Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts

Friday, February 24, 2012

MSP Fashion Week in Review: "Resurgent"

Text by Beth Hammarlund
Photos by Amy Gee


Last night, Lyndale boutique You and Me presented "Resurgent," their first runway show, at Amsterdam Bar & Hall in St. Paul. A collaborative venture between fashion designers Tim + Thom, Camille Fashions and jewelry designer Katy Schmaty, the store is part studio, part custom shopping experience.


The show opened with musical performances by Loveless Aphrodite and Tiger Vs. DJ Encounter then took to the stage, which had been decorated in twisted twigs and branches, creating a simple, yet enchanting backdrop.

The clothing was presented in three different segments. The first was marked by a flag on stage that flew the initials "KS." This segment focused on jewelry by Katy Schmaty, but it was unclear whether the clothing was by Tim + Thom, Camille Fashions, or both. You and Me's line is a collaboration of the designers, but it would have been helpful to have a presentation or a program that explained whether the entire collection was a collaboration among all of the designers, or if the different segments did indicate different designers.

The "KS" segment featured truly fantastic animalistic hairstyles, some of which literally wove in strands of Katy Schmaty's ornate jewelry. Sculpting horns and antlers out of models' manes is not a new idea, but to see it executed so well at a show in the Twin Cities was a treat. However, it felt incongruous to have models with such elaborately crafted hair and feminine jewelry wearing what was, in several cases, casual sportswear.



The second segment, marked with a flag bearing the image of a bird, included a pair of excellent fitting jeans with contrasting fabric across the knees. (The bird image from the flag was embroidered onto a back pocket, as well.) The looks were hit and miss, and there were a lot of them. I lost track of exactly how many looks were shown throughout the show, but it would have been in the designers' best interest to bring down the number. Quality should always outweigh quantity.

The second segment's closing look was a bit strange. A male model glided down the runway in well-made black duster, but the safety pin fastenings looked less punk rock than they did a last minute necessity. He also wore a black gas mask and had a samurai sword holstered on his back. Though the look was certainly arresting and impressive, it seemed strangely out of place. The styling of the show suggested a narrative, but I couldn't pinpoint when we had moved from strange forest girls to post-apocalyptic urban warfare.


The final segment, marked with a "T+T" flag (presumably for Tim + Thom), included more pieces that were fairly hit and miss, and could have used some editing. But there were certainly highlights. I adored a pair knee-length cable knit trousers in a marled gray. I would love to see a longer and less chunky version of that design, as well. Another high note came from an unexpected place. While standing onstage, a female model appeared to be wearing an ordinary oversized men's pinstripe suit coat. But as she walked down the runway, it became clear that the suit coat was in fact tailored into a cape. (Unfortunately, due to the dark backdrop of the stage and the color of the cape, photographs do not do the silhouette justice.) It was a unique idea and a pleasant surprise.



Veteran model Tearra closed the show in a long coat wearing what I first thought was a pair of long slim jeans. However, on her return walk, it became apparent that they were more like a pair of slender denim leg warmers that ran from thigh past the ankle. I didn't love the coat and the overall look was uneven, but it's refreshing to go to a fashion show and be treated to little surprises like this.




Throughout the show, a number of pieces appeared to be either unfinished or poorly finished. Hems and closures were a problem, and some of the designers lacked for taste. I couldn't help wishing that the designers had cut several of the looks, and used that time to refine the stronger pieces. There were good ideas there, but they got a little lost.

The models walked slowly and strangely on the runway. It wasn't a strut of a stomp, but more of a step-drag, step-drag. The choreography choice received mixed reviews from the crowd, but I thought it worked well with DJ Encounter's music and the atmosphere. There were some strong styling choices that still stick in my mind, as well. In particular, a mock ponytail fashioned out a raccoon tail piqued my interest.

Though the event was charming and ambitious, it was significantly less refined than what we've come to expect at high-profile MNfashion events. There were some hiccups in timing, a few wobbly models, and the collection would have benefitted from significant editing and finishing. There's plenty of room for improvement. That said, every show has to start somewhere, and if Resurgent becomes a recurring event in MNfashion Week, it has the potential to become a can't-miss event. The ideas are definitely there. What they need is a good polish.

View more "Resurgent" photos by Amy Gee HERE.

Wednesday, February 22, 2012

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.



Monday, February 20, 2012

MSP Fashion Week in review: "Twelve"

Text by Jahna Peloquin
Photos by Amy Gee


Student fashion shows can be a mixed bag, but we can't help but love celebrating the potential of young designers, finding fresh inspiration from new faces, and trying to guess who'll be the next up-and-coming designer to emerge from the Twin Cities. On Saturday night, the University of Minnesota hosted their 44th annual senior apparel student fashion show at Rapson Hall on the college's Minneapolis campus. Though the show was called "Twelve," only 11 designers showcased their collections - but we say, quality over quantity. We especially loved Sara Lopez' play on proportions in her avant-garde looks, as well as Jennifer Robertus' mix of flowing sheers with preppy stripes. Here is a sampling of the evening's looks, as gorgeously captured by photographer Amy Gee.

Sara Lopez
Sara Lopez
Sara Lopez

Lizzie Hillmann
Lizzie Hillmann
Laura Van Ripe

Jennifer Robertus
Jennifer Robertus
Gabby Goetz
Gabby Goetz
Kari Kachelmacher
Diana Zhyhar
Diana Zhyhar
Carol Fallabeck
Carol Fallabeck
Andrea Sittler
Andrea Sittler
Andrea Sittler

Click here for a full gallery of photos by Amy Gee.

Tuesday, November 15, 2011

In review: Joynoelle's "The Caged Bird" Spring 2012 Collection

Text by Beth Hammarlund, l'étoile Founder & Creative Director
Photos by Corey Tenold, special to l'étoile

In lieu of a high-production runway show, Joy Teiken of Joynöelle presented her Spring 2012 collection in an intimate showcase at The Grand Café on Monday evening. With its limited capacity, the bistro was an unconventional choice, but the warmth and style of the venue served as a natural compliment to the collection.


Models wove the through the restaurant in cocktail dresses and evening gowns in a simple palette of black, ivory, brown and deep red. Teiken had drawn inspiration for the collection from "the caged bird," ornamenting garments in cascades of wispy feathers. In the evening's most literal moment, a delicate black cage pattern subtly echoed a windowpane plaid.



Several of the black and white looks veered perilously toward french maid territory, but Teiken exercised restraint before any of her work became costume. The designer knows her aesthetic and her audience, and she knows the right moment to pull back.





A selection of bridal gowns closed the show, including an incredibly detailed finale gown that earned frenzied whispers of approval from the audience. The look was classic Joynölle, vintage-inspired whimsy and fine detail. But above all, the elegantly constructed gown looked expensive, which is one of the highest compliments a designer can receive.




[l'étoile's Beth Hammarlund, Emma Berg, Joy Teiken, and l'étoile's Jahna Peloquin]

[Kitty Cotten, Kara Nesvig & Amy Gee]

View more photos by Corey Tenold here.

In review: Christopher Straub Spring 2012 Collection

Text by Beth Hammarlund, l'étoile founder/creative director
Photos by Peter Holme

Christopher Straub unveiled his Spring/Summer 2012 collection on Sunday afternoon at the Westin Hotel in Edina, and it was without a doubt his strongest collection to date.


The Project Runway alum presented 21 sea-inspired looks that further revealed his strength with prints. The collection featured three original prints that Straub created, using his own digital photography as a building block. Though two of the prints highly resembled prints from Alexander McQueen’s legendary “Plato’s Atlantis” collection, they were truly executed within Straub’s aesthetic.


This was not the designer’s first foray into prints. His Spring 2011 collection included an original green and cream patterned motif that was fresh and sophisticated and left me wanting more. It was exciting to see the designer pushing further in that direction, and I’m interested to see where he goes with it.

A knee-length shift in golden earth tones and a fluttery number in sea greens and blues were chic and extremely wearable. The dresses themselves were tasteful, if simple, but the prints transformed them from off-the-rack basics to conversation pieces.


Straub showcased his signature densely packed petals, but instead of the flowery concoctions we’ve seen in the past, he graduated to spiky black stars. Thanks to Dolce & Gabbana, stars are having a moment on the runway and in editorials. The choice was extremely on trend, without being too on-the-nose. That said, the aggressive pieces felt disconnected from the rest of the collection to a degree that was almost jarring. The dress was overwhelming, but with the right styling, the mini-skirt and bolero jacket could be excellent statement pieces.


Structured ruffles in white python adorned dresses and skirts, and an extremely interesting top. However, the hardware details on the pieces were so small, they almost looked like pins holding the folds together. It was an unfortunate effect that did no justice to the strong construction.

The collection included a large selection of separates. A black and white print elevated a well-tailored blazer from simple to eye-catching. An incredibly accessible piece, it could be worn by both teenage rebels and ladies who lunch. (Just don’t let them know that they’re wearing the same thing). Straub had another hit with a chic belted jacket in white python print that would be elegant with wide-legged trousers or over a fitted dress.

However, several looks missed the mark. A strapless mini-dress with a ruffled detail was sexy and fun, but it belonged in a Whitesnake video. (There is nothing wrong with looking like one should belong in Whitesnake video, as long as the individual is aware that she looks like she should be in a Whitesnake video.) Compared to Straub’s other more sophisticated pieces, it felt dated and over-the-top.

Three pairs of leggings strutted down the runway, but there were no trousers in sight. The printed leggings were fun, but ultimately, printed leggings are still just leggings. They made little of Straub’s technical abilities and cheapened the otherwise interesting tops with which they were paired.

A dramatic cap-sleeved gown in white python closed the show. The finale dress found an found an appealing balance between ethereal and stark, but it was the penultimate look that reigned supreme over the collection. A full-length gown featuring fluttery sleeves and a high neckline, it would have felt overly conservative, and potentially girlish, in a solid color. But in Straub’s original print, it was at once edgy and sophisticated.


Straub still struggles with editing, and there were a few elements of this collection that could have been scaled back. Fewer ruffles and several more inches of hemline would have raised the level of sophistication. However, several looks showed a new sense of restraint. Straub constantly pushes himself, and though his collections are uneven, when he hits it right, the results are mouth-watering.

This review wouldn’t be complete without mentioning the Child Neurology Fund, an organization which funds research and treatment for children with brain disorders. In addition to bringing attention to the cause and raising money for the organization, Straub also made a little girl’s year by designing a one-of-a-kind piece to wear in the front row. After the show, she joined Straub onstage and assaulted him with the kind of fierce hug that children save for those that they truly adore. You’d be hard-pressed to find a nicer guy.