MSP Fashion Week in review: The Shows f. Emma Berg, Amanda Christine & Kimberly Jurek

Text by Beth Hammarlund
Photos by Corey Tenold

After a successful debut in spring 2011, The Shows returned for another MNfashion Week. Held at 514studios in the Warehouse District, the show featured a trio of local favorites KJurek by Kimberly Jurek, Emma Berg, and Amanda Christine showing fall/Winter 2012 collections.

Jurek opened the show with an easy cabernet-colored dress with delicate straps and a playfully uneven hem. It didn't push any boundaries, but certainly had the elegant and tasteful quality that Jurek is known for. A black cowl neck winter cape was a standout piece, followed by a floaty dress in a green and black print that my seatmate and I simultaneously called dibs on.



Unfortunately, the majority of Jurek's capsule collection was underwhelming and lacked variety. Dresses were repeated in varying colors and lengths, giving the presentation a sense of redundency. Several plunging cowl neck dresses felt dated.


The makeup was striking, and much like some of Jurek's best looks, the hair was feminine and unfussy. Accessories by KR Designs punctuated the collection, and while the pieces were outstanding, in several cases chunky necklaces competed with the necklines of dresses.

Emma Berg's collection, entitled "Que Sera Sera," was a combination of good manners and unbridled girlishness. The clothes were feminine and fun nods to artist Frank Gaard, whose work inspired the collection and showed up on several pieces. Neon pinks, greens and blues played against pale dove grays and creamy ivories. Peter Pan collars created a youthful, almost childish, impression, while bulbous sleeves recalled the unapologetic drama of the '80s. Conservative tweeds with fluorescent details were perfectly suited for a fanciful rave.

There were several looks that worked in the context of the collection, but may not hold up on their own. A well-tailored tweed strapless dress with tangerine fur edging seemed right at home during the presentation, but may not retain that same appeal as an individual item on the rack. One of the more contraversial looks featured a model in a sheer fuchsia blouse with her breasts daintily covered by Tribble-like appliqués. Or maybe they were more like furry fried eggs. Either way, it got people talking, and I personally loved the unrestrained silliness.

Berg designs for women who want to use clothing to push their creative limits, but some of the separates in this collection were positively demure. Basic skirts were made special with unexpected gathers and hot pink stitching. A great way for a more conservative dresser to explore Berg's work.

The looks were elevated by light-hearted styling. Models walked in white tights spotted with pink hearts and neon pink plastic hoop earrings. Hair was accented with pinks, oranges, bluesm and greens, and neon eyelashes brought to mind the exaggerated doll-like style of Japan's Ageha girls.




Amanda Christine is certainly one of the most successful designers in the Twin Cities, selling her pieces at boutiques across the country. But this was her first hometown show in some time, and expectations were high. She presented a beautifully executed collection with great commercial appeal.

There was certainly an air of the '70s in her separates, and some of her sweater dresses were perfectly suited for jet-setting woman in the '60s. The palette explored shades of purple and merlot, while paisley was a major element in many of the looks. I'm personally not a huge fan of paisley prints, but the choice of print did align with the '70s working woman she seemed to be channeling.

The entire presentation was solid, but felt a bit uninspired. The palette and shapes were incredibly restrained, as if Christine had set specific limits prior to starting the collection and wouldn't consider coloring outside the lines. I'd love to see her relax her grip on the reins and see where her designs take her.

The Shows continues to be a highlight of Minneapolis-St. Paul Fashion Week, and we're already anxious to find out which designers will be involved next season.

MNfashion Week in Review: The Red Dress Collection

Text by Beth Hammarlund
Photos by Chris McDuffie

Move over, little black dress - in February, it's all about the little red dress. Already a fixture at New York Fashion Week, the Red Dress Collection made its way to downtown Minneapolis for the first time on Monday night with an all-local cast of designers and celebrity models. Carly Aplin of CW Twin Cities, MNfashion and the Heart Truth campaign, which promotes the little red dress to raise awareness of heart disease in women, presented a collection of 11 crimson gowns by some of the top local designers in the plush lounge of Seven. Throughout the evening, well-heeled crowd sipped on $18 Red Dress Cocktails (it's for a good cause, you guys) and perused a chic selection of items and packages for silent auction, with all proceeds from the silent auction and ticket sales going to The Women's Heart Clinic at the University of Minnesota.

Dresses were modeled by a variety of local luminaries - medical professionals, style editors, and philanthropists were paired with designers to create looks that married their personal styles with the designer's aesthetic. ROX Jewelry designer and former Fox 9 news anchor Robyne Robinson was the first to walk the runway in a layered gown by Rachel Blomgren.

Dress by Rachel Blomgren

Max Lohrbach gave one of his signature silhouettes an extra Valentine's Day punch in lipstick red. The result was sweet and flirty, and it was fun to see Lohrbach working with such a bright color.

Dress by Max Lohrbach

Sandy Simmons was poured into a floor-length gown by Adrienne Yancy of ArielSimone. Simmons was even more statuesque than usual, a testament to Yancy's tailoring ability. It fit like a sexy glove.

Dress by ArielSimone

Danielle Everine dressed Kaela Humphries (that's Kris' plus-size model sister) in a floaty red dress that could've gone a bit too conservative, but a racy thigh-high slit gave it just the right amount of sauciness. Everine hasn't done much plus-size design, but it couldn't have been much of a challenge to design for the stunning Humphries.

Dress by Danielle Everine

Landyn Hutchinson closed the show wearing the finale gown by Emma Berg. The show-stopping number was, without question, the highlight of the event. It was bold and romantic, and guests could barely take their eyes off of Hutchinson.

Dress by Emma Berg

Kudos to the organizers, designers, models, and volunteers for putting forth so much effort for a good cause. The Red Dress Collection's introduction to Minneapolis went off without a hitch, and hopefully we'll be able to attend this event again in the years to come.

Dress by Laura Fulk

Look by Christopher Straub

Dress by Sarah M. Holm

Dress by Tim Navarro

MNfashion Week in review: "Little Black Dress"

Text by Jahna Peloquin
Photos by Amy Gee with Patrick Kelley

Little black dresses don't a runway make. That is, unless they're one-of-a-kind dresses that aren't all that little or basic. Leave it to local designers like Emma Berg, George Moskal, Max Lohrbach and Danielle Everine to make the classic closet staple into statement pieces. The dozen LBDs walking the runway for the "Little Black Dress" fashion show at St. Paul's Amsterdam Bar and Hall on Thursday evening ran the gamut, from vintage-inspired (see: Moskal, Everine) to sex-on-a-stick edgy (see: Raul Osorio, Sarah M. Holm, Laura Fulk), and from cocktail-ready (Amanda Christine) to gala-ready (see: Berg, Maritza Ramirez). Though a group show at the heart, some of the evening's standout pieces included Everine's silk chiffon overdress with a beaded high collar, embedded with lace applique and paired with an underdress in a printed lace motif, as well as Berg's silk gazar bodice with a woven polka-dot ballgown skirt. It also served as a return to the runway from Fulk, obscure since her F/W 2010 collection showing in spring of that year, as well as the introduction to Nicole Larson, a young designer already showing a strong point of view. Though the additional segment showcasing a non-LBD look by each designer seemed a bit tacked-on and unnecessary, slickly-produced event as a whole (which featured stunning Vision models and styling by HAUS Salon) offered a clear, easily-accessible theme that seemed to point to a increasingly sophisticated aesthetic within MNfashion and the local fashion community in general.

Look: George Moskal. Photo: Amy Gee

Look: Nicole Larson. Photo: Amy Gee

Look: Ivan Idland. Photo: Amy Gee

Look: Raul Osorio. Photo: Amy Gee

Look: Sarah M. Holm. Photo: Amy Gee

Look: Raul Osorio. Photo: Amy Gee


Look: Laura Fulk. Photo: Amy Gee

Look: Danielle Everine. Photo: Amy Gee

Look: Amanda Christine. Photo: Amy Gee


Look: Nicole Larson. Photo: Amy Gee

Look: Jenn Bratvold. Photo: Amy Gee

Look: Ivan Idland. Photo: Amy Gee

Look: Max Lohrbach. Photo: Patrick Kelley


Look: Sarah M. Holm. Photo: Amy Gee


Look: Danielle Everine. Photo: Amy Gee

Look: Jenny Carle. Photo: Amy Gee

Look: Emma Berg. Photo: Patrick Kelley

Look: Emma Berg. Photo: Patrick Kelley

Look: Maritza Ramirez. Photo: Amy Gee

In Review: Dress Rehearsal

Fashion designer Emma Berg and jewelry designer Stephanie Lake elegantly showcased their newest work at an intimate cocktail party to raise funds for the Boys & Girls Clubs of the Twin Cities, with a special focus on music and art programming. The l'etoile co-sponsored benefit was held in the gilded ballroom of a private estate in Deephaven, MN. Guests were treated to an array of canapés and desserts from Chow Girls and Perfect Day Cakes, as well as musical performances from Boys & Girls Club members and videos about the organization before the fashion presentation began.

Berg created a rainbow of cocktail dresses and gowns specifically for the event. The capsule collection opened with cocktail dresses in white, navy and dandelion yellow. They were fairly conservative designs compared to the majority of the collection, but each had understated details and design elements that separated it from the average cocktail dress.

An asymmetrical cornflower blue wrap dress could also be worn as a light-weight coat. On its own, the translucent fabric and potentially plunging neckline (depending on how loosely the dress was worn), could be fairly risqué, despite the layers and gathers of fabric. But worn as an additional layer over another gown or dress, it would function as a fashion-forward look for the more conservative dresser.

A voluminous cream sleeveless cape trailed a simple white dress and red lace waistband. Elements of the design were almost cocoon-like, and the cape hung down the model's back like dripping wings. It had an incredibly graceful effect. Though the red lace was stunning, it would be interesting to see this look belted with something that maintained its ethereal quality.

An delicate one-shouldered dress in complimentary shades of green felt suited for Titania in A Midsummer Night's Dream. The dress was expertly sewn (in chiffon, no less), but even so, there were a few slight puckers of fabric. With a design such as this, anything that breaks the flow creates a distraction.

The penultimate design, a dramatic magenta gown, recalled the gentle turns and folds of flower petals. The skirt and bodice were immaculately sculpted, and the color itself was incredibly rich. The exaggerated flowing sleeves were interesting and well-constructed, but the drama of the look limits the piece to the fashion brave. It would be too Dynasty for most women, but with only slight editing, it could become a far more wearable gown.

The finale dress was a bouquet of colors. Flowers, hand-painted by local designer Max Lohrbach, blossomed on yards of silk that gathered and ruffled around the model. The result was stunning. One of Berg's signature design elements is a vertical gathering that cascades, uninterrupted, down the front of her gowns. However, this particular gown's shape would have been more dynamic if the horizontal line of the black waist band was unbroken.


Jewelry, headpieces and bags by Stephanie Lake complimented the collection. Lake, who also co-hosted the event, has found success by creating statement pieces that are almost alarming in their boldness. She and Berg made a very smart pairing. Several lucky party-goers wore Lake's jewelry for the event, and a pop-up shop gave attendants the opportunity to examine her pieces up close.

Styling by l'etoile's own Jahna Peloquin and hair and makeup by Charlie Brackney and the talented crew of Haus Salon hit just the right note of avant garde. The models from Vision Model Management were impeccable as always, even after changing into little black dresses to assault the hors dourves table. The event was understated and elegant, and raised enough funds to purchase a number of musical instruments for the Boys & Girls Club's American Guitar & Band Academy, including a new piano, drum kit, and more.

MNfashion Week in review: Emma Berg & Kevin Kramp

Though MNfashion's 2011 Fashion Week calendar is overflowing with events, Emma Berg and Kevin Kramp's joint runway presentation managed to create constant buzz. Held in the MNfashion Atrium in the Grainbelt Building, the show was straightforward and gimmick-free.

Berg presented "Tragicomedy," a collection focused on 2010, an mournful year politically, socially and environmentally. Touching on events such as the passing of Proposition 8, the BP oil spill, and the earthquake that gutted Haiti, Berg's thoughtful collection cataloged and reflected these events with a sense of dark irony.

The show opened with a pair of ivory palazzo pants and matching blouse in watery silk. The graceful neckline and delicate sleeves clashed with a garish red smile sequined across the front of the blouse. It was beautifully vulgar, something the late Alexander McQueen probably would have loved.

A red t-shirt blouse re-worked the classic British World War II poster, replacing "Keep Calm and Carry On" with "It Gets Better." Despite the potential for cheesiness, the look worked. It felt modern and relevant.

An ivory shell with a sequined drops of black oil was paired with cropped wide-leg pants with a beautifully dyed band of bluish black just above the hem. Photographs do not due this look justice. The dyed pant legs appeared again on a pair of ivory silk overalls. The allusion to the plight of Mexican migrant workers in the Southwestern United States was made clear with an appliqué of the eagle crest from the Mexican flag. Compared to the rest of the collection, the look felt heavy handed.

Halfway through the presentation, a gown of fluttery white layers with bloody red strips of silk received a burst of applause. The design was sophisticated and feminine, but the unexpected streaks of red are what elevated it to a higher level.

A black cocktail dress and a funereal full-length gown served as chic mourning wear. They weren't as edgy as some of the other looks, but they were emotional pieces, well-designed and constructed.

An outstanding red lace number felt like a finale look. Though it incorporated elements frequently seen on the runways of Marc Jacobs and Christian Dior, it didn't feel derivative. It could easily be worn down a runway in New York or Paris Fashion Week.

The overt sweetness of the ruffled ivory and cream finale dress veered into Erin Fetherston territory. A tiered dress paired with Louis Vuitton-esque bunny ears and lacy leggings ended the show on a welcome note of optimism, but its unapologetic girlishness and naivite distanced it from the rest of the collection. I would have liked to see a more gradual transition from pessimism to optimism in the narrative.

As the line of runway models took their final lap, the thoughtfulness and skill of the collection hit home. It was a rousing success. Berg took her bow in one of her own designs and her excitement was palpable as she giggled down the runway while the audience stood and cheered.

Kevin Kramp has been making the rounds at Paris Fashion Week and was recently featured in Vogue Italia, so it's a privilege to catch the designer's work in Minneapolis. He opened his presentation with a pair of his signature dropped crotch knit trousers that were surprisingly wearable considering the avant garde nature of the designer's work.

Open weave sleeveless sweaters made several appearances. Seeing the intricacies of the knit displayed on bare skin gave audience members further back a chance to better appreciate the intricacies of the design.

Kramp included several looks for women (though much of his work is unisex), much to the audience's delight. The baggy shapes paired with angled baseball caps created a look was feminine, but tough. Almost street-wise.

The elaborate finale look was painstakingly intricate. Several complicated patterns wove together effortlessly. The piece was, without question, a work of art. Audience members craned their necks to catch every loop and stitch, but there was so much to appreciate that it was impossible to catch all of the details.

Not one to shy away from a good time, Kramp wheeled out onto the runway in one of his own creations. As he half-pedaled half-walked on his little bicycle, he gave out exuberant high fives and handshakes to audience members lucky enough to score a front row seat. Fashion is often serious to the point of self-parody, so it's always refreshing to see a successful designer who is clearly having fun.