xo-l'étoile
Showing posts with label fashion. Show all posts
Showing posts with label fashion. Show all posts
Monday, December 12, 2011
The Creative Class: Winter Editorial 2011
As connoisseurs of the creative, it's a given that l'étoile keep its eye on what's happening with the next generation of artists. We teamed up with guest stylist Steve Kang of St. Paul's BlackBlue boutique to give seven MCAD students studiously stylish looks for season. Expect to see plenty of flannel, wool, denim, and even some silk; classic styles that can translate as both youthful and professional. Enjoy, and learn a bit about these talented young up n' comers along the way.
xo-l'étoile
xo-l'étoile
Monday, September 19, 2011
In Review: Envision Artopia 2011
By Kate Iverson
Photos by Corey Tenold
One thing can be said about Envision's producers and Ignite Models co-owners Allison Hamzehpour and Jessica Cunningham: these chicks run a tight ship. From top to bottom, Envision, held at the Graves 601 Hotel, is a slickly produced extravaganza complete with all the bells and whistles. For instance:
Let it be noted, that, yes, I hashtagged #envision2012. This was a mistake, but at the same time, it wasn't. The very next night I had a realization that I haven't really been paying attention to what year it is, and that I alternately go back and forth thinking it's 2011 AND 2012 for various business-related reasons. This definitely made me wonder how many times I've written/said/hashtagged 2012 this year, and how many people thought I was a dolt because of it. Oh well.
Anyhoo, back to FASHION. For most of the attendees, Envision is one of those events that's more about the atmosphere and the party than it is about appreciating the actual artistry of fashion. Case in point: D-bags hooting and hollering phrases like "shake it girl" as any given model struts down the runway and/or rampant cougar howling when the prerequisite "dude models in swimwear" segment comes on. I used to fly into an artsy elitist rage about such things, but honestly I've long since stopped giving a damn. I live in the Midwest. That's reality.
The cougs loved this one, but let it be said that A. The designer, Kelly Ver Duin had some great pieces with interesting patterns and unusual design and B. chicks in the downtown club scene reach "cougar" status at around age 28.
Arwyn Birch
Kimberly Jurek's line Kjurek was up next. The longtime Envision fave and nationally-sold designer was a bit out of her element with freaky frocks of metallic and crushed velvet. Usually one to work the casual/cool angle like a pro, Jurek's jaunt into what seemed to be holiday attire crossed the line into costumey and was overly girly. Some of her other pieces rang true to the Kjurek trademark however, focusing on strong feminine structures and showcasing Kimberly's knack for effortless elegance.
Kjurek
Taking classic concepts and adding an artful spin: this is what seasoned designer Amanda Christine does best. Clever draping, shoulder pads, and something I jotted down as "a cute flappy thing", were all punctuation notes in her Envision collection. What pleased me most however, was Amanda's spin on the whole "sheer" trend. Instead of going the tried and true "I'm a demure chick wearing romantic, floaty sheers and I don't care who sees my bra" route, Amanda went for darker, boldly patterned sheers that bordered on loud. These trend-dipping looks were juxtaposed with her signature sculptural pieces that always tend to catch my eye.
Amanda Christine
Yqy by Vivian hit the runway and punched the audience in the face with a clownish combo of heavy fabrics, brash patterns, and "wearable art" sensibilities. Good tailoring aside, these looks freaked me the hell out and made me contemplate the concept of "felting" for a good 20 seconds...20 seconds I'll never get back. All being an asshole aside, I'd love to see some of these looks in normal fabrics, because while the materials and patterns were jarring, the designs themselves weren't half bad.
Yqy by Vivian
New-to-Minneapolis designer Caroline Hayden made a sparkly debut on the Envision runway with a collection of sequined skirts and dresses, bedazzled leggings, and a curve-hugging black velvet number that would definitely make the goth boys cry. However, I didn't find any of the actual designs to be very inventive, it seemed the sparkle was the biggest wow-factor. I loved her distressed black sequin dress, but the pink pencil skirt version reminded me of dead mermaid skin for some reason. But hey, dead mermaids are still pretty.
Caroline Hayden
I could stay up all night reviewing the boutiques too, which all had lovely, well-styled showings, but you'll just have to take my word for it. Envision is a long show, and I only have so much brainpower. Cliche, I have to note, made their customary finale splash with cute looks by local designers paired with gorgeously brazen feather headdresses and long feather earrings by KR Designs. Styling for the whopping 90+ looks was provided by the up n' comers from Secrets Fashion Agency, who raised the bar with altogether better, if not safe, styling inspiration than in past years. All in all, another well produced show by the Envision crew!
Cliche
Photos by Corey Tenold
One thing can be said about Envision's producers and Ignite Models co-owners Allison Hamzehpour and Jessica Cunningham: these chicks run a tight ship. From top to bottom, Envision, held at the Graves 601 Hotel, is a slickly produced extravaganza complete with all the bells and whistles. For instance:
Let it be noted, that, yes, I hashtagged #envision2012. This was a mistake, but at the same time, it wasn't. The very next night I had a realization that I haven't really been paying attention to what year it is, and that I alternately go back and forth thinking it's 2011 AND 2012 for various business-related reasons. This definitely made me wonder how many times I've written/said/hashtagged 2012 this year, and how many people thought I was a dolt because of it. Oh well.
Anyhoo, back to FASHION. For most of the attendees, Envision is one of those events that's more about the atmosphere and the party than it is about appreciating the actual artistry of fashion. Case in point: D-bags hooting and hollering phrases like "shake it girl" as any given model struts down the runway and/or rampant cougar howling when the prerequisite "dude models in swimwear" segment comes on. I used to fly into an artsy elitist rage about such things, but honestly I've long since stopped giving a damn. I live in the Midwest. That's reality.
The cougs loved this one, but let it be said that A. The designer, Kelly Ver Duin had some great pieces with interesting patterns and unusual design and B. chicks in the downtown club scene reach "cougar" status at around age 28.The show kicked off with some fluttery, elegant looks by Gina Marie Vintage. However, I was somewhat confused by the "vintage" tagline because, aside from subtle nods to bygone eras, these looks had a fresh yet timeless feel to them. The word vintage makes me think of, well, used vintage clothing, and the old lady/mothball smell that comes along with them. Regardless, the collection contained lots of floaty separates that could be easily mixed and matched, and the tailoring and fabric choices were spot on.
Gina Marie Vintage
Kathryn Sterner's line Kathryn V startled me a bit. It was nice to see Kathryn getting a bit more ballsy with her designs and fabrics, but the designer's metallic punctuations reminded me of sci-fi B-movie wardrobe castoffs. Not to say the designs themselves wouldn't have worked with another fabric--they definitely would have. Sterner also busted out with some delightful jackets that would be perfect for a fancy, all-girl military-themed fox hunt (if such a thing should ever exist), as well as some daring sheers. All in all, a bit all over the place, but a step in a brave direction for Sterner.
Kathryn V
Kelly Ver Duin (who also showed the aforementioned line of cougar-approved men's swimwear) made a smart debut with a bold array of thoughtfully designed men's button-ups and shorts. And although the tailored shorts/shirts plus bowtie combo is a bit tired at this point, her pattern/color choices and the way they were incorporated into the designs was quite inventive, and the fact that we've finally got a female designing menswear in town is pretty cool too.
Kelly Ver Duin
Veteran Minneapolis designer Arwyn Birch showed a cute collection of '90s throwback frocks. While the designs themselves were somewhat safe (save for a few interesting collars that stood out to me), the zany patterns were what made her line shine. Calling to mind '90s K-Mart mom shirts (in a good way), Arwyn pulled a bold move by incorporating these flowery oddities into playful looks that could work both day and night.
Gina Marie Vintage Kathryn Sterner's line Kathryn V startled me a bit. It was nice to see Kathryn getting a bit more ballsy with her designs and fabrics, but the designer's metallic punctuations reminded me of sci-fi B-movie wardrobe castoffs. Not to say the designs themselves wouldn't have worked with another fabric--they definitely would have. Sterner also busted out with some delightful jackets that would be perfect for a fancy, all-girl military-themed fox hunt (if such a thing should ever exist), as well as some daring sheers. All in all, a bit all over the place, but a step in a brave direction for Sterner.
Kathryn V Kelly Ver Duin (who also showed the aforementioned line of cougar-approved men's swimwear) made a smart debut with a bold array of thoughtfully designed men's button-ups and shorts. And although the tailored shorts/shirts plus bowtie combo is a bit tired at this point, her pattern/color choices and the way they were incorporated into the designs was quite inventive, and the fact that we've finally got a female designing menswear in town is pretty cool too.
Kelly Ver Duin Veteran Minneapolis designer Arwyn Birch showed a cute collection of '90s throwback frocks. While the designs themselves were somewhat safe (save for a few interesting collars that stood out to me), the zany patterns were what made her line shine. Calling to mind '90s K-Mart mom shirts (in a good way), Arwyn pulled a bold move by incorporating these flowery oddities into playful looks that could work both day and night.
Arwyn Birch Kimberly Jurek's line Kjurek was up next. The longtime Envision fave and nationally-sold designer was a bit out of her element with freaky frocks of metallic and crushed velvet. Usually one to work the casual/cool angle like a pro, Jurek's jaunt into what seemed to be holiday attire crossed the line into costumey and was overly girly. Some of her other pieces rang true to the Kjurek trademark however, focusing on strong feminine structures and showcasing Kimberly's knack for effortless elegance.
Kjurek Taking classic concepts and adding an artful spin: this is what seasoned designer Amanda Christine does best. Clever draping, shoulder pads, and something I jotted down as "a cute flappy thing", were all punctuation notes in her Envision collection. What pleased me most however, was Amanda's spin on the whole "sheer" trend. Instead of going the tried and true "I'm a demure chick wearing romantic, floaty sheers and I don't care who sees my bra" route, Amanda went for darker, boldly patterned sheers that bordered on loud. These trend-dipping looks were juxtaposed with her signature sculptural pieces that always tend to catch my eye.
Amanda Christine Yqy by Vivian hit the runway and punched the audience in the face with a clownish combo of heavy fabrics, brash patterns, and "wearable art" sensibilities. Good tailoring aside, these looks freaked me the hell out and made me contemplate the concept of "felting" for a good 20 seconds...20 seconds I'll never get back. All being an asshole aside, I'd love to see some of these looks in normal fabrics, because while the materials and patterns were jarring, the designs themselves weren't half bad.
Yqy by Vivian New-to-Minneapolis designer Caroline Hayden made a sparkly debut on the Envision runway with a collection of sequined skirts and dresses, bedazzled leggings, and a curve-hugging black velvet number that would definitely make the goth boys cry. However, I didn't find any of the actual designs to be very inventive, it seemed the sparkle was the biggest wow-factor. I loved her distressed black sequin dress, but the pink pencil skirt version reminded me of dead mermaid skin for some reason. But hey, dead mermaids are still pretty.
Caroline Hayden I could stay up all night reviewing the boutiques too, which all had lovely, well-styled showings, but you'll just have to take my word for it. Envision is a long show, and I only have so much brainpower. Cliche, I have to note, made their customary finale splash with cute looks by local designers paired with gorgeously brazen feather headdresses and long feather earrings by KR Designs. Styling for the whopping 90+ looks was provided by the up n' comers from Secrets Fashion Agency, who raised the bar with altogether better, if not safe, styling inspiration than in past years. All in all, another well produced show by the Envision crew!
ClicheMonday, August 22, 2011
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.
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.
Wednesday, July 6, 2011
ADORNED: l'étoile Summer Editorial 2011
The vibrant summer season is in full swing and with it comes bold, colorful style. In our latest fashion spread, "Adorned," shot by veteran photographer Robb Long and styled by our own Jahna Peloquin, we decorate the vivacious Olivia with jewelry from some of the Twin Cities' most fearless designers. Adventurous statement pieces, bright accents, and summertime blooms await...
Click below to enlarge and page through the spread:
Sunday, November 21, 2010
In Review: MIA Third Thursday with MNFashion
by Beth Hammarlund
photos by Erik Hess
Art and fashion enthusiasts crowded the halls of the MIA last Thursday to support the museum's First Thursday collaboration with MNFashion. Four esteemed local designers selected inspiration pieces from the museum's vast permanent collection. Their final creations--three looks each--were displayed in a runway show held along the grand, marble-lined corridor of the museum's second floor.
Emma Berg opened the show with her Dali-inspired look: a sheer, buff blouse with a flouncy collar and a caged skirt of boning draped in the same delicate fabric. It was an elegant juxtaposition of hard and soft. Berg is known for her bright and playful palette, and it was a pleasant surprise to see her aesthetic captured in subdued neutrals.
The second piece, clearly influenced by Pablo Picasso's "Woman in Armchair," was Berg in her comfort zone. Pops of brilliant blue, green and fuchsia sequins brightened up the asymmetrical black and cream dress. Though it wasn't a great departure from her signature style, it was Berg's most daring runway look.
Berg's final look, inspired by an African Nkisi sculpture, consisted of a floor-length black crushed velvet skirt and a dramatic neckpiece over a sheer black blouse. The show-stopping element was the neckpiece, a tangle of cotton coil dyed black and intricately wound and sewn to create a collar that was gothic and aggressive.
Designer Laura Fulk, who has graduated to mostly solo shows in the Twin Cities, was back in the mix. The designer presented three variations of an oxford shirt and knee-length pencil skirt. As is Fulk's style, something was askew in each of the designs. There was a buttoned front opening that fell at a diagonal, a shirt collar twisted to the side, and a tie that hung off-kilter.
Fulk was inspired by Harold Edgerton's famous photograph of a bullet shooting through an apple, and the designer attempted to capture the freeze-frame the bullet's path with carefully placed explosions of white tulle. Unfortunately, the concept didn't quite shift into a fully realized sartorial interpretation. Fulk is one of the Twin Cities' most intellectual designers. She tells a nuanced and fully realized story with each collection. Sadly, in these pieces, the story didn't quite translate.
Fresh off showing his new men's collection at SCENEaSOTA, Raul Osorio constructed three looks inspired by the MIA's collection of Native American art. Though such a selection could tempt a designer to go off the deep end with something cliche like beading or fringe, Osorio kept it simple with subtle, consistent references.
Osorio's collection at SCENEaSOTA was created for the modern dandy. It's an aesthetic that suits him well. So it was quite refreshing to see the designer expand his range for the MIA show by creating pieces that were more understated, even a bit rugged. An elegantly draped black coat stood out, and I'm hopeful that the designer will eventually make a women's version.
Finale designer Samantha Rei surprised quite a few local fashion followers when she announced that she had chosen architectural furniture design as her inspiration. Rei is known for her extremely feminine, Lolita-like dresses. So to hear that she would be taking inspiration from artists such as George Elmslie was quite intriguing.
Her first look was an asymmetrical party dress in an unexpected burnt orange. Heavy rectangular fringe along the hem and criss-cross ornamentation recalled Elmslie's work. The lines created in the look were both flattering and impressively thought out.
The second look boasted a similar shape as the first, but this time the design was perfectly symmetrical. Though the hard lines and heavy fringe were still in place, this look was set apart with it heavy floral fabric, recalling the upholstery of one of Elmslie's signature chairs.
Rei's last dress, the finale of the show, combined both the strong lines of the first look and the heavy floral fabric of the second.It was a strong finish for the designer. Rei's work is not for the faint of heart. She walks the line between the princess and the warrior, and it takes a great deal of confidence to wear her creations. However, the women who wear her dresses are guaranteed to appear both fearless and feminine.
Between the runway show, the trunk shows, the l'étoile-sponsored scavenger hunt, and a performance by local punk act Pink Mink, there were plenty of activities for the art-hungry guests. The MIA was a perfect venue for a fashion event, and we're definitely hopeful that the museum will make this fantastic concept an annual happening.
photos by Erik Hess
Art and fashion enthusiasts crowded the halls of the MIA last Thursday to support the museum's First Thursday collaboration with MNFashion. Four esteemed local designers selected inspiration pieces from the museum's vast permanent collection. Their final creations--three looks each--were displayed in a runway show held along the grand, marble-lined corridor of the museum's second floor.
Emma Berg opened the show with her Dali-inspired look: a sheer, buff blouse with a flouncy collar and a caged skirt of boning draped in the same delicate fabric. It was an elegant juxtaposition of hard and soft. Berg is known for her bright and playful palette, and it was a pleasant surprise to see her aesthetic captured in subdued neutrals.
The second piece, clearly influenced by Pablo Picasso's "Woman in Armchair," was Berg in her comfort zone. Pops of brilliant blue, green and fuchsia sequins brightened up the asymmetrical black and cream dress. Though it wasn't a great departure from her signature style, it was Berg's most daring runway look.
Berg's final look, inspired by an African Nkisi sculpture, consisted of a floor-length black crushed velvet skirt and a dramatic neckpiece over a sheer black blouse. The show-stopping element was the neckpiece, a tangle of cotton coil dyed black and intricately wound and sewn to create a collar that was gothic and aggressive.
Designer Laura Fulk, who has graduated to mostly solo shows in the Twin Cities, was back in the mix. The designer presented three variations of an oxford shirt and knee-length pencil skirt. As is Fulk's style, something was askew in each of the designs. There was a buttoned front opening that fell at a diagonal, a shirt collar twisted to the side, and a tie that hung off-kilter.
Fulk was inspired by Harold Edgerton's famous photograph of a bullet shooting through an apple, and the designer attempted to capture the freeze-frame the bullet's path with carefully placed explosions of white tulle. Unfortunately, the concept didn't quite shift into a fully realized sartorial interpretation. Fulk is one of the Twin Cities' most intellectual designers. She tells a nuanced and fully realized story with each collection. Sadly, in these pieces, the story didn't quite translate.
Fresh off showing his new men's collection at SCENEaSOTA, Raul Osorio constructed three looks inspired by the MIA's collection of Native American art. Though such a selection could tempt a designer to go off the deep end with something cliche like beading or fringe, Osorio kept it simple with subtle, consistent references.
Osorio's collection at SCENEaSOTA was created for the modern dandy. It's an aesthetic that suits him well. So it was quite refreshing to see the designer expand his range for the MIA show by creating pieces that were more understated, even a bit rugged. An elegantly draped black coat stood out, and I'm hopeful that the designer will eventually make a women's version.Finale designer Samantha Rei surprised quite a few local fashion followers when she announced that she had chosen architectural furniture design as her inspiration. Rei is known for her extremely feminine, Lolita-like dresses. So to hear that she would be taking inspiration from artists such as George Elmslie was quite intriguing.
Her first look was an asymmetrical party dress in an unexpected burnt orange. Heavy rectangular fringe along the hem and criss-cross ornamentation recalled Elmslie's work. The lines created in the look were both flattering and impressively thought out.
The second look boasted a similar shape as the first, but this time the design was perfectly symmetrical. Though the hard lines and heavy fringe were still in place, this look was set apart with it heavy floral fabric, recalling the upholstery of one of Elmslie's signature chairs.
Rei's last dress, the finale of the show, combined both the strong lines of the first look and the heavy floral fabric of the second.It was a strong finish for the designer. Rei's work is not for the faint of heart. She walks the line between the princess and the warrior, and it takes a great deal of confidence to wear her creations. However, the women who wear her dresses are guaranteed to appear both fearless and feminine.
Between the runway show, the trunk shows, the l'étoile-sponsored scavenger hunt, and a performance by local punk act Pink Mink, there were plenty of activities for the art-hungry guests. The MIA was a perfect venue for a fashion event, and we're definitely hopeful that the museum will make this fantastic concept an annual happening.
Thursday, November 18, 2010
Third Thursday Preview: An interview with designer Samantha Rei
by Juleana Enright
Tonight, Third Thursdays will unveil the products of a design challenge poised to pair four local fashion designers with works from Minneapolis Institute of Art's extensive trove.
Inspired by the pieces' artistic aesthetic and cultural elements, the designers have created looks that bring their visionary juxtaposition with art and fashion to life via a stylishly eccentric gala runway show. In this article, l'étoile will be featuring a short Q&A section where readers not only get an insider's perspective on the designers' specific art choices but also catch a sneak preview of their wearable “works of art” collection.
Tonight, Third Thursdays will unveil the products of a design challenge poised to pair four local fashion designers with works from Minneapolis Institute of Art's extensive trove.
Inspired by the pieces' artistic aesthetic and cultural elements, the designers have created looks that bring their visionary juxtaposition with art and fashion to life via a stylishly eccentric gala runway show. In this article, l'étoile will be featuring a short Q&A section where readers not only get an insider's perspective on the designers' specific art choices but also catch a sneak preview of their wearable “works of art” collection. We caught up with fashion designer and the creative chops behind local apparel line, Blasphemina's Closet, Samantha Rei, to chat about the challenges of experimental sewing projects, fashion as escapism and why her Third Thursday collection is a l'amour homage to her hubbie.
l'étoile: The works you chose as inspiration are very architectural: panels, grilles, terra-cotta tiles, an upholstered chair. What drew you to these?
Rei: Love, I guess. I'm a very romantic and whimsical type of person. I'm usually drawn to pretty and feminine things. My husband has had a long love affair with structured and blocky types of things. When we go to the MIA we go to the same wings all the time: Japanese Art, anything Rococo or Baroque, and the Art Deco section. Art Deco makes me think of him and it's pretty much the opposite of my aesthetic. It's both a challenge to my usual look and love letter to him.
l'étoile: George Elmslie – the artist who created the majority of your selections – designed with an organic, ornamental aesthetic in mind. How did you incorporate this aesthetic into your Third Thursday collection?
Rei: I did a lot of hand sewn trims when I couldn't find fabrics that had the shapes I wanted. I made felt backings for the circles to make them perfectly shaped, but hand stitched braided trim to get the right manipulated look. I chose lighter weight upholstery fabrics to get the prints I wanted and stayed with structured, yet pliable dupioni silks to get the rigid and organic look I was going for in the solids. I think so many of the items were both feminine and masculine, structured and fluid. It was a fun experiment!
l'etoile: These artworks are decorative yet useable, reminiscent of how the Victorian-inspired designs in Blasphemina's Closet are ornate, yet still function as wearable fashion pieces. How do you create garments that are whimsical while retaining their relate-ability?
Rei: I think about the fact that I'm not the only escapist out there. What would you want to wear to make yourself feel special if you were sure no one would give you a hard time? And in the end, would you really care if they did give you a hard time if you felt beautiful?
I try to put myself in the shoes of every prince and princess that live in the minds of every man and woman. There's no reason why people can't wear art every day and still be comfortable. I think there's an epidemic of comfiness. People equate comfortable with easy and lazy. It makes me sad to see people going through their day, not making a statement, or if they are, that statement is' "I don't care what people think of me. I want to blend in. I don't want my appearance to cause a fuss." When making a collection, I pick a theme that makes me warm and tingly inside; I ask people what they wish they had and I run with it. I do a lot of research; I read a lot of books; I watch a lot of TV and movies. I never want to make a garment that would make someone feel like they are set apart from everyone, because I don't want them to feel lonely. But at the same time I want them to make a statement, be a leader and run with their own look.
For more info on Third Thursdays at the MIA on November 18th click HERE.
For more info on Samantha Rei click HERE.
Monday, November 8, 2010
In Review: SCENEaSOTA
by Beth Hammarlund / photos by Stephen Stephens
Last Saturday night, fashionable Twin Citizens flocked downtown to attend the sold out fashion show SCENEaSOTA. In its third year, the production has matured to become an anticipated annual event in the local design community. This year's incarnation was held in Loft2 above Om Restaurant, an airy warehouse space with a picture window view of busy First Avenue. Before the show began, guests sipped wine and pouted for photographs, while taking the occasional break to sample fragrances and test Smashbox cosmetics. Eventually seats were filled, gift bags were inspected, and the fashion chatter came to a halt.
In addition to featuring collections from eight designers, producer Maritza Ramirez broadened this year's presentation to include four fashion-centric short films by Elijah Chhum. As the lights dropped and the projectors rolled, you could feel the crowd's energy and excitement in the air.
The fashion kicked off with looks from Jenn Bratvold and accessories by Carrier Pigeon. Bratvold's collection included nods to schoolgirl style, English country dressing, and retro mod fashions. The designer clearly has a lot of great ideas, but needs to streamline her point of view. At times the collection felt jumbled, but a number of pieces were quite sharp and gave audience members a sense of the designer's potential.
Britta Feuerhelm showed a collection of drip-dyed silks in a variety of blousy shapes and colors. Though the designer has a great eye for creating interesting palettes, she still has room to grow with her construction, which was often overly basic. However, a few dresses and separates boasted clever shapes and cuts. Hopefully the designer will continue to move in that direction. The collection's leather accessories by Feuerhelm deserve a mention as well. The juxtaposition of drapey silk and structured leather and accessories by Ann Lambrecht was chic, without feeling overly styled.
Kathryn V's segment opened with a ladylike dress that was heavily featured in one of the accompanying short films. Though the elbow-length sleeves and graceful scoop back conveyed a coy sexiness, the shirttail hem felt strangely out of place. The designer had better luck with separates, where she showed mix-and-match skirts, blouses and jackets. Playful baubles by Timmilynn Johnson accessorized the collection.
Jenny Carle has become known for consistently feminine and well-tailored cocktail dresses, and while she maintained her signature aesthetic (there were plenty of tiered skirts and and structured strapless necklines), she broadened her range with a selection of full-length gowns. A sweetheart navy number was smartly accessorized with gold jewelry from Tasha Rae, the overall effect of which was Grecian without veering into the costume. A stunning closing gown was one of the highlights of the entire show.
Christine Carmichael of Carmichael Claith opened with a full-length one-shoulder gown in dramatic crimson. For the most part, the designer stuck with what she does best: ladylike pieces with a whiff of classic Brittania. The last three looks (despite an addition of a fun pinstripe menswear-inspired jacket complete with coattails) were all variations of the same olive party dress. It was a gorgeous look (the tea-length version is pictured above), but it was disappointing not to see more variety from an established local designer. Feathered and beaded accessories from Bionic Unicorn kept the styling from veering into the overly sweet.
Though Raul Osorio has been straying more into womenswear, his menswear is still where he best captures his unique sensibility in his designs. Accessorized with pieces from Freedom From Doubt, Osorio's well-made collection of drop-crotch coveralls, skinny trousers and tailored shirts was sophisticated and irreverent. Contrasting pockets and crotches coupled with two-tone bow ties and dapper hats served as a necessary reminder that Minneapolis fashion has more to offer consumers than cocktail dresses and princess coats.
Frances Zerr's collection of dresses and separates immediately reminded me of Beverly Hills 90210. In a good way, I promise. Tapered pants, casual bustier tops with spaghetti straps, and button-front dresses felt fresh and modern, while still referencing the style of our favorite '90s teenage heroines. There were plenty of styles suitable for modern Kelly Taylors and Brenda Walshes, not to mention a few black pieces that felt very Emily Valentine. The collection was paired with delicious faux fur accessories from Ruby3, though there were a few moments when accessorizing a thin sundress with a faux fur ushanka didn't make sense.
For more photos from the event, check out our post HERE.
Last Saturday night, fashionable Twin Citizens flocked downtown to attend the sold out fashion show SCENEaSOTA. In its third year, the production has matured to become an anticipated annual event in the local design community. This year's incarnation was held in Loft2 above Om Restaurant, an airy warehouse space with a picture window view of busy First Avenue. Before the show began, guests sipped wine and pouted for photographs, while taking the occasional break to sample fragrances and test Smashbox cosmetics. Eventually seats were filled, gift bags were inspected, and the fashion chatter came to a halt.
In addition to featuring collections from eight designers, producer Maritza Ramirez broadened this year's presentation to include four fashion-centric short films by Elijah Chhum. As the lights dropped and the projectors rolled, you could feel the crowd's energy and excitement in the air.
The fashion kicked off with looks from Jenn Bratvold and accessories by Carrier Pigeon. Bratvold's collection included nods to schoolgirl style, English country dressing, and retro mod fashions. The designer clearly has a lot of great ideas, but needs to streamline her point of view. At times the collection felt jumbled, but a number of pieces were quite sharp and gave audience members a sense of the designer's potential.
Britta Feuerhelm showed a collection of drip-dyed silks in a variety of blousy shapes and colors. Though the designer has a great eye for creating interesting palettes, she still has room to grow with her construction, which was often overly basic. However, a few dresses and separates boasted clever shapes and cuts. Hopefully the designer will continue to move in that direction. The collection's leather accessories by Feuerhelm deserve a mention as well. The juxtaposition of drapey silk and structured leather and accessories by Ann Lambrecht was chic, without feeling overly styled.Kathryn V's segment opened with a ladylike dress that was heavily featured in one of the accompanying short films. Though the elbow-length sleeves and graceful scoop back conveyed a coy sexiness, the shirttail hem felt strangely out of place. The designer had better luck with separates, where she showed mix-and-match skirts, blouses and jackets. Playful baubles by Timmilynn Johnson accessorized the collection.Jenny Carle has become known for consistently feminine and well-tailored cocktail dresses, and while she maintained her signature aesthetic (there were plenty of tiered skirts and and structured strapless necklines), she broadened her range with a selection of full-length gowns. A sweetheart navy number was smartly accessorized with gold jewelry from Tasha Rae, the overall effect of which was Grecian without veering into the costume. A stunning closing gown was one of the highlights of the entire show.
Christine Carmichael of Carmichael Claith opened with a full-length one-shoulder gown in dramatic crimson. For the most part, the designer stuck with what she does best: ladylike pieces with a whiff of classic Brittania. The last three looks (despite an addition of a fun pinstripe menswear-inspired jacket complete with coattails) were all variations of the same olive party dress. It was a gorgeous look (the tea-length version is pictured above), but it was disappointing not to see more variety from an established local designer. Feathered and beaded accessories from Bionic Unicorn kept the styling from veering into the overly sweet.
Though Raul Osorio has been straying more into womenswear, his menswear is still where he best captures his unique sensibility in his designs. Accessorized with pieces from Freedom From Doubt, Osorio's well-made collection of drop-crotch coveralls, skinny trousers and tailored shirts was sophisticated and irreverent. Contrasting pockets and crotches coupled with two-tone bow ties and dapper hats served as a necessary reminder that Minneapolis fashion has more to offer consumers than cocktail dresses and princess coats.
Frances Zerr's collection of dresses and separates immediately reminded me of Beverly Hills 90210. In a good way, I promise. Tapered pants, casual bustier tops with spaghetti straps, and button-front dresses felt fresh and modern, while still referencing the style of our favorite '90s teenage heroines. There were plenty of styles suitable for modern Kelly Taylors and Brenda Walshes, not to mention a few black pieces that felt very Emily Valentine. The collection was paired with delicious faux fur accessories from Ruby3, though there were a few moments when accessorizing a thin sundress with a faux fur ushanka didn't make sense.
Finale designer Kevin Kramp continued along his path as the Twin Cities' most avant garde menswear designer. Though many of his styles are reasonably unisex, I couldn't ignore a pang of jealousy as the male models paraded down the runway. It would be a treat to see the fearless designer tackle womenswear. As has been the case in the past, Kramp's pieces were paired with accessories by Ferociter, a line also known for taking risks. Ferociter designer Aimee Dukes and Kramp continue to compliment one another's aesthetics.
Models were provided by Vision Model Management, and considering the whitewash of models on the international runways, kudos must be given to both Vision and SCENEaSOTA for casting an array of gorgeous models that were racially and aesthetically diverse. Though there were still the occasional self-conscious poses, the majority of the models walked at a confident clip with a seasoned attitude.
All in all, a dynamic showing of local talent across the board, from design to film to production. We expect that Loft2 will be booking a number of fashion events in 2011, as SCENEaSOTA proved it to be a perfect setting for a large scale, stylish soiree. In fact, we're already fantasizing about next year's SCENEaSOTA in our heads...For more photos from the event, check out our post HERE.
SCENEaSOTA 11/6
Well-heeled attendees came from all corners of the Twin Cities to check out the SCENEaSOTA fashion show held at Loft2 in downtown Minneapolis on Saturday night. Read Beth Hammarlund's full review of the show with more pics here!
All photos by Stephen Stephens
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