Disembodied she moved forward, gliding across the cobblestone streets and drinking in the last bits of sunlight that shone brilliantly from the horizon. Tied lightly to her waist was a red helium balloon that bounced curiously above her, reflecting the light from the sky and showing off its variegated hues at each turn, and dip, in the plaza.
Stopping at the windows of various boutiques, she absorbed the latest designs, always aware that her uniqueness (the leather peplums, the princess seams, the various shades of pink) would set her apart from the others. She began to whistle a melody that was both soft and sensual, accompanying her as she glided onwards to the next store.
Collectively, the scene represented what in her experience had always been one of inspired beauty. But something had changed. The seams that once secured her were worn now. The melody she sang gradually faded in novelty and in the midst of the modern designs, she became unsure of herself. Suddenly she became filled with a longing for that which would liberate her from these insecure thoughts and, most vitally, inspire her to embark on a fresh beginning.
~,'@
David Chum's Selah D'or premiered a bit hestitantly at Style Week Providence on Sunday, June 6th, at the Marriot Providence. The scene was set for the debut of his Fall/Winter 2010 collection and after having seen his previous designs at other shows, those familiar with his work were eagerly anticipating what his latest collection would contain.
Opening with Lykke Li's "Little Bit," a slow, sensual song that moved demurely with a slow tempo, the show's first half embraced reminiscent pieces from Chum's Spring/Summer 2010 collection, each one plunging onto the runway in cool, seductive bites. We recalled each one, remarking on the satin calf-length armor dress with a high collar and sculpted shoulders, the pink knee-length dress with a plunging neckline and leather peplums, and the beige mini tulip dress with plunging scoop neckline, exaggerated shoulders, and leather fins.
The models delivered contrast to the lively designs that was both lasting and ephemeral. Pale foundation was applied to their faces and dark hues covered their lips. Their hair, combed back in ponytails and wrapped around their necks, seemed to throttle their ability to project emotion, or to even release a single breath.
Towards the latter part of the first half of the show, technical difficulties arose. Lykke Li's voice diminished into silence and backstage scuffles floated unintentionally towards audience member's ears. The suspension lasted for some time, producing uncomfortable speculation as to whether that was all we would see. While indeed the Spring/Summer 2010 pieces were notable, we were ready for something fresh, something new; something that would trumpet the rising of Chum's artistic tenor and allow us to witness his growth as an artist.
~,'@
Drowned with a desire for inspiration, she perched herself on a stone tableau, itself propped up by two stone lions that roared open-mouthed for perpetuity. The air became chilly and the sky, overtaken by night's dark luminescence, shadowed the pink that covered her.
The melody she had whistled earlier passed into obscurity. Staring down at herself, she felt most profoundly that it was time for a change; a moving forward. She felt she had remained in her present state for too long and that the time had arrived for her to embody a new fabric, a new design. A strong, more pronounced silhouette that would caress her desire for a revived channeling of artistic confrontation.
~,'@
In the midst of the show's difficulties, the strongest piece of the set emerged, a white mini tulip dress with a plunging scoop neckline, exaggerated shoulders, and leather fins. The dress, at once a celebration of Chum's structural design tactics, facilitated the transition between the two parts of the show, and succeeded in redeeming the production after its abrupt pause.
Gradually, then, the mood changed and the discombobulation shifted into comfort. A new track, Amon Tobin's "Esther's," an edgy industrial piece filled with motorcycle engine starts, enlivened the room and the first of the Fall/Winter 2010 pieces, a drapey, long kimono sleeve top with black fly-front pants, emerged. It was divine.
The pieces that followed were equally impressive, each one reviving the show and together comprising a collective sigh that permitted us to breathe in what felt like a new beginning. These were the pieces we had been waiting for. These were the ones we had longed to see. They included: a hooded cape with bound arm openings and gold metal, and leather fasteners; a mini dress with a sheer organza and tulle bodice, waistline cutouts, diamond studs along the waist, and full metal black zipper; and a capelet with sculptural collar detail and gold metal, and leather, fasteners.
Even the models had changed. Their hair was pulled back in tight, secure braids, and the expressions they wore were more determined, exact. They knew what they wanted (at last) and they were resolute in achieving it.
~,'@
Slowly, she metamorphosed into her new silhouette. Her fabric changed from the polyester stretch satin to one of a silkier blend. Thin golden links began to envelope her sleek frame and a buoyant skirt formed where the pleated one had been before. A golden chain slowly materialized around her waist and dangled in single links in front of it, clinking with the sound of a new horizon.
She rose suddenly from the stone tableau refreshed with the desire to return to the place where she had been created. She set her sights on that free-standing house past the border of Arlington and Cambridge, and, relinquishing the balloon to the night sky, glided towards that place.
Following her in the distance was a melody, stronger and edgier than the one before, that rose with each moment and acted as her companion on her profound trip home.
~,'@
Chum's new collection signaled the evolution of an artist whose work is characterized by strong structural lines and detailing, and who is now entering a field of maturity that allows him to embrace innovation. Having always hesitated to use the color black, Chum's espousal of it became a savvy tactic that carried his signature technique to heightened proportions forcing us, his audience, to pay closer attention to the construction of each design. He intelligently used gold to accessorize the pieces (gold metal and leather fasteners, gold chains, gold studs, etc) and, unfailing in his desire for structural playfulness, coupled sheer organza with silk to produce a refined, seductive look.
The pieces from the Autumn/Winter 2010 collection retain his proclivity towards the feminine, but each possesses a redemptive quality that grants appreciation for Chum's obsession for detail and engages us in his revitalization of classic designs.
~,'@
Standing outside the home where she had been sewn and constructed, she watched her creator file down the stairs, stopping on the third to last step to gaze out at her. She glided towards him then and, bowing forward, created a muffled sound with her fabric that resembled crying.
David stood before his garment and loved her more than when he had originally conceived her. As she stood there, suspended off the ground with no support other than her own buoyancy, he opened his arms and welcomed her, redeeming her self-doubt and insecurity, and allowing her to bask in the freshness of her being.
Reunited, they turned at the sound of a scratch on the sidewalk and watched as the red helium balloon floated up the stairs towards them. Tenderly, it entangled itself around both David's arm and her sleeves, remaining with them until the moment they decided that, at last, the "moving forward" had been achieved.
Together, they released the balloon.
~,'@
To learn more about David Chum's Selah D'or and to experience his profound creativity, please visit his website at www.selahdor.com.
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