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

MNfashion Week in review: CounterCouture & George Moskal

Text by Beth Hammarlund, l'etoile magazine Creative Director
Photos by Stephen Stephens for Digital Crush Photography

The MNfashion Atrium in the Grainbelt Building hosted several shows over the last week. With the moody lighting and stylish atmosphere, the unfinished warehouse space was the perfect backdrop for local lines CounterCouture and George Moskal to unveil their new collections.


CounterCouture, an eco-friendly design collective that uses recycled fabrics, based their collection on Eloise, the charming children's book character known for making elegant mischief in the Plaza Hotel. The collection opened with a selection of cocktail dresses and skirts. Square flaps of a variety of textured fabric adorned several looks, but the patchwork effect felt homespun.

A pale blue shift with a black peter pan collar had lots of potential. The black belt and sheer black back took it from girlishly innocent to coy. However, the asymmetrical hemline, strange construction, and questionable fit kept the look from working. There were too many bells and whistles and not enough substance. But with better construction and a few edits, it could be a very clever and wearable little dress.

There were several charming separates shown, including a sheer black blouse with a peter pan collar that went directly on my shopping list. An ivory lace tank with a deep scoop in front and back had the unexpected detail of black edging. It would look great with a pair of high-waisted jeans or trousers.

Much of the collection veered toward vampiness, with figure-hugging pencil skirts and fitted shifts that seemed at odds with the collection's inspiration of little Eloise. A simple black and white cocktail dress with sheer side panels gave the audience a clear view of the model's every curve. The juxtaposition of the conservative cut and the exhibitionist side panels was confusing.

In many cases, the difficulties appeared to stem from the availability of materials. Many of the fabrics used in the collection are notoriously challenging to manipulate and the results can be unforgiving. There were multiple looks in which the idea worked, but the execution didn't. Though it's admirable to use only upcycled and recycled fabrics, the last thing you want is for someone to say, "It was great considering it was all from recycled fabrics." CounterCouture has plenty to offer, but the designers need to focus more on fabrics and technique to drop that qualifier.

George Moskal presented a collection inspired by the quintessential French woman. In lieu of an obvious theme, he focused his collection on fabric and silhouette. But the result was far from disjointed. The looks may not have told a narrative, but they created a character. The opening floaty periwinkle mini-dress with a gold belt had a very Mediterranean feel. Though beautifully made, it was nothing new. However, as the model turned back down the runway, the folds in her skirt shifted and the audience gasped at the realization that it was actually a romper. Making a romper seem elegant is a major achievement for any designer.

Moskal is known for his separates, and his offering of dainty shorts and casual blouses was a pleasant departure from his cocktail attire. Plenty of pieces could be mixed and matched and layered. The collection could easily create an entire warm weather wardrobe.

The most Parisian look of the evening was perfectly suited for the easy city style of Jean Seberg in Breathless. A relaxed gray blouse and full green skirt captured the relaxed French style that American women are constantly attempting to emulate. A simple white linen shift with clever seamwork was a perfect summer basic. With the right accessories, it could easily be dressed up or down.

A structured blouse in periwinkle floral brocade and a pair of high-waisted linen palazzo pants received a burst of applause. The look was perfectly suited for a mid-afternoon glass of wine on the French Riviera. It's the first time I've ever seen a design succeed in making a brocade feel positively summery.

An orange sherbert halter gown closed the show. Though the construction was immaculate and the colors delicious, the design felt forced compared to the ease of the rest of the collection. Finale gowns are a tradition, but the penultimate white and periwinkle separates were the high note of the evening.

Voltage Designer Spotlight: George Moskal

By Juleana Enright

Voltage designer George Moskal may have scored a coveted intern position with Brit fashion guru, Zandra Rhodes, but as far as we’re concerned he got his true start designing clothes for none other than Barbie. At an early age, the St. Paul designer began to filled his time – and sketchbooks – with fashion looks for his sister’s Barbies, eventually progressing to gorgeous wearables for the modern-day woman. After studying apparel at UW Stout, George took his talent abroad, studying in London and archiving the career work for Zandra Rhodes. Despite being American, Moskal won the UK-based Dazed & Confused mag’s Big Break contest, judged by fashion designer and Beatle-spawn, Stella McCartney. His prize? George had the opportunity to design a print-focused capsule collection for Topshop Boutique. His design aesthetic screams “timeless elegance,” through the use of luxurious fabrics and a love affair with shapely, natural fibers; a design style we can’t wait to see on the Voltage runway!

George dishes on his internship with the eccentric, Zandra Rhodes, why the film All About Eve is always at his finger tips and how he caught the eye of fashion plate, Stella McCartney…

Photo by Stephanie Colgan for Voltage: Fashion Amplified

l'étoile: Tell us a little about your internship with British fashion designer, Zandra Rhodes. What did you take away from the experience? Would you say her passion for theatrical costumes and exotic apparel has carried over into your personal design style?

George: I think the first thing I learned from my experience was that you could actually design and make your own fabric, which started my love for textile design. At the time, I don’t think I fully understood how you created the textiles or actually put artwork into repeat to be printed on a garment. As an intern, I pretty much did whatever was needed. However, most of the time I worked cataloging her past collections, which spanned over 3 decades of work at the time. It was really amazing to see a whole lifetime of work and what elements of her style had progressed or remained consistent over time. I was lucky because I had a friend who lived with Zandra, so I was around a lot and was able to attend some amazing events. The highlight was attending the British Fashion Awards and seeing Alexander McQueen and Vivienne Westwood not only show their collections but seeing them sitting several feet from me in the audience. I also had the opportunity to meet milliner Stephen Jones, who I am a huge fan of.

Photo by Carlos Gonzalez for Vita.mn

l'étoile: What was your design theme for the capsule collection you did for Topshop Boutique?

George: I had no idea when I entered the contest that I was supposed to be creating the next look in the London underground club scene. I used my own inspiration from an art nouveau gate composed of antelope and pears. Being a fellow animal lover, that must have appealed to Stella McCartney who chose my work for Topshop, so I just continued with that theme. I had also just started and was learning my way as a textile designer at Dayton’s, so I was in love with anything printed. The print that was picked up was an orchid print that we did in tops, screens and lining. The silhouettes had a lot of ruffles – I think I used bamboo fabric before it was popular – and distressed/aged leather that was real and probably horrified Stella.

l'étoile: Many of your garments include sophisticated draping and pleating. What is it about these techniques you find so compelling?

George: I think it is what comes naturally for me. I believe you are either drawn to tailoring or draping. I prefer the organic nature of draping, especially on the bias. The fabric comes alive and although you are guiding it, the fabric has the final say on where it falls or looks the best. I love tailored garments, but it seems more forced to me. You have to force the fabric to do what you want, rather than let it work with you.

Photo by Staci Schwartz / Voltage Media & Buyers preview

l'étoile: What Twin Cities spots do you draw inspiration from and how do they inspire you?

George: The Walker, Minnesota Arboretum, Saint Paul Public Library, the Goldstein, and now the Minnesota History Museum’s archives. Modern art, flowers, vintage Vogues and clothing.

l'étoile: Describe the kind of film you could see your Voltage collection featured in. What kind of motif do you think it would embody?

George: Film has been incredibly inspirational to many of my collections. It is more of the emotion of the film that inspires me as opposed to an era or particular actress. The films that I continually go back to that resonate with me are Interiors, Three Women, Opening Night, All About Eve, and The Hours. Films that feature a strong female lead that is trying to overcome some personal tragedy or demon.

For more information on George Moskal click HERE

For more info on Voltage: Fashion Amplified and to purchase tickets to the April 16th event at First Avenue click HERE