a dominant yet flamboyant air. Recently, Seattle’s own Macklemore performed both in Utah, as well as in his most recent music video, wearing bespoke Gustavo Apiti apparel, demonstrating the stylish yet spry modality of these statement pieces. Speaking of which, the most notable feature of Gustavo’s designs was the precise tailoring. The rounded corners, crisp hemlines, and careful stitching placed Gustavo Apiti on par with fashion houses found on Savile Row.
Lisa Marie Couture x Namiko Abloom
Finally, we were presented a collaboration between Seattle-based couture houses Lisa Marie Couture and Namiko Abloom which closed this year’s Couture & Cars show. Lisa Marie’s collection, titled “Neo Royals,” embodies “the new wave of power,” she explains, as “the youth and its rebellious spirit. It’s about luxe living. . . high vibrations and really feeling yourself.” Lisa Marie accomplished the formation of this effect with baroque elements that could be observed in both her garments and Namiko’s jewelry. One model donned a deep-sea blue gown with sleeves beginning at the elbows, complete with a wreath of gemstones that wrapped around the her shoulders, as well as a branch of jewels that covered her eyes. Another wore a simple butterscotch mini dress with ruffles extending up from the bodice to lightly cover the collarbones, complete with metallic stones to give the ensemble a touch of glamour. Each cocktail dress and floor-length gown was uniquely made and exemplified Lisa Marie’s love of luxurious textiles. All fabrics, colors, and embellishments created an airtight story while the strapless necklines and fitted silhouettes tied the collection together with ease and grace. Namiko’s handmade pieces added extra sparkle, certainly, by way of headpieces, chokers, earrings, and ornate creations. To see the work of Lisa Marie alongside Namiko is to witness a match made in heaven such that I can hardly imagine wearing one without the other.
Afterparty
Images from our Couture & Cars Afterparty portrait sitting, July 2022.
Afterglow
After a quick celebration of the sold-out event, the night came to an end. The designers packed up their collections, models changed back into their sweatpants and shirts, and the hair and makeup team was officially off the clock. Fashion District NW’s team deconstructed the runway, returning the museum back into just that, and James Hetfield’s car collection once again became the focal point of the establishment. From an FDNW team member’s perspective, the event was a success. David Bailey would agree, stating that “Couture & Cars was an opportunity for FDNW to publicly put a stamp of approval on these designers while encouraging our audience to shop local.” From a novice fashion lover’s perspective, the event revealed that the Pacific Northwest has much more to offer than agriculture and microbrews, and I will no longer think of Seattle as being void of style.