Luly Yang 2010 Couture Collection "The Creation"

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TALK OF THE TOWN

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Contributed by Tristan Uhl, Photos by Sarah T. Skinner

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When it comes to Seattle fashion designers, no one is quite as well versed in the ostentatious art of throwing a truly sybaritic couture show as Luly Yang. This year’s annual couture collection was the culmination of Luly’s lifelong love of the works of Renaissance master Michelangelo—some of which are now being displayed at our own SAM—rekindled after a recent trip to the Eternal City. Luly states that upon “gazing up at the awe-inspiring stories of the Sistine Chapel, I knew immediately that Michelangelo’s creations would be the inspiration for my next couture collection.”

As couture designers the world over have shown us in Fall/Winter 2009/10, the time has come to return to the days of more classical draping, but with a more geometric, modern feel. Much like couture greats Viktor & Rolf and Balenciaga this season, Luly Yang has made a truly individual and modern interpretation of the geometric linear perspectives of renaissance artists.

The term "renaissance" weighed heavily in my mind as the models descended upon the runway garbed with the iconic decadence of bygone empires, whose spirits were in some measure rekindled if not "reborn" through the clothes. It was only fitting that a show of this caliber should be held in the Spanish Ballroom of the Fairmont Olympic Hotel. The space boasts 20-foot high ceilings, fountains, Italian renaissance accents, Palladian windows and nearly 5,000 square feet. Where else would you expect the crème de la crème of Seattle couture customers to convene to see the newest creations of their patron saint? It goes without saying that the night was a enormous success.

Scores of well-titivated young women congregated in the palatial Spanish foyer as Subterfuge Editor-in-chief Sarah Caples and I ascended the stairs to the parlour to sartorially parley over cocktails and hors d'oeuvres before the show. Before long the Spanish Ballroom was filled with the noise of hundreds of voices, the trickling fountain and the clinking of ice cubes. This reception was a who’s who of Seattle society all mingling together in avid anticipation while the drinks flowed and cameras flashed over the sea of heads. After a few moments, I noticed in my peripheral vision white forms moving through the crowd. To complete the Michelangelo fantasy, models painted white were slowly working their way to predestined pedestal positions in the four corners of the room to stand as stoically contrapposto as David—a charming and theatrical presence informing us that the evening's pageantries were about to commence.

After a brief introduction by our mistress of ceremonies, Mimi Gan, we were introduced to the world of Camp Korey, an organization which is close to Luly’s heart and is the beneficiary of proceeds garnered that evening. Camp Korey is a summer camp here in the Pacific Northwest that helps children with debilitating illnesses find fun and acceptance in an environment that would not otherwise be available for them without the underlying medical support Camp Korey offers, at no cost to the family. We were even regaled with a runway show of several Camp Korey kids modeling incredible creations made by Luly just for them. One model was so thrilled to show off her new outfit that she worked the runway despite having had major surgery the day before! Before revealing this year’s collection, there was a more personal viewing of Luly creations made for her couture client base, which was modeled by the clients themselves. All of these garments were created over the course of the last year and included a few exquisitely flattering bridal gowns, some glorious gladiator-style cocktail dresses and a few men’s suits as well. The pleasant shock of the evening came when a tango-garbed gentleman and his partner marched down the runway, surprising said partner by getting down on bended knee and asking for her hand in marriage.

“The Creation” is a multi-faceted collection this year which breaks down into five separate sub-collections, all of which are tied together by the common bond of being Michelangelo’s most well known artistic achievements – Pietà, Piazza del Campidoglio, David, The Creation of Adam and La Cupola of St. Peters Basilica. The collection spanned millenia and was full of interchangeable pieces that combined everything from ancient Greek to 60s mod, and imperial Roman stollas. Flowing like water, these gowns of charmeuse, chiffon, crepe and satins poured down the runway with music and visual aides to match their respective eras of inspiration.

Garments for this year's couture offerings were comprised of everything from free-flowing, stollaesque drapery to more structured, feminine draping. Complete with delicate ruffles and gathers of silk wool, organza and taffetas in everything from soft pinks, lavenders and muted eggplants to more dramatic chartreuses, aquamarines and a rather unique terracotta –colors all visually as stunning as the view from a Tuscan villa. The crowd favorite—and mine, as well—was The Creation of Adam collection. Shimmering in nudes, bordeauxs and sage, this was the most classical chitonesque style draping of the collection as a whole, with much of the drapery melding at the shoulders and natural waist. Much detail was laid to the sumptuous gathering on the bodices, giving them the appearance of statuesque roman nobles. Among other intriguing touches was the hand beaded appliqués—also on shoulders and natural waists- and trims of her La Cupola collection which drew much of its influence from the varied columns, architectural gable styles and inlays of St. Peters Basilica; think Madeleine Vionnet meets Corinthian splendor. These pieces glittered in decadent golds and silvers—some hand painted- of metallic twill, silk faille and lame, giving them even a late 50s flair reminiscent of a care free, fountain-moistened Anita Ekberg a la Fellini. Dressed up or played down, these pieces work. Needless to say, Seattle couture aficionados are in for a styling treat with this year’s transposable collection.

Luly Yang has already had an amazing year. In summer, it was announced that she would be collaborating with Teatro ZinZanni to create 13 memorable outfits—including the infamous Monarch Butterfly dress—for their highly lauded production, Bottega ZinZanni, which recently ended its run. Next month she will celebrate the one-year anniversary of her first international store in Beijing, which broke ground as the first shop of an American couturier in Beijing and has been an enormous success. That celebration will also be at the Fairmont Olympic.

See more photos from the exclusive photo shoot by Subterfuge photographer Sarah Takako Skinner.

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Luly Yang 2010 Couture Collection "The Creation"