Korto's going to be a HUGE star. I was particularly struck by one remark made during the judging. Something to the effect that she designs for a "wide range of sizes." It's true and it can only help her to get her work out there on more women. And I was NUTS about the clingy cerulean blue gown. Yummy. One of the things that kills me about high fashion is that 99% of what you see on a runway is designed for SHOW and virtually unwearable as actual clothing. I saw what LeAnne did and I thought it was pure art, a total collection with a real point of view but, as is typical, there aren't many women who could or would wear any of what she produced. And Kenley... You know, when I studied art at Ohio State we used to have visiting artists in residence, in every discipline (painting, sculpture, ceramics) every three months (I HOPE it's still like that...). After I finished with those dull foundation courses everyone was required to take and was actually taking real studio painting classes I started by doing these abstracts that were inspired by dermatological diagrams I'd seen in a moisturizing lotion pamphlet when I was a kid (proof that artist's find inspiration in the craziest places). When critique time rolled around all the naive young students (of which I was one) sat around telling me their honest opinions and Julie Langsam, the visiting artist, said something about my work being nearly identical to that of Joan Miro. I was clueless and said I'd never heard of Joan Miro to which she replied, with raised eyebrows, "You need to find out." Then she gave the whole class a talkin-to about how, as artists, it's our JOB to know the history of art so that, at the very least, we aren't unwittingly doing stuff that's already been done. Later, a more experienced student, a little further along in the curriculum, ran into me when I was working, looked at my paintings, and said "Hey, nice Miro's!" I was like "Who IS this Miro guy???" He actually invited me to the Fine Arts Library (yea, we later dated) and pulled out some books and showed me. I was STUNNED. I couldn't believe everything I was doing had already been done. I may have been tempted to blow off Julie's criticism if she'd been the only one to remark but when the bodies started adding up and I realized everyone around me seemed to know something I didn't I started to see I had some learning to do. Besides, those Miro paintings were really amazing and I liked what I was seeing. I didn't get mad about the negative criticism because I understood on an intuitive level that it was meant to help me. Also, Julie Langsam, believed in me and, in her 3 short month's at school, personally taught me SO MUCH one-on-one. Now that I'm older I love imparting what I know to younger artists who really want to push themselves. Julie was right. Whatever your craft, it IS your job to know what proceeded you. Unlike Kenley, I was willing to accept this fact (after I pretty much got beat over the head with the facts!) so it's really painful to watch Kenley try and defend what she does out of ignorance. No matter how wearable her clothes are, how pretty... If she's always surrounded by people who know she's just doing what's been done before and those people are in a position to help (or hurt) her career, she's finished before she even gets out of the gate.
