NOLA Fashion Week show opener Elsa Brodmann presented her smart and sophisticated Ottilie Brodmann fall 2011 collection Friday before last in New Orleans. Inspired by female leads of 1960s film, from Doris Day to Diana Rigg, the 27-year-old designer succeeded in capturing the essence of professional femininity and conveying said aesthetic in a modern and accessible way. Her dresses are even named after these strong and sexy silver screen icons. (Think Audrey Dress and Twiggy Dress.)
Said Brodmann, “My whole idea is powerful women in the workplace.” Keeping with that theme, she pushed her presentation further with a little twist; in the corner of the catwalk at Ogden Museum she incorporated a clutter-strewn desk, a poised secretary busy behind it. “I thought it would be cute to have a female assistant,” Brodmann explained. While laboring away on her typewriter, models entered the runway, stacking still more projects before the harried woman prior to assuming their stride. This narrative hint, partnered with her quality work, solidified Brodmann as a talented force to be reckoned with. Local showgoer, Elizabeth Schindler, gushed, “[Elsa's] great. I love her. She slaved over that collection.” And it shows. Familiar with the full NOLA FW lineup, the gentleman next to me, another local resident Robert LeBlanc, whispered, “I think she’s the one with the biggest breakout potential of anybody here right now.”
While I wasn’t blown away 
by every single piece, by and large Brodmann didn’t disappoint. Hers was the most conservative collection in terms of overall hemline, but by no means was she meek or modest. Subtle as well as more pronounced tiers of ruffles (sometimes at the hip, sometimes as the skirt) were an attractive motif. Distinct collarbone cuts added visual interest while attention to tailoring provided polished products. More than a few pieces brought to mind Jackie O., models’ strings of pearls reminiscent of the regal first lady. All that was missing were big black sunglasses. As for the styling, it came as no surprise when Brodmann confided, “The high hair is inspired by January Jones on Mad Men.”
My single criticism can be summed up in one three-letter word: fur. Those familiar with my New York Fashion Week coverage know well my aversion to animal pelts, a belief that is far from unfounded. I didn’t expect to encounter this in the South, where warm weather rules. Indeed, Brodmann proved the only offender during all of NOLA FW. That said, please allow me to point out her perspective and method, more respectable than most I’ve witnessed.
When I inquired about the sourcing for her trims, Brodmann told me, “The fur is all recycled. All the furs that I use are vintage furs that I purchased through estate sales or antique sales. I cut them up and make them into new pieces. The only thing that’s not recycled is nutria.” This last sentence led to a brief chat about an article that ran in The New York Times not too long ago, about the rebranding of nutria as “guilt-free fur.” The story discusses Righteous Fur, a company that utilizes fur from nutria who are exterminated anyway, due to the ecological threat that they pose to the Louisiana wetlands. While I by no means endorse this system of repurposing, and believe that all forms of fur-as-fashion should be extinct, certainly Brodmann’s acquisition of fur is less egregious than it could be. Then again, as I always say, have compassion and go faux.
Apart from my ethical reservations, Brodmann impressed, positioning herself as a designer to take seriously. She’s carried in several stores, but not yet in New York. I could definitely picture her ready-to-wear collection hanging in tasteful Manhattan and Brooklyn boutiques. With price points ranging from $300 to $500 per piece (in part because all designs are domestically made), I have confidence Brodmann’s sleek looks would swiftly gain traction and attract a comfortable audience.
Photos courtesy of .
