coutorture --

Interview With Designer Steinunn Sigurd

coutorture — Tue, 15 Apr 2008 10:35:17 -0700

Steinunn Sigurd is an a rare mix of sophistication and rawness. The designer featured in our One Train photo editorial shot by Wayne Liu. The Icelandic designer is heavily influenced by the nature of her homeland and yet that organic influence is tempered by her exceptional focus craftsmanship. The combination of virgin wilderness and modern detailing makes for a balanced intellectual reflection on dressing.

Can you tell us a little bit about your inspiration for the Fall 08 collection?
My inspiration always comes from Iceland, this season it is the texture of the lava, the orange colour of the magna, the floating lava and the misty silver, grey colour from the steam of the hot springs.

The details of each garment really stand out. This was part of the reason why we chose to shoot the collection with photographer Wayne Liu, in black and white film. Does detail come before, say, color or silhouette in your designs?
I always start with texture, that is the most important part of the collection, it is the reason behind the collection. I didn't know that you choose to shoot in black and white, it must look amazing.

What did your experiences working as Design Director for La Perla and Senior Designer for Tom Ford teach you about what it takes to run your own label?
Mr. Ford made me independent, to stand and work on my own and make my own decisions, He gave me an insight in to sex appeal and rock and roll. La Perla gave my the first oppertunity to prove my independence.

Is there anything you miss about working for another designer?
What I do miss about working with the big fashion houses is the professionalism that surrounds them. Their names stands for crafmanship, pure design and standard that is very high. Everyday I think of this craftmanship.

If Seinunn could go anywhere, be anything--what would be in store for the label?
The most amazing pieces of clothing with crafmanship that can withstand decades...timeless elegance.

6. Outside of Steinunn, what is your everyday life like?

My Reykjavík life is very simple: family, friends, dog, house, summerhouse, gardening and being part of the Reykjavík creative melting pot.

Interview With Stylist & Network Partner Liz Baca

coutorture — Wed, 03 Sep 2008 06:47:09 -0700

Every photo editorial is the sum of its parts. For our most recent Fall's Top Five: Past & Present photo shoot, each member of our team brought something vital to the shoot. Liz Baca, a Coutorture Network Partner from the website M.I.S.S. Crew, also works as a stylist and vintage supplier to some of the hottest boutiques in America. To see which of her stores she pulled clothing from for our photo shoot, just click on the image and you'll find the credits bottom left. Part of the fun of editorializing fall at the end of August, is knowing that every frock, pair of trousers, and accessory, is available for purchase right now. Thanks to Baca, that includes the vintage items--so long as you're the first the ring or stop by these amazing shops. Below, we asked Baca about her profession (which is of endless interest to us) and what it takes to provide The Goods! to so many chicsters, season after season.

How did you break into wholesaling vintage clothing and accessories?
I am a long time collector, dare I say "hoarder" of stuff. The dictionary defines a hoarder as "a person who accumulates things and hides them away for future use". In all my years of hoarding things, I never really thought I was hiding things away for future use...I just liked my things and liked finding them. About 5 years ago it became very clear to me that I was having way more fun hunting and gathering vintage finds then going to my daily job. I had so much stuff as it was but didn't want to stop getting more (I sound like a crazy lady, right?). My friends had (and still have) a high-end vintage shop in San Francisco called Ver Unica, I started out doing trade with them and eventually starting wholesaling to them. I figured there had to be more people that wanted The Goods! and there where. After a year of testing the waters, I quit my job and haven't looked back since.

We know you split your time between SF and NY, can you tell us a little bit about your bicoastal schedule?
My bicoastal schedule is hella crazy son! I hope at least one reader got my East meets West slang. Yeah, sooo, I venture out to NYC every month to bring The Goods! to my accounts. My time spent on the East side is any where from 3.5 days to weeks...I always hope for the later but based on my West Coast schedule as a stylist I sometimes have to fit in where I can get in. It makes for some very exciting and hectic months BUT I figure work hard now so I don't have to later...well, it's a nice thought at least.

How do you incorporate seasonal trends into the vintage stock you bring to stores?
My vintage accounts are trend based for the most part. Each has their own unique style but generally they are seeking the vintage version of what is currently in fashion. They'll just be stocking the real deal vs. looks inspired by an era as you find with modern clothing. Of course there are always the designer gems that are ALWAYS in fashion no matter the season or current trends. So, it's important that I keep up on what's going down the runway every season so I can work with my accounts to bring them the appropriate merchandise.

What draws you to wholesaling vintage rather than, say, becoming a brand rep?
The bottom line is I LOVE vintage clothing. Don't get me wrong, there are modern brands that do it for me but i will always be more interested in the things that inspire clothing of today. I love the idea of vintage being limited and unique. Part of it is the hunting factor too. The process as a whole is very exhilarating. I have worked with modern brands, on the retail and wholesale side and sure I can sell it but it just doesn't give me the same kind of satisfaction that vintage clothing does.

How does M.I.S.S. Crew fit in to the picture?
M.I.S.S. Crew is a labor of love! It provides an outlet that forces me to have to be in the "know", to be searching out the latest and greatest and a stage to showcase some of my skills. Gabriella of Mama Clothing, my partner in M.I.S.S., and I work hard to "bring it" for the ladies. We work around our skills and talents as well as the skills and talents of the many ladies that we have the pleasure of working with. That is the beauty of creating your own environment.

How does styling fit in to the picture?
Well it all goes hand-in-hand. Styling keeps me up on and involved in current fashion happenings, which can provide content and focus for M.I.S.S. and can also keep me in the loop as to what my vintage accounts might be looking for. Being a vintage clothing dealer provides access to unique items for my styling work and knowledge of what inspired current fashion which can provide fun content/education for M.I.S.S. and my own blog. I can also provide press and exposure to my vintage accounts by pulling items from their stores for my styling work, which can't be a bad thing. In the end it all comes full circle, each helping out the other. These are the things I love in life therefore I have chosen to make it work.

Can you tell us a little bit about how you pulled together the looks for our trend shoot?
There are so many trends every season. I loved the idea of showing the past vs. the present, right up my ally! So I picked trends that I felt had strong roots from eras gone by or would just be fun to showcase fabulous vintage pieces...like Luxe Layers, that vintage Whitng & David top is serious or that Saint Laurent Dress from Winter's Summer. That is a rare piece, the pattern is called the "Picasso Print"...so amazing.

What was your favorite piece in the shoot?
That's really a hard one. It was exciting to work with brands like Christian Louboutin...and the Saint Laurent dress...I'd have to go for favorite looks and that would have to be the vintage "Country Living" and "Boy's Club". Country Living came together like a dream for me and the Boy's Club, although so simple, is something I would totally wear and I felt really represented a strong 80's inspired menswear look. I can't just pick a piece!!!

What advice would you give people about shopping for vintage clothing?
Be patient. It is not as easy as running into the department store and grabbing a blouse or little black dress. Vintage items are unique and limited. Try things on but don't force the fit! There currently is and has never been any sort of standardization in sizing. A vintage size 10 can be a modern size 4, yes it's that crazy.

What don't people know about your profession?
That it is hard work...a true hustle. People always say that I have the best job and granted I have to agree BUT it is the best job for me. Might not be for everyone. It is long hours, early morning digs in the dark, piles and miles of modern day cast off's to find that one gem, lot's of driving, sometimes sleeping in your car, mending and repairing...breathing life back into things that have been left for dead. I call it search and rescue. it's a strange love and wonderful life and it is the life for me.

Interview With Shannon & Bryn From The Fall's Top Five

coutorture — Thu, 28 Aug 2008 08:50:41 -0700

We think it's interesting to paint the fashion picture from all perspectives. You know, when we meet someone interesting in the fashion industry, we interview them. As far as we're concerned that person has just as important a perspective as the designer or brand themselves. That said, when we began work on our Fall's Top Five: Past & Present photo shoot we knew right away that we would want to interview our photographer Shannon Sinclair for the site. A young mother, an accomplished photographer, a leggy gal whom, at first glance, you might confuse for the model, we thought her insight would be interesting to share in a post. As things progressed, her husband, Bryn Bowen, who happens to work in our office, got involved. His company, We Are Rocket Science, builds world class sets and installation pieces for fashion editorial. Before we knew it, both Shannon and Bryn were committed to the shoot, and we had quite a little production on our hands. Below, a few questions answered from the talented pair, and, below that, some out-takes captured by Shannon.

What are the advantages to working in the same industry?
B. Knowing where each of us are coming from when dealing with outside work. We don't get the opportunity to work together very often, so knowing the highs and lows of the industry helps with understanding each other.
S. The industry has a tendency to be very word-of-mouth. At times, we have been able to be each other's PR manager.

What are the disadvantages?
B. The inconsistent income.
S. The Hours! Some days he isn't home until late! We have a 2 year old so I find myself wondering where my break is.

Do you often bring in each other on board to the projects you are working on?
B. We always look at each other's work and critique it. Everyone needs that extra opinion sometimes even if they don't want it. She sees things I don't and vice versa.
S. I value Bryn's opinion. I always ask him what he thinks of my concepts for shoots. We agree to disagree!

Shannon, how has Bryn made you a better photographer?
S. He has a wonderful creative eye. He always brings ideas to the table when I am shooting with him. He also keeps me grounded and calm.

Bryn, how has Shannon made you a better designer?
B. I wouldn't know to think about a crop, movement, or when to stop working if it wasn't for her.

What inspired the set for the trend shoot?
B. There were so many shots and so many different looks. The simplest idea was to take inconspicuous walls and add texture, depth, and color. Do it in a way that wouldn't take away from the clothes but, instead, compliment.

What inspired the lighting and photographic techniques?
S. I wanted to go back to the way of shooting that I like which is more on the conceptual side. The last several shoots I have done I have kept the lighting
pretty straight forward. I wanted to be more creative with the mood of the shoot. We were going to be shooting clothing that had a lot of texture and color
and I wanted to enhance that. I decided to use several different lights to create a sort of blurred effect, with the feeling of movement and fluidity. I think the lighting brought a lot of life & color to the shoot.

What don't people realize about the fields that you work in?
B. That I can still make a living at making art.
S. It's hard work being a photographer! It isn't as easy as you would think it would be. The photographer wears many hats. We don't just stand there and push a button. We are orchestrating an entire job. Oh, and we control the ipod.

What don't people realize about the fashion industry at large?
B. Its a huge stone that we each have to chip away at to get ahead. I think what ever people think about it is true. It can be fast, creative, and fulfilling at all the right times. One can always find either a city or a designer that inspires them to either create or think outside the box.
S. That there are hundreds of people doing different jobs to make the fashion industry go round. There is much more going on than just pretty models, cool magazines, and a fancy party.

Samantha Pleet Interview & Rapscallion Collection

coutorture — Tue, 05 Aug 2008 11:28:18 -0700

Samantha Pleet is one New Yorker with a lot on her plate. On top of designing her own line (which debuted while she was still in college), Pleet has recently teamed up with Urban Outfitters to produce an exclusive collaboration entitled Rapscallion. The collection, true to its name, features adorable button-downed jumpers, feminized tuxedo shirts and military-esque jackets and capes. "I was so excited when found out that I would have the opportunity to work with them on designing a line...I grew up shopping at Urban Outfitters". Rapscallion will debut in October and house a total of six new collections--one delivering every other month. A pop-up shop will also be erected in Los Angeles, stocking the designer's full range for Urban Outfitters, her ready to wear line, and other design endeavors, including Pleet's eco-friendly line, Bodkin.

For Bodkin (worthy of its own post), Pleet collaborates with studio-mate Eviana Hartman--a freelance writer and former features editor at Nylon. The line, which started out as a weekend experiment transforming dusty clothes into handbags, offers an monochrome collection of edgy separates not without their own delicate softness. Bodkin is made entirely out of recycled and organic fabrics.

To read our review of Pleet's Fall 08 collection, click here. Below, our interview with the designer and below that, the Rapscallion look book.

Can you give us some background on your Samantha Pleet Fall '08 collection and the mugshots you used to depict the collection?
The Fall 08 collection reflects a madcap array of inspirations. From Dickensian urchins to vintage black-and-white police mug shots to sharp-dressed sixties rock bands— and marks the introduction of a small menswear line, Patrick Pleet...We started collecting vintage police mug shots some were from the turn of the century. We found them at flea markets and image libraries. Each shot told a story and some of people in them had a really inspiring style, a few of them looked crazy those were usually the best ones.It was a great way for me to incorporate real people that found inspiring and asked them to let me "arrest them".

You seem to draw inspirations from lots of different places like music, literature and art. What is your process for narrowing this down to a story and from there into actual clothes?
This process happens very organically for me. My subconscious seams to be able to blend everything together. I do a lot of image gathering, thinking, sewing, sketching, and sourcing. It is not until I start to put a few of the samples together that I begin to see the collection take shape. This is a never ending story because I have to keep designing.

What is a typical day in the studio?
I only live 10 minutes away, so I walk to work get coffee at Oslo with Patrick. I usually have to go to the garment district during the day for a fitting at my sample maker. I now work with my friend Dusting McSwane, he does my technical design, which is amazing. I usually distract my studio mates Susan (designer of Dirty Librarian Chains) and Eviana (writer and Bodkin partner) with new samples to show them. We all try them on to see how they fit. It is a wonderful and inspiring place to work.

What do you enjoy doing on your days outside of the studio?
My life is my work so even when im not in the studio I like to gather inspiration. I love to wonder around the city. My perfect day would be to have brunch at Diner walk over the Williamsburg bridge, wander into shops in the Lower east side, walk over to 9th street in the East Village get coffee, and then over to Soho check out some more shops--go to an art exhibition or two on the journey. Later to go see a concert and then join friends in the evening, which usually turns into talking about doing another project. Finally I would go home and watch a film or read a book and listen to music.

Do you have any personal favorites from the Rapscallion collection?
I love everything in the line but my favorite is the Cape dress. It's a wool dress with a detachable cape, I will be wearing this a
lot. I also love the high wasted jeans, the banner dress.

What do you have in store for curating the pop-up shop for Urban Outfitters?
It doesn't open until November in LA. We still have a lot of planning to do. Patrick, my husband who is an architect, will be working with them on the space. It will carry the first two Rapscallion collections, my Fall 08 collection, Bodkin, and I will be curating some vintage clothing, gifts, and jewelry, and other curiosities.

Interview: OAK's buyer, Kim Christenson

meganzanke — Wed, 04 Jun 2008 13:06:04 -0700

Whoever said New York is dead, obviously wasn't hanging around with this pack. Now with a showroom, magazine, Brooklyn and Manhattan store locations, and an online store that's selling so much inventory it can barely keep items in stock, OAK is literally taking fashion in New York by storm. The last party they threw, to celebrate their newest issue of Oakazine, called for a few hundred people and the rsvps came in at well over a thousand. At the party were designers, artists, writers, and anyone else who gives a damn about fashion, there to support OAK's efforts. For today's interview, we talked with Kim Christenson, OAK's buyer and all-around stand up gal, on what it takes to buy for the boutique. Christenson's job is not an easy one, many eyes are on her (including other buyers who let her take the risks while they poach up-and-comers) as she's someone who can greatly influence what become major New York fashion trends. Here's what she had to say...

As a buyer, your professional duties must fall into a rhythm according to when collections are shown to the public and then officially shown to you. Do you also pick up lines for OAK under more spontaneous circumstances?
Absolutely! We are always searching for new designers and innovative ideas. Obviously the best time to find new lines is during market but I am constantly scouring blogs, boutiques, my personal email, etc for a line that we would consider a positive addition to our store. Most of our best lines collaborate with us and form a more personal bond then just a business one.

What lines are you really excited about right now that perhaps people don't know OAK carries or you haven't received deliveries for just yet?
We just received Rick Owen’s lower priced denim heavy line DKSHDW which is completely stunning and dramatic for both men and women. Another line that I just put a reorder in for is called Complex Geometries (out of Canada). The designer focuses on creating new shapes out of mainly cotton or wool jersey that is creative and architectural while remaining completely wearable. It always blows out.

As far as next season goes, the line list for men’s fall is going to be amazing. I personally think that the menswear field stepped up to the plate and is really outdoing itself for next season. We picked up a bunch of new edgy labels like Public School, Wrath Arcane, Chronicles of Never, Raf Simons and men’s Helmut Lang. Labels for women’s that were real stand outs were Fifth Ave Shoe Repair, Cavern, Marios and Les Chiffoniers.

As always, I am excited for our own private Oak label as well. Next season is based on heavy metal and I know it will be super fun and easy.

What do you think makes a good designer? Does this necessarily mean you will carry the line or do you sometimes have to buy based on consumer demand (rather than pure innovation)?
We pride ourselves on finding fresh, innovative designers but I often times buy things that I wouldn’t necessary wear but I know that the customer will really like. Not everyone wants some crazy 90’s flash back tie-dye shoulder pad dress (like me). You have to offer goods to many different niches. I live and work out of Williamsburg and the customers on Bond Street and in Park Slope overlap in some respects to the Williamsburg aesthetics but it is important to differentiate. We are also trying to offer more “basics” (in addition to the more editorial pieces) that help round out a wardrobe like easy tees and tanks that can be worn everyday alongside the fantastic ones.

Do you always buy clothes that you, yourself, would wear?
I put in my share of personal orders but being a good buyer means that you can see a sellable piece and not think about yourself. Otherwise, I have my muses…friends, co-workers, customers that help the buy. The store has to keep an aesthetic and I try to keep to that as best I can with out my own personal wardrobe getting in the way.

How do you study the inventory in the stores? Is it a numbers game or is it more casual than that?
I find it is most beneficial to actually interview the sales associates about inventory and demand. Not to say I don’t also check the figures added by the computer system, but I can learn about what is doing well, what customers are avoiding and what is demanded by them. You can’t see that by staring at numbers on a screen.

We know that OAK has an unwavering reputation for scouting out new and hip designers. Why else do people shop at OAK?
We work hard to offer a very curated selection from each line. A lot of thought and time goes into the buying of each and every collection so shopping at the store can be effortless.

In addition, Oak has always associated itself with a Brooklyn aesthetic which people really seem to get and embrace. It’s more “downtown” than “downtown”. Cool, edgy, casual and sexy.

We also make it a point to buy for multiple price points. Not everyone can afford a $900 leather vest but want to shop at the store. So we try to offer a range accessible to just about everybody.

How does buying for the website differ from buying for the actual stores?
Our site does best with editorial pieces and limited editions as well as hard to find but amazing labels. Many people are shopping from locations that lack the resources so they can come to us for remarkable and hard to find pieces. It’s no easy task getting these items into our store but I want to be able to offer the most edgy and cool styles to our customers world wide.

Our buy for the website remains pretty similar to that of the stores as well. It is more practical for everybody. Many of our customers are actually New York based so they check the website for new additions before coming into the store. Often times they come into the store specifically to try on something they saw online so it only makes sense to offer that option.

Interview With CB I Hate Perfume

coutorture — Wed, 30 Apr 2008 10:38:13 -0700

With names like "At The Beach 1966", "Burning Leaves", and "In The Summer Kitchen" you might have guessed that Christopher Brosius is not your average perfumer. His company name, CB I Hate Perfume, drives the point home. Why does this perfumer hate perfume? Brosius attributes this quip to the days of his youth, when he used to be a New York City taxi driver. Indeed, his time during and after his studies at Columbia University included a range of experiences that cultivated his dynamic personality and, though some part of it surely is innate, his profound relationship with scent. Brosius has been described as "one of the most innovative perfumers in the 21st Century" and below, he shares his thoughts on perfume, scent, headspace, and memory. To get the full effect, we encourage you to seek out his scents because until you smell "At The Beach 1966", well, you won't quite have been there.

I remember reading a passage in Warhol's diary about how he'd manipulated his scent exactly every three months so that he could control his own nostalgia. Warhol was on a mission to make his remembrance more acute. When reading your notes on perfume, I thought about Warhol. You said, "Scent is the record of your own special life – it’s your experience. My mission is to capture that experience. " Capturing scent seems to be the commonality in Warhol's pursuit and your own. In Warhol's case, though, he was attempting to manipulate his own record by doing so in advance. Your pursuit, to capture something so personal, hidden in the memories of each individual person, must present a much different set of challenges. How do you locate these ‘records’ if they are, as you say, so personal?

Interesting. I’ve never read the Warhol diaries – I can respect his style but frankly I’ve never been interested. But your word “manipulation” is a curious one to me. I suppose it’s as with any kind of art or design – a matter of intention. Warhol’s does appear to me as well to be trying to create a sense of comfort by manipulating future emotion. I find that a little fear-based…

Mine on the other hand is to delve into the past and while there to certainly capture pleasant sensation but also sometimes to confront and come to terms with the unpleasant – if that’s where my clients care to go and some do. There’s often that “needle-hook of experience” in olfactory memory which isn’t always kind or happy.

Getting at memory can be tricky. In some respects smell memory can be very easy to access – the whole reason we can remember at all or feel emotion in the first place is because we can smell. So there’s always an instant gut reaction good or bad. Getting people to verbally reveal these scent preferences however is not nearly so easy. Everyone is happy to tell their favorite color food or music but favorite smells (or even repellant) and harder to access – this is because those preferences reveal who we really are. And that’s often big stuff.

So when I work with private clients I suppose there’s a bit of psychology involved. I have to make them feel comfortable to trust me with some very private information in many cases. But since I have a great deal of experience with this, I can pretty easily read their emotional reactions to scents as well – it’s all pretty much there in the look on their faces. It’s not always important for me to understand why certain scents spark repulsion or fear but it is necessary for me to watch for those scents that inspire the opposite. There’s a certain expression people get when smelling certain of my scents that clearly indicates this smell is IMPORTANT to them. Both ends of the spectrum have to be respected.

But in general, when I work to capture particular odors or olfactory experiences it’s the same as with any other art – and why this why I think that perfume at it’s best IS an art. I have to explore and interpret my own experience and express it in a way that’s somehow accessible to others. The language of scent is always deeply personal and totally private and is perpetually interpreted differently by every single person on earth. However it can still be a shared experience and that’s what makes perfume such a profound and magical art.

Fortunately I seem to have the inherent knack for picking up on and capturing scents that really speak to people. They’re rarely “perfume” as it’s been understood (up till recently), but mine can touch people in a way that even the most beautiful classically composed perfume can’t.

When you embark on capturing a scent, you employ a technique that you refer to as ‘headspace’. Does this involve analyzing everyday scents that may or may not contribute to the ‘record’? For example, when I wore your ‘At The Beach 1966’ I thought it smelled a bit like sweat and Coppertone. These two vague notions really made me feel like I was there, At The Beach in 1966, but they are not scents typically found in perfume. I guess I’m wondering if headspace has anything to do with this and whether I was right in smelling those things…

I think this is where we get to two key themes that are important to me in my work w scent – observation & reflection. The “record” as you well put it is generally extremely complex & very, very subtle when it comes to smell. The coppertone on it’s own has a particular effect but in order to really hit you where you live, it has to have a very carefully crafted context.

So before I really get to the lab, I have to spend a lot of time reflecting on the tiny pieces of the mosaic that makes up a true & complete olfactory experience. Some of these pieces (dust, mildew & sweat are good examples) aren’t pretty but then much of life isn’t. But it is real and those little “nasty” bits are crucial to reality.

Once I figure out everything that I think is important to capturing a particular olfactory experience, then sometimes I will have things “headspaced” – or analysed to find out what molecules are going on in discreet odors. Incidentally this is a useful tool but the technology can’t yet automatically produce a completely true & recognizable smell – a perfumer still has to do quite a bit of tweaking to bring the scent to life.

But part of the process of mastering perfumery is to rely less & less on the machinery and more & more on what the nose tells you. One reason it takes so bloody long to become a true perfumer is that there are a kabillion aromachemicals & fragrance materials and it takes ages to be able to recognize them individually and spot them in the smells one encounters. So at this point in my career, it’s a lot easier for me to smell something, understand what makes it smell that way and recreate it without rushing to headspace. In a lot of cases, I can now make odors myself. But in today’s age of instant gratification, this is a part of the process that not many can understand as necessary and even fewer are willing to put up with to become perfumers themselves.

And since I’m self-taught, this has taken me a LOT longer to figure out than trained colleagues. It took me five years to really complete the smell of new falling Snow and that was the result of an accident when I happened to smell a totally unrelated substance one afternoon and realized that was the missing piece. A truly accurate Dandelion took much less time but was still the result of a lot of trial & error not to mention smelling a lot of dandelions…

But to be able to make these connections, perfumers have to have brains that are wired slightly differently from the majority. We have to be able to remember smells that we encountered previously and sometimes FAR in the past. I am given to understand that this capacity is very rare – probably this is why there are so few true perfumers on the planet and why they tend to be from families that have produced perfumers for generations.

So in essence I’m kind of a freak of nature – a natural born Nose. I have not only the necessary genetic and biological makeup but that special kind of vision & creativity that can go beyond the mere technical. (And I have to say it took me years to figure that out and I still probably wouldn’t have know it had it not been for someone who was interviewing me back in 2000)

Now to get back to your own reaction to “at the beach 1966”. Is there “coppertone”? Yes. Is there the smell of sweat? No not really but there are things that lead the nose in that direction. People often smell things in my perfume that simply aren’t there. But that’s as it should be and goes back to that “language of scent” thing I mentioned earlier. The perfume has to spark an emotional response – that’s how the brain works – and with that emotion comes memory. Even if the scent isn’t exactly what you recall, memory naturally fills in the blanks with those elements (like sweat) that add up to the experience you had yourself.

So whatever people are reminded of when they smell anything, whatever they think they’re smelling whether it matches the name on the bottle or not, they’re always absolutely right.

Amazing no?

Interview With David Blond For Glittering Cruelty Photo Shoot

coutorture — Wed, 23 Apr 2008 11:45:43 -0700

Curious what it's like to hold, or get into, a corset from The Blonds Fall 08 collection? Let's just say it requires two to three people and, during the fitting, Megg Morales asked for water, 'but not too much because she wasn't sure it would fit down'. These corsets are, in more ways than one, breathtaking. Phillipe and David Blond helped style the shoot and put corsets and accessories together in ways not seen in the glossies or on the runway. The Blonds are, indeed, engaged with every aspect of their brand. From styling to throwing parties, making custom pieces for special clients to producing a proper runway show during New York Fashion Week, The Blonds are there, beautifully put together and with an enthusiasm that is nothing short of a miracle given their busy schedule. Below, find our interview with David Blond on what it's like to be a Blond, and, be sure to check out our review of The Blonds Fall 08 collection which includes both backstage and runway photo galleries.

What is everyday life like for The Blonds?
We wake up at 5am and bleach our roots while we read D-listed, check the Spacebook (Myspace & Face Book) and split a grapefruit...Phillipe usually visits his shoe collection while I check email and the rest of the day is a blur SPARKLES AND FAIRY DUST! LOL! Actually we've been extremely busy since the show in February. We're working on several projects right now including our Spring collection... We haven't had a break this year but I'm not complaining...bring it on!

As each of your pieces is one of a kind, we're curious how much time is spent dreaming up and creating each one. Can you tell us a little bit about how the design process for you differs from that of a designer who creates garments that will be produced in large quantities?
There are so many things we want to do and express that it takes no time at all...we've been dreaming all our lives and it's finally being realized. Normally our creative process starts with a feeling...Inspiration can come anytime, anywhere or from anything. Then we sketch like crazy and figure out how to make the pieces, instead of finding the materials first. Sometimes that makes it more difficult but in the end you're uninhibited during the creative process. That may be the difference as there are many creative limitations to mass production but we're open to it.. OF COURSE!

What do you love most about living in New York? How is that a direct correlation to your business?
New York has so much to love and it's a part of our souls...you can always tell a New Yorker. It doesn't matter where you’re from or who you are the people that live in this city where born to live here. There's no place on earth like it and it's great for our business because you can do or be anything...

What kind of woman buys or wears your pieces? Do they become friends of yours by doing so?
Every kind, women are our muse... Their femininity, strength and passion is the driving force behind what we do. There is a special relationship between women and the designers who dress them...it's even more intense when something is made for a particular person because their essence becomes part of the design.

What, besides your own creations, do you think is exciting in the world of design right now?
This is one of the most exciting times to be a designer, anything is possible and we're obsessed with Christian Louboutin!!!

The Fashion District Source Book: Interview With The Authors

coutorture — Tue, 22 Apr 2008 09:37:32 -0700

New York City's Garment District is basically a dreamland for fashionistas. Trunks full of buttons, walls stacked with rolls of colorful fabric, leather men and fur ladies, a warehouse that sells billions of little, tiny sequins. If you dig clothes and you've an imagination, this is your hang out. The Garment District is also one of the most dynamic historical neighborhoods in New York City and one that, unfortunately, is in major turmoil. Everything from real estate pressure (see the New York Times piece on Manhattan's flea markets for more) to manufacturing trends (hon, we 'aint makin it in New Yourk anymour) is turning the neighborhood upside down (a topic we'll save for our Garmento series) and causing shops to close every time you turn around. To help you navigate the district, two recent fashion graduates, Joceyln Simms and Victoria Somers, set out to create a user friendly guide on navigating the neighborhood. The task was not a simple one but the result, The Fashion District Source Book, is a sweet, smart reference guide that helps you find everything from bootlace to button. It is perhaps the author's youth and their passion for the industry that make this guide so refreshing. No old school inhabitant of the neighborhood could have seen things so clearly, that is, there's something to be said for a fresh perspective.

What inspired you to write the Fashion District Source Book?
Jocelyn Simms: New York City, and today’s world in general, are so full of information and product choices, that without tools that can organize and make sense of it all, consumers are lost when it comes to making a decision. The last thing that a shopping district wants is for the consumer to become so overwhelmed that they consistently revert back to the same, safe, convenient option time and again, or worse, forgo the shopping experience entirely. Unfortunately, this is often what happens. We wanted to create a tool that could quickly inform potential customers what to expect from each store in the garment center so they could spend more of their time shopping successfully, and less time doing research and learning through trial and error.
Victoria Somers: It happened more because I went to Jerry to see if he had any side work. He suggested I write this book and to get a friend to help. Jocelyn was the best person for the job because she is so creative. From there we just did a lot of brainstorming, thinking of what people (especially out of towners) need to know about the fashion district. It is something I wish I had when I first moved to NYC. It would have been a huge help when I needed something for a project.

The garment district has such a dynamic history, was it difficult to keep the book streamlined?
JS: History aside, the most daunting aspect of the garment district is the number of stores and the amount of merchandise that is offered. We probably could have written a novel- however, the purpose of this guide was not to be thorough, but to create a USER FRIENDLY guide that gives designers and shoppers just enough information to make decisions. Streamlined is what consumers are craving in today’s marketplace. They only have time for quick, easy answers and that is what we tried to deliver. Although I do think the publisher did a bit of secret editing down for us….as I look at it now, I know we weren’t quite that concise. ☺
VS: We put the focus of the book on the present. It changes so much that it was getting difficult. Some stores were closing in the process of just getting the information. So we would get the info, write it up, then someone would point out that the store just put up closing signs. So we did all we could to get everything current in there. But I am pretty sure that even after we turned it in they needed to keep making sure it was up to date before publishing it.

When differentiating between all of the different shops in the district, did you find it challenging to point out the discrepancies? With a million trimmings shops, in other words, how did you find ways to describe them as unique?
J.S: As often as we used the garment district stores during college and our internships, most stores had already taken on a very specific identity in our minds. We had the shopping background to pick out the little but important things that aren’t apparent just by glancing in a window. One of my favorite functions of the guide is the organizational/rating system that we assigned to the stores. We flagged certain stores as our favorites and flagged some as having great deals as well. We also specified when a store falls into multiple product categories so its easier to find a one-stop shop for whatever you happen to be looking for. Our personal opinions on quality, pricing, and service, combined with the product assortment of each shop, were plenty to differentiate them from one another. I encourage the user to keep their own notes in the book as well.
VS: Although it is hard to tell, they really are all very unique. Even if they offer the same sort of fabrics, they will all have something no other store offers. That could include prices, service, variety, or convenience. If was fun doing the project because we were able to find such unique stores that no one knows about. There is a feather store, for example, that Jocelyn found. And I actually had to use it one day. It happens to be an older man in a room full of beautiful and exotic feathers. It was so interesting to me to know he was creating all the boas all by himself with these colorful feathers from all over the world.

What is one of the biggest rewards of having published this book?
JS: I have heard feedback within the industry, from co-workers, and students, and I know it is making their lives easier when it comes to shopping for fabrics and trims. I think that one of the main things the guide has done is to open people up to trying stores that they wouldn’t normally visit or didn’t know were there. It is easy to go to the same stores over and over because you are familiar with the merchandise assortment. This guide makes it safer to venture out to new stores and therefore discover great resources that you would have been missing out on otherwise.
VS: Although it is a small guide book, it is still not something I would have thought I would have done by the time I was 21. It is an accomplishment of mine that I am happy I was given the opportunity for. Also, I actually use it as a reference quite a bit. So it really helped me out as well.

What are your future plans in fashion?
JS: I am currently an assistant designer for women’s sportswear at Tommy Hilfiger and plan to continue my career in the fashion industry as a designer. However, as a designer it is great to be able to use your expertise in other creative projects, for example the Fashion District Source Book. I plan on being involved in any up-dating and re-vamping that the Source Book may need each year, and look forward to being a part of other similar ventures in the fashion industry as well.
VS: I currently was hired at Tommy Hilfiger for design. (Jocelyn actually helped me get the job). So I am very excited to be getting back into design where I belong. I spent the last year at a vintage print archive here in NYC. I learned so much and was given great opportunities with travel, but I know I am meant for design.

An Interview With Lori Ettlinger Gross

coutorture — Fri, 18 Apr 2008 09:56:07 -0700

Community member Lori Ettlinger Gross, the blogger behind Jewel History, has just released Brooches: Timeless Adornment. The lush coffee table book is rich in both photographic and historical detail thanks to Ettlinger-Gross’ keen eye and sharp intellect. Her book is a fascinating portrait of one of accessories most charming subjects. Ettlinger Gross graciously answered our questions. We present our interview alongside images from the text.

How did you personally become fascinated with Brooches?
I’ve always loved them. They are, by far and away, the most versatile item in the jewelry box. I guess both my grandmothers got me started—they used to give me little pins to wear on the sweaters that I wore to school. As I got older, I began to appreciate them for all different reasons: they added glamor to basics, they were portable (I could toss one into my bag before I left for work and then wear it at night), in a pinch they function as a button would (very handy when a wardrobe malfunction presents itself) and now I am just fascinated by them. They are complete works of art unto themselves; they do not require the framework of the body to complete them.

It has often been said that one reason the handbag is so popular is because it allows any body type to enjoy it. The same is being said about hats and shoes now. Do you think we might see a renewed interest in the brooch?

They were all over the Fall runways, from Marc Jacobs to Ruffian. Scatter pins were huge. The nice thing about a brooch is that anyone can wear it, even a man! I have friends who wear a pin on their lapel —it’s a very elegant look when done right. I remember seeing an image of Andre Leon Tally wearing a gorgeous diamond feather brooch on the lapel of suit jacket-because of his six foot plus stature he pulled it off beautifully.

You focus quite a lot on collecting, what do you personally collect?

Anything and everything, from nineteenth-century paste to a green strawberry pin from Jolie. I am a design girl; I love something clever and well crafted.

Do you have a favorite piece in the book?

Actually I adore all of them, but in particular my grandmother’s brooch on page. 137.
Craftsmanship also features prominently in the book. What are some of jewelers and designers that we can look to for the best craftsmanship? And are there places we might be surprised to find something that is well done.

A lot of vintage pieces are made well; time was taken to create something lasting. Modern pieces by any of the major houses like VCA, Cartier, and Chopard are going to have a similar kind of quality.

Studio jewelers—and Aaron Faber Gallery in NY is the place to look for those—are making some wonderful pieces today. One name would be Michael Good, another would be Tod Pardon, Barbara Heinrich, Jeff & Susan Wise. These artisans are working today and creating lovely modern things.

Your book offers a fascinating historical portrait of brooches, can you take us through some of the most significant?

The Fibula was the first type of pin. Then the Sevigne or Ribbon bow brooch—a very, very decorative form that was worn on ball gowns.

The mourning pin—this was an openly sentimental expression worn at a time when emotions were more formal and reserved.The 1940s clip—very, very fashionable and so clever and practical. I wish they would bring these back in one form or another! Francis Mertens titanium pin—a whole new way to look at gemstones and metal.

What is your favorite way to use a pin to style an outfit?

I love to wear one on the waist of a skirt or near the collar of a dress; this is great way to place emphasis on the face or highlight the waist.

How can you use a pin to style an outfit if you have body flaws you want to hide? Or alternatively if you have something you want to accentuate!

With a pin, you always highlight the positive. Near the face is always a perfect choice, so is the lapel of a jacket but place it higher up near neck rather than lower by the bustline—I find that more flattering. If you have a small waist, that is another choice too. Hats and bags make an adorable canvas for pins; the body isn’t even a consideration. Pinning a gem-y pair to the thin straps of dress is a great way for any woman to highlight her shape—they really pop and offer a glamorous expression. I also love one worn on the low back of an evening dress or just above the slit of long gown—very Rita Hayworth. There aren’t very many don’ts with pins—there aren’t really any awkward shapes as with earrings or long lengths, as with necklaces to negotiate here which is what makes them so easy to do. A brooch is great for unusual necklines—like one shoulder dresses. Cate Blanchett did this at the Oscars, it was spectacular and yet so simple.

Can you ever over style using pins?

Not varying the sizes when you group them together on the lapel of jacket—it creates a clunky look. Smaller pins are better for this purpose anyway and are far more charming.

Large, expressive brooches deserve pride of place and one to three—depending on size, motif, etc.—should be the limit.

Summer is approaching, what is a fresh way to use a brooch for summer?

Carol Lombard Wearing Gem Dress Strap ClipsI absolutely love the idea of wearing them on the thin straps of a summer dress. It completely changes the look.

Brooches have been stereotyped as preferred by older women. What is your advice for younger women to keep it fresh? Or for that matter how can an older women wear them without fear?

For anyone, I would keep a close eye on the runway. Marc Jacobs did enormous pieces and Ruffian chose scatter pins. Scatter pins are easy, fun, lyrical, political, or cool --it all depends on the mix. I am partial to wearing a smattering of small or medium sized pins—it’s easy and ageless.

There is nothing to fear with a pin and everything to enjoy. You can take a pin that you wear everyday and put it on satin, denim, brocade, or a cotton t-shirt and pull the neckline to one side and pin it—creating a slightly winsome/seductive look—and it will never seem like you are wearing the same thing twice.

Women of every age can wear pins—experienced veterans know exactly what to do with them and what works for them and newbies should just dive in and experiment—that’s the fun part!

Now that we know anyone can wear a brooch successfully, What are your suggestions for essential pieces for the new brooch owner?

First rule (and only rule—the rest are suggestions. However this rule may NEVER be broken): Buy or collect what you love! Everything else is a waste of time and money. There are no essentials really… but I would advise when something strikes you, and it’s affordable, buy it. You may not see it again. Jewelry is personal, and choosing a pin/brooch is an expression of your style. If you love cameos, seek out the best you can afford. There are some fabulous vintage silver pieces out there that are still at bargain prices. Find something great and keep looking for others. Inspect the pin stem at the back, these can be repaired or replaced, but check it out before you make the purchase. Condition is everything; a scratched and dinged pin isn’t as much fun to wear as something that really looks cared for.

As for what people can collect? There are so many incredible choices, from enamel to plastic. It’s always nice to have something with sparkle or color—or both. Faux can be as dramatic as fine—I wear vintage paste (rhinestone) pieces all the time, mostly in the evening, but sometimes when you go to a special occasion during the day, they create a little bit of sparkle that’s appropriate. I especially love pins when they have a bail (loop) and can be worn as a pendants—that double duty is really convenient and expands the way you can wear them.

Marie Saeki Showroom Interview

coutorture — Fri, 04 Apr 2008 07:31:52 -0700

We we were first introduced to the ladies at Marie Saeki PR during Alice Ritter's wild and crazy presentation, on the first day of New York Fashion Week. Among the chaos, Yurika Nakazono and Marie Saeki, ushered us backstage, made sure we got interviews with everyone from hair to makeup to models. When Ritter was barraged with journalists, taking notes and pictures, Yurika and Marie held our elbows, gave us a glass of champagne, and put us in front of the designer for our two minute moment of privacy. Needless to say, they have been one of our favorite showrooms ever since. One random afternoon, we popped in to pull some sunglasses for a shoot we had neither story boarded nor booked models for. Marie, the showrooms founder and former Accessories lady for Elle, sat down with us for a chat about the showroom and its recent projects. The showroom has an international roster of clients, they represent everything from sportswear to cameras, from ready-to-wear to eyeglasses. In spite of this, their team is small, and their relationships with the people they work with, close. We think people like Marie and Yurika, who do a great deal for their designers (among them, Alice Ritter, Petit Bateau, Theo, Falke, Selima Optique, Michel Perry, and Anne et Valentin) and the press, are a pivotal part of the fashion industry and, therefore, worthy of their own interview (if short). Afterall, Everybody Is A Star today on Coutorture.

What attitude or personality best describes Marie Saeki PR and the lines that you represent?
Our team is an international mix of open-minded and positive people, with a strong fashionable attitude and a sense of humor. The lines we represent reflect the personality of our office.

What are some of the differences between working with the larger publications versus smaller ones or websites?
The differences are similar yet respective to the scale of the media company. For example, the monthly and seasonally printed publications have to forecast what is going to happen months in advance, and we have to wait to see if our products have been selected for editorials. Websites are very exciting because the Internet is able to instantly broadcast something new and there is an instant result to show our clients.

What is your average day at the showroom like?
Answering a very, very large amount of emails and writing an even bigger amount to our clients, editors, stylists, and journalists. We are in constant communication because new ideas are always being brainstormed and pitched. Samples and products are sent out daily for photo shoots and other product placements. Depending on the season, fashion shows and events are planned and executed. There really is no average day because each day presents new tasks and requests. Our biggest daily issue is deciding where we should order lunch.

What is the most stressful part of your job?
Worrying about not having results to show our clients.

And, your favorite part of your job?
Pitching, it's like a game. It is always fun to find the right angle when introducing a new concept or fashion happening.

Interview With Perfumer Linda Kramer

coutorture — Fri, 28 Mar 2008 06:05:11 -0700

On a grey, cold day like this one, it's appropriate to focus on our other senses for a dose of optimism. The new Ralph Lauren fragrance, Ralph Wild, was created by perfumer Linda Kramer. Although the ad campaign and the market work required to put out the new fragrance piques our interest, we thought it appropriate to speak with the perfumer behind this soon-to-be popular commodity. When working with an ever-reaching brand like Ralph Lauren, every aspect of that identity has to be considered. Translating these notions into fragrance, into notes, is a feat in and of itself. Our interview with Linda Kramer follows, and for more from the perfumer, and on perfume in general, look to our network partner The Scented Salamander, whose education on fragrance consistently makes for an interesting read.

Can you tell us a little bit about how you came to be a Perfumer?
I have been interested in fragrance since I was young. I went to private school where I wore a uniform and wasn’t allowed to wear make- up, so fragrance was the only true way I could express myself. Not only was I was obsessed with trying new fragrances, I loved reading the fashion magazines to see the fragrance ads – the beautiful, seductive women, the elegant, elaborate packaging, the exotic imagery. It amazed me how a blend of certain ingredients could not only smell great, but could completely transport you to another place. Once I finished high school, I attended a college with a fashion/beauty focus.

What aspects of the field are people unaware of?
I think people are unaware of the limitless amount of inspiration that surrounds each project. For example, with Ralph Wild (and all of our fragrances), what inspired me most is the fact that I work for such an iconic designer as Ralph Lauren. His vision guides the project from conception to completion. Another source of inspiration was our new model, Amanda. At the beginning of the project I watched a video of her taken at a photo shoot. The video captured Amanda playing Frisbee and having fun with the photographer and crew. She exudes this great energy and I found her fearless, feminine confidence very inspiring.

How long does it take to develop a perfume?
There are several steps in the process of developing a perfume. With Ralph Wild, The first step was to identify the key elements of the brand – This fragrance was designed to represent a girl who is spontaneous, fearless and confident. We also looked at the imagery and the color of the packaging. Based on all of these elements of Ralph Wild, it was clear to us that we needed to create a fragrance that would make a bold statement but would also tie in the Ralph Wild Girl’s personality and the color of the packaging.

How great a role do cultural changes play in the popularity or prevalence of particular scents? How does this dynamic inform your creations?
Right now there is a trend towards floral fragrances with juicy, fruity, edible nuances. Ralph Wild is so popular because the juicy, fruity notes and the warmth of the fragrance not only provide a feeling of playfulness and comfort, but has a nostalgic effect on us as well. These types of notes have the amazing ability to olfactively transport us back to the happy memories of our youth.

Garmento: Inside the Screenprinter’s Studio

coutorture — Wed, 26 Mar 2008 13:21:31 -0700

Last Thursday, we caught up with Becca and Paul Steinman, co-owners of Quist Industries, Brooklyn’s full-service screenprinting and embroidery studio. Based in Red Hook, the small team of printers, designers and business development specialists at Quist boast customers ranging from red-hot indie (Barking Irons and Gilded Age) to chic & established (Anna Sui, Betsey Johnson, Kangol).

Screenprinting (also referred to as silkscreening), is the process of pressing ink through a fine mesh that has been exposed (in a way similar to photo developing) onto a fabric’s surface. Screenprinting is relatively easy to learn, which is why many start-up fashion labels begin with graphic t-shirts and hoodies. As we found out from Paul, creating a consistently professional print takes skill, equipment and an eye for great design. (Take a look at the video for the complete scoop on the screenprinting process).

We also chatted with Becca and Mindy Dulberg, Quist’s business development specialist, about entrepreneurship, the Red Hook community and the benefits of buying locally-made fashion. Especially for up-and-coming NYC designers, local printing resources provide lower minimum orders, more hands-on interaction and easier communication than overseas or even Californian print houses. For NYC shoppers, this usually translates into lower prices on truly unique designer graphics.

-Written by Bob Bland for Coutorture
-Click for more information on Quist Industries

About Garmento: Garmento is a weekly feature on Coutorture devoted to giving you an inside look at the real fashion industry. Before the runway reviews and the photo shoots, before the ad campaigns and the Vogue editorials, an enormous network of fashion professionals are involved in the creation of every garment. Check us out every week for a new perspective on each step, from trend forecasting and design to manufacturing and sales. With every new profile, you’ll see that whether your fav outfit is from H&M or Hermes, the process is the same. Don’t become a fashion victim- inform yourself weekly with Garmento, and unleash the smart and savvy shopper within.

About Bob Bland: Bob Bland is a freelance writer and professional menswear designer with experience at Triple Five Soul, Rugby by Ralph Lauren, Tommy Hilfiger and Banana Republic. She is also the designer and founder of Brooklyn Royalty, a Williamsburg-based line of men’s and ladies’ apparel. Founded in 2006, the line combines timeless design principles, premium materials and hand-printed graphics for indispensible garments that are meant to look and wear better over time. For more on Bob Bland and Brooklyn Royalty, check out www.brooklynroyalty.com.