Threading empathy: The College of Design spring fashion show
For University of Minnesota Twin Cities apparel design students, the spring fashion show is about more than fashion – it’s a passion showcase that puts years of learning, creativity and personal expression on the line. From modeled runway collections to intensive research projects, here’s a closer look at the inspirations, techniques and stories behind the designs.
For senior apparel design students at the University of Minnesota Twin Cities, the spring fashion show is a celebration of years of education.
Since 1968, seniors in the program have presented their final projects in the annual Apparel Design Fashion Showcase. Planned by the senior class, the showcase is a rite of passage. Each year, the students’ clothing lines draw hundreds of fashion industry professionals, students, family and friends to the showcase, creating an opportunity to engage with the larger fashion community.
This year, more than two dozen students unveiled their work, with the show expanding beyond the runway to include booths where designers explain the inspirations, techniques, research and ideas behind their collections, creating a more interactive and immersive experience.
“It’s kind of hard to think back to where we started, learning how to thread machines, and now we’re producing our own fashion show with all of our own collections,” says Svea Krisetya. “It’s such a special experience.”
For many students, the chance to participate in the show is a major draw of the program because of its hands-on, student-driven approach. Designers are responsible for creating, styling, fitting and even event planning.
“The show feels like a really important way to express how much work we’ve put into the program,” Svea Krisetya says. “Everyone feels deeply connected to their projects, and being able to showcase that is incredibly rewarding.”
Beyond the technical work, the runway becomes a space to explore the culture, identity and values of each student as they use clothing to communicate the ideas that matter most to them.
Sewing culture in every stitch
For Mar Michaelson, apparel design is a bridge between family, culture and personal expression.
She’s been told that she has her grandmother’s gift of tailoring. But conflict and political turmoil have kept her from seeing her grandmother and other family members in Russia. She has dedicated the collection to her.
Her senior collection, Doma, named for the Russian word for “home,” is a deeply personal exploration of emotional durability. Inspired by traditional scarves, folklore and heirloom regalia, Michaelson transforms cultural symbols into contemporary silhouettes.
Beyond the collection’s aesthetics, the project has sharpened Michaelson’s critical, technical and interpersonal skills. Over months of fittings, she has learned precision tailoring and has embraced designing clothing meant to be cherished rather than discarded, pushing back against the culture of fast fashion.
Michaelson has also made important connections along the way. In one instance, Michaelson approached Minnesota Lt. Gov. Peggy Flanagan at an event and told her how she appreciates how Flanagan uses fashion and earrings to showcase her Native American heritage. After discussing Michaelson's senior collection, Flanagan expressed support and admiration for Michaelson's political advocacy.
Beyond personal and family ties, Doma carries a larger message. Michaelson seeks to humanize people often overshadowed by political conflict, highlighting the warmth of Russian culture and the resilience of its people.
Rethinking outdoor wear
Growing up “in the woods” of northern Minnesota, as Louise Ramberg describes it, her childhood was shaped by towering trees, long winters and an understanding of her own place in nature.
“Nature wasn’t something to visit or like, dress for,” she says. “It was just a part of my everyday life. It was my community.”
That upbringing is the heartbeat of her senior apparel design collection, Elemarre, an outdoor wear line that reimagines the relationship between clothing and the environment. Rather than following industry norms, Ramberg set out to challenge them.
Louise Ramberg’s collection Elemarre is an outdoor wear line that reimagines the relationship between clothing and the environment.
For her collection, Louis Ramberg uses wool and linen designed to decompose at the end of their life cycle, along with fish skin leather, which she creates from food waste.
“It’s an outdoor wear collection that’s very different from what we normally see in outdoor gear, which is a lot of synthetic materials that are harmful to the environment,” she says.
For Ramberg, designing outdoor apparel meant shifting the focus away from performance alone and toward responsibility.
“I wanted to design less for people and more for the world around us,” she says. “Like the trees, the dirt, the insects, the animals. We, as humanity, owe everything to the world around us.”
That philosophy is embedded in her material choices. She uses wool and linen designed to decompose at the end of their life cycle, along with fish skin leather, which she creates from food waste.
For the collection, Ramberg utilized both traditional craftsmanship and digital innovation. Using the 3D pattern-making software Clo3D, she developed and adjusted garments virtually before cutting fabric, reducing material waste and improving overall fit.
These belief systems have guided Ramberg through every design decision she has made for the collection.
“I believe that I am no more important than any plant or animal in the natural world,” she says. “In order for humanity to be well, everything around us needs to be well.”
That desire to maintain cultural expression inspired Ikan Salju, Krisetya’s senior apparel design collection, which means “snow fish” in Bahasa Indonesia. The line reimagines winter wear by weaving traditional Indonesian elements, like batik — a wax-resist dyeing technique — into garments designed for cold climates.
“I really wanted to learn batik and also modernize it,” she says.
Krisetya also incorporates flowing silhouettes inspired by the men’s sarong, marrying comfort and cultural reference in a way that feels modern and wearable.
Initially intended for Indonesians living in colder climates, Krisetya hopes her collection resonates widely.
“I want this to kind of be open to all,” she says. “I hope that people can experience more diverse winter wear, and it’s not just the same thing that we see every day.”
For Krisetya, the collection is also the culmination of four years of growth. From learning technical skills to producing a runway show, she has discovered the power of clothing as a tool for identity, community and connection.
“A lot of cultural expression is about being seen,” she says. “I just want people to feel heard and seen and recognized for the culture that they’re proud of.”
Storytelling through fabric
From the time she could hold a pencil, Morgan Stover filled notebook after notebook with sketches. Now, months away from graduating with an apparel design degree, Stover has turned that lifelong love of illustration into a collection rooted in gratitude.
Stover’s collection line, Gaia, is inspired by the mythological Mother Earth figure of the same name, featuring three designs that each tell a different story about motherhood.
The first look, “Nurture,” honors adoptive mothers, stepmothers and caregivers who may not have given birth but help a child grow. The second highlights the warmth of a birth mother, with layered fabrics and comforting tones meant to evoke home and nostalgia. The third takes a more ethereal approach, representing the broader idea of a maternal figure, such as a grandmother, aunt, sister or mentor. This design reflects the adage that “it takes a village” to raise a child.
“Clothing can just tell so many different kinds of stories,” Stover says. “Fashion is a really good outlet and media form, even, to express yourself and tell a narrative.”
Through years in the program, she has developed skills in garment construction, styling and visual storytelling, working part-time as a bridal stylist and gaining technical experience in the University’s costume shop. She also served on fashion show planning committees, helping organize and produce runway events — an experience she says has strengthened her leadership and collaboration abilities.
At its core, Gaia is a tribute to her own mother.
“It’s definitely dedicated to my mom because she is my biggest advocate,” Stover says. “I love her to death.”
For Stover, that one moment matters most.
“I’m excited for my mom to be there,” she says, already planning to display a childhood photo of the two of them. “I hope that when she sees it, she’s going to feel special because she is, and she deserves to feel like that.”
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