PORTS: Flying high
By Joseph Ungoco for RunwayResource.net
As we filed into the Ports 1961 show, we were met with massive graphics of pistons and machinery arching over the U-shaped runway. The show began with a moment of silence for fashion's lost son then fog began to pour out of the doors to backstage. Some of us were feeling the Machine Age vibe and wondering if this staple of the “Ladies who Lunch” set might have gone Rosie the Riveter Workwear on us.
What ensued however, was sheer delight. Designer Tia Ciabani gave us an Amelia Earhardt moment. From the supple gloves to her modern take on the aviator hat, she took us through what a modern woman wears to conquer the air in an open biplane — as well as the city streets!
The muted color palette was rich in deep hues and sprinkled through with prints in luxurious fabrics. The heavy guage slubbed knits were paired with leathers in an utterly fresh take on the Ports aesthetic.
By Joseph Ungoco for RunwayResource.net
As we filed into the Ports 1961 show, we were met with massive graphics of pistons and machinery arching over the U-shaped runway. The show began with a moment of silence for fashion's lost son then fog began to pour out of the doors to backstage. Some of us were feeling the Machine Age vibe and wondering if this staple of the “Ladies who Lunch” set might have gone Rosie the Riveter Workwear on us.
What ensued however, was sheer delight. Designer Tia Ciabani gave us an Amelia Earhardt moment. From the supple gloves to her modern take on the aviator hat, she took us through what a modern woman wears to conquer the air in an open biplane — as well as the city streets!
The muted color palette was rich in deep hues and sprinkled through with prints in luxurious fabrics. The heavy guage slubbed knits were paired with leathers in an utterly fresh take on the Ports aesthetic.
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