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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 Designer Sue Stemp

coutorture — Tue, 01 Apr 2008 06:12:30 -0700

Now that the curtain has dropped on Fall 08, we've taken a moment to style and shoot the collections from some of our favorite designers. Sue Stemp, whom we interviewed as part of our pre-Fashion Week video series, invited us into her studio to shoot her Fall 08 collection. Stemp, as always, was a blast to spend time with, and with her new inclusion as a member blog in Coutorture we are even more excited for this shoot. She is one of the most lively designers and her beautiful manners and kind demeanor make her clothes seem that much more special. This Fall 08, Stemp showed vibrant dresses with details like hand screen printed designs and racer back panels that wrap into scarves. The collection is any party girl's dream come true where the clothes are sophisticated though lively enough to grace the dance floors of any posh New York City club. Since we've spoken with Stemp about her Fall 08 collection by way of our previous interview, we decided to ask her a little bit about her time spent post-Fashion Week. Below, our most recent interview with Stemp, links to other coverage, and our exclusive Coutorture editorial.

One would imagine, with Spring deliveries and Fall buying, this time of year might be a bit hectic for you. Is this a stressful time for you or are you able to relax with the help of your team?
Having your own business is relentlessly hectic all year round, but timewise in the fashion calendar, with there being a much bigger gap between Spring and Fall fashion weeks than vice versa, March and April are really the quietest months for me. So I’m trying to make the most of it and maybe get away somewhere soon.

When does the work for next season (Spring 09) start to pick up? When you are building ideas for a new collection, do you set a timeline for yourself?
I have to set a timeline for myself, and I guess I’ve already started to build ideas in my head and in my sketchbook. I’m just beginning to research these and look at fabrics….there is always a danger of starting too early on designing though as I’ll want to change everything later! The first things that I really have to finalise are the colours, order fabrics and trims, and get my prints and embellishments into work.

Your Fall 08 collection included so many wonderful dresses, perfect for an evening out in New York City. I know you've just moved uptown with your family, do you think your aesthetic will continue to represent a downtown lifestyle, or do you imagine the move will begin to inform your designs?
I don’t think my move will make any difference to my design aesthetic….it will still remain a mix of downtown New York with a bit of uptown and London thrown in!

What pieces in the Fall 08 collection did people respond strongly to? Were you surprised?
People always react well to my prints, especially this season as they were mostly hand screen printed with is really unusual. In general most girls respond strongly to whatever they think would like to wear themselves…so that’s not really that surprising, but it is flattering and encouraging.

Links:
Sue Stemp Spring 08 collection
Pre-fashion week video interview with Sue Stemp
Sue Stemp Fall 08 fashion show
Exclusive Coutorture editorial with Fall 08 Sue Stemp colllection
Exclusive Coutorture editorial with Fall 08 James Coviello collection

Corpus Interview

coutorture — Fri, 21 Mar 2008 06:39:59 -0700

As part of our showroom photo shoot series (see James Coviello and JF & Son for more) we popped into Archetype showroom to shoot the Corpus Fall 08 collection. Earlier that day, we had a rager over the revival of acid wash (didn't this just happen) and when we got to the showroom, low and behold, a pair of cherry red acid washed jeans were looking us in the eye. So, we thought of the shoot from the vantage point of a prep school in the early 1990's. Maybe even an English prep school, we thought, which probably popped into our minds with our model Estella, telling us about her move to New York from sunny London. We first saw the Corpus Fall 08 collection at Capsule, and right away the Navajo print cardigan caught our eye. One of the first major purchases everyone makes when Fall is on it's way is a new cozy cardi. It's hard to think about now, as all New York has on it's mind are the sweet blue skies of summer. But it's true. If you think back to the first time there's a chill in the air, the first time you opt for a hot coffee and a croissant over an iced coffee and a bowl of Margarita, you start thinking about cozy knits and country homes. Queue Navajo print. Seriously, it conjures all of those cozy cravings in one fell swoop. Funnily enough, the guys behind Corpus, Jerrod Cornish and Keith Richardson, live in Los Angeles. Somehow, the pair have captured an East Coast moment with their Fall 08 prep school versus the college professor vibe. Like romanticizing a change in seasons, maybe a little bit of distance makes for a brighter future. Our interview with Corpus below as well as our exclusive Coutorture editorial of the Fall 08 collection.

Can you tell us a little bit how Corpus began?
Jerrod and I had been friends for awhile. One day we were talking and decided that we wanted to start a clothing line. We saw something missing in the market and wanted to fill that void.

What was missing? Was it a few specific garments you envisioned, or a particul aesthetic?
We felt there was a lot missing. This was over 5 years ago when we started the process of getting Corpus rolling. Streetwear was huge and there wasn't much of a middle ground between high fashion and low priced clothing. So we set out to do clothes that were not cheap but also not trying to be a uber fashion like Lanvin. We wanted to make quality fashionable clothes that you can wear but didn't look like you were walking down a runway.

Do you think there is anything inherently West Coast about the brand?
The West Coast is amazing and we are very proud of residing here. But our brand is not like most brands from the West as far as the styling and type of garments we make. There are not many people making moreno cashmere sweaters with navajo prints knit into them out here. But the West Coast resides in places for sure in the brand I just can't put my finger on it.

May, over at Archetype, told me that you were friends with the designers of Fremont. Are many of your friends designers or artists of some sort?
Yes we know Devon. He's great. We have many friends in the creative feilds. Its great to be around like minded people no matter what form or art the do music, paiting, fashion etc.

Is it difficult to be immersed in a community of other designers and artists and yet still create collections that are, to you, nonconformist?
No because most clothing in our category looks the same. And in LA there are not many clothing designers we are inspired by. Its more like minded people that inspire us. We spend a lot of time in New York and get direct inspiration from fashion designers and artists and just the general public in New York but in LA there is a disconnect--your in your car all day. You just don't see many people in LA. Its your home, to your car, to work, back to your car, and home. It's hard to get inspired living that lifestyle. You have to look much harder to see what's out here.
If Corpus had a manifesto, what would it be?
Just to make clothes we are proud to put out there. Never conforming to what the rest of the market is doing.

How do you differentiate between the women's and mens lines? Do you treat them as separate entities, design everything at the same time, design something unisex and spin it in two directions, or some combination of all of these things?
The womens line is growing slowly into its own entity. Soon we will have more womens specific pieces.

Interview With Michelle Siwy of Siwy Denim

coutorture — Tue, 18 Mar 2008 06:12:19 -0700

Siwy denim, launched in 2005, isn't your average premium denim brand. That is, Siwy's tailoring is so unique that the buzz surrounding the brand isn't based on superficial hype but on the incomparable construction. In short, no denim label on the market offers a cut that even resembles that of Siwy's. The back seam is shaped like a heart (rather than a straight line) making your backside look round rather than squashed. To drive the point home, quilted pockets with rose embroidery are meant to give you an extra lift. Granted, acknowledging a woman's curves tends to set off red flags in the minds of carb counting premium denim consumers everywhere, but the cut speaks for itself and the legions of Siwy addicts are proof that this reaction is often a temporary one. We have to say, when you slip on a pair of these jeans, you realize that your backside looks way better with a little support than it does flattened like a pancake (Oh bai, Cheap Monday's).

Made and manufactured in California but based in New York, Siwy has access to competitive West Coast facilities without abandoning their New York sense of style. Michelle Siwy, the founder and designer, is a down to earth, downtown girl whose approachable personality but headstrong work ethic only encourage her devoted fans to stand behind her in what one might call the great American denim crusade. Siwy is sold all over the world and in many high end American department stores. The brand is represented by Company Agenda who also represents fashion forward designers like James Coviello, United Bamboo, and Twinkle, among others.

Our interview with Michelle Siwy of Siwy denim below. For more on Siwy, check out our review of the Spring 08 collection and our exclusive Coutorture editorial with this summer's styles.

Michelle, can you tell us a little bit about what inspired you to start Siwy?
At the time, when we launched, I felt there was a gap in a saturated denim market that needed to be filled with a line that was cut with current fashion movements in mind, while maintaining a classic and sophisticated appeal. I felt the options were limited to one type of jean and shape. I wanted people to know that this fabric was versatile enough to change season and still remain a timeless staple.
What were the major hurdles in building the company? The major markers of success?
It was very difficult to find an investor that isn't going to take more than half of everything you have built up in your mind and control you and your designs, that will take a risk on a completely unknown name and let me just be me. I was very, very, lucky and I appreciate my business partner. Major markers:
1. The first time I saw someone I didn't know wearing my jeans that was not related or affiliated with me, in a different city and country.
2. The first time a "fan" emailed and said our jeans saved her relationship.
3. The first time a major chain knocked off our pocket. It felt like a kick in the face.
4. When Kate Moss wore our jeans for the first time. I truly had an outer body experience. I screamed so loud that the building manager thought I saw a rat.

The seam at the back of Siwy jeans is something people know a lot about. What about the other signature details, like the hem of Siwy jeans?
I am easily annoyed and irritated. I thought it was just so aggravating when I would just sweep up half of New York City's grimy, slimy streets on one walk. So, I would hem my own jeans to follow the natural curve that was caused by the heel drag. It was much easier to do than to go to a tailor, who would argue with me, endlessly about why he had to cut it straight across. My way, kept the jeans from dragging and you didn't lose the leg lengthening qualities of a longer front panel.

How great a role do denim trends (skinny versus wide leg, rise, etc) play into your designs for each season?
I don't look into what other denim labels are doing, but I have to keep in mind what is on the runway as far as shape and volume and translate my collection to work with those ideas. It's imperative I know what is going on with the accessories market more, to see what boots or heels are in or if I need to increase my belt loop size for wider belts. If long, voluminous tops were in everyone's collection, there is a chance that I am going in the opposite direction for denim and go slim. If waist cinching styles are on the rise, I play with different flare points on my legs to get the right balance to work in proportion. I do sense that there is something different on the rise with denim. I make sure to be aware of color trends, so that I can either add something I like or make sure all of my shades of indigo work harmoniously with them. I think with the way information is processed these days, trends are staying longer and overlapping, which is causing people to just be unique individuals because they are no longer afraid or intimidated to try. They are exposed to style happening around the world and therefore effecting each other.

Where do you find your fabrics and with whom (or how) do you develop the washes?
We use US denim mills for our fabric. We use a wash facility in LA that treats wash as more of an art than a simple, unthoughtful wash process. This type of relationship ensures that my vision will not be compromised. All denim starts off raw and it's up to the designer to reflect themselves through the washes. Initially, I get my inspiration anywhere from scouring vintage flea markets to botanical gardens to staring at a bird's feathers to checking out vintage album covers. I like to spend time in different museums to get lost and get in a creative zone for hours alone. Sometimes, all it takes is people watching from my fire escape. The way someone walks or flicks their hair, all turns into slow motion for me and sets a mood. Denim is the type of fabric that can tell an incredible, personal history and that is what I have in mind when working. I search for a way to describe my feelings or mood and take it out on the only fabric I know that can handle it, denim.

Fall 08 Studio Visit With James Coviello

coutorture — Tue, 04 Mar 2008 05:59:45 -0800

During this Fall 2008 Fashion Week we captured the backstage preparations for James Coviello's fashion show. This was when we fell in love, not only with Coviello's collection but with the energy, romance, and discipline the designer brings to his work. For today's exclusive Coutorture photo shoot we shot the hats in Coviello's collection, up close and personal. It's clear by now that millinery is making a huge comeback in fashion, and who better to speak with than someone with a strong background in this craft.

Coviello, in addition to designing his own line of hats from when he first graduated from Parson's in 1987, has also designed hats for Oscar de la Renta, Anna Sui, and Calvin Klein in the past. His knowledge of millinery work is impressive and his enthusiasm, therefore, is unwavering, "Everyone should have a hat! People are afraid of color but on an accessory like a hat it doesn't have to define you or your wardrobe...The hats [for Fall 08] added to each outfit and no one once said the word 'costume.' These hats don't feel like we are trying too hard. It felt new and fresh and honestly, it was nice to take a risk"

This Fall 08 season, Coviello turned to a rich 1940's art deco inspiration. The looks were ladylike and encouraged a strong posture and confident profile. It's the kind of fashion that begs for poise, something we're sure will make for a strong consumer response come Fall deliveries. As for the hats in the collection, Coviello tells us, "It's a nod to the avant garde. [To] make a statement. It's a phantasmagoria of color, the romance of the old blocks." But the collection didn't manifest from the hats, rather it was the other way around, "They weren't prepared until we started to do previews of the collection...Every night after a regular day of work I would sit down with the hats. It was my second shift. It got to be second nature. And then slowly but surely it came together. But then its second nature as I have been doing it for so long...Making the hats [for Fall 08] was like making another whole collection. In the past we had done one style but this season the hats felt like their own collection even as they enhanced what was going on in the clothing. "

Boy, did they ever. Our photo shoot with Coviello's hats below, along with links to the Fall 08 backstage photos, fashion show, and other Coutorture editorial.

Links:
James Coviello Fall 08 backstage photos
James Coviello Fall 08 fashion show

We also have impressive designer video interviews and original editorial spreads. May we cordially suggest perusing our selection? Enjoy New York Fashion Week Designer Video Interviews from Oscar De La Renta, Donna Karan for DKNY,Michael Kors, Isaac Mizrahi, Nicole Miller, Erin Fetherston, Ashleigh Verrier , Adam Lippes, James Coviello, John Varvatos , Monique Lhuillier, Joanna Mastroianni, Tory Burch, Neeam Khan

Pre-Fashion Week Video Interviews

coutorture — Thu, 04 Sep 2008 11:08:18 -0700

To celebrate the kick off of New York Fashion Week we've produced five teaser videos for the Spring 09 season. Last week, amid the inevitable chaos of designers and their pr offices, we snuck in and said hello to some of our favorite New York designers. That is Jerry Tam of Form, Ashleigh Verrier, Steinunn Sigurd of Steinunn, Chris Han, and Brandy Lunsford of Harlan Bel. In the teasers you'll discover a glimpse of the inspiration behind their collections and what each designer does to prepare for Fashion Week. When the time comes, we'll be posting their respective Spring 09 fashion shows (or presentations) and a little backstage action to boot.

Interview With Slow & Steady Wins The Race

coutorture — Thu, 21 Aug 2008 09:32:39 -0700

Slow and Steady Wins the Race had us at hello, and with a quick look at this line’s manifesto we were obviously swooning. Here’s a recap: The collections, which they call issues, act as a experimental study of fashion basics which look into the depths of everything from seams to wedding dresses to iconic bags. SSWTR releases four collections a year, while keeping their price point, and number of pieces produced, squarely at one hundred. Whether it's the common brown paper bag redone in suede or luxury-inspired bags made out of low-end fabrics (think: Chanel in canvas), the work here is not only highly conceptual, but spiked with much needed humor. What better way to laugh at ourselves, after all, than through fashion.

SSWTR operates with an anonymous designer as a way to keep the focus on the designs and not the face who created them. The designer, who will remain a mystery, chats with us by telephone about future plans and how it all started.

How did the idea to design Slow and Steady Wins the Race form?
It came out of years of thinking about fashion from an academic point of view during college. It was always sitting in the back of my brain, but not until after graduation, and a year after launching my signature line, and I think coupled with the September 11th attacks when everyone started reevaluating certain things, when I sat down and started thinking about fashion from a different standpoint--less consumerism and less about vanity.

Did you have any background with conceptual designing before this line?
Not so much designing, I studied art at Vassar. I did a lot of sculpture, and Vassar was great in that we had our major, but we also had a pretty broad curriculum, so I feel like I was constantly thinking about how things fit into one another. That was the approach I took with design, and it is different because I didn’t come from a design background.

Do you have any specific inspirations when you are designing. You call them issues, right?
Yeah, for me I think it was the easiest way for me to go about addressing everything, so there are issues that I’ll work on. For a long time I just made a list of sort of 'fundamentals' of clothing design that I could address. The goal is to really offer everything at 100 dollars as a signifier.

Could you give me a example of that in relation to the current issue?
Well the current one, for Fall, is no. 19 Luxe. I wanted to talk about the state of luxury goods...It’s just something I’ve been looking into and just being very aware of because luxury goods are actually the one factor that seem to be doing well. I think that’s a very interesting phenomenon.

So, I thought “What can I draw in terms of luxury”, and for me luxury is about sort of attaining a certain goal, so there’s three tiers in the luxe collection. So, the first of three is the basic white Tee-shirt with a pocket and everything, but it’s encrusted in hand-embroidered pearls. Then we have the bodega bag, the grocery bag, but it’s in alligator. Then the birkin bag, which historically, on it’s own, is probably the most expensive bag. There’s always a waiting list, and it has always had this legacy, it's a four-sided leather birkin bag.

The face of the bag is the same and the proportions of the face are the same size, but it’s actually repeated four times, and inside there are four interior pockets and so its a comment on the repetition and how luxury is always about accumulation and certain showing a type of face.

Have you ever had copyright issues, any big companies ever come after you?
Well actually a couple of months ago in May, after six years of doing this, we got a cease and decease from Chanel, but only for using the name. I understood that they own the name...All we had to do was get rid of all the occurrences of the actual word Chanel. So, that was fine. I just find it kind of amusing that it’s taken this long for them to take action. They didn’t have any actual problems with the bag itself, we weren’t asked to discontinue it.

What exactly is the meaning behind making the designer invisible and why did you want to do it?
I just wanted the work to be the focal point, and also in a way it’s undressing this recent phenomenon as the designer as a celebrity, which is the total opposite of what Slow and Steady Wins the Race is about. It’s really about this refocusing everything and creating a well-defined object, and it’s really about the work; and just concentrating on the work and the message and not having to associate with someone. Which I think still at the end of the day is a little bit bizarre because, well, you are wearing clothes or you’re carrying an accessory, you’re not carrying a person’s face. So, I always find it funny, “Why do you need a photo of me? Why can’t you take a photo of the shirt?”

How does that work in with your own signature line where you are visible as a designer? How do you balance the two?
Well, it was hard for a long time. I would always encounter people who either knew one or the other or knew both and when they would want to try and talk about it, they would strangely separate Slow and Steady as this accessories line that was a branch of my signature line, and I think they are two completely different things. So, balancing that was hard, sort of like a press level, but in terms of executing it was really hard because it was like designing two lines that fit into different spaces. It’s more than 24 hours a day, and I just didn’t physically have capacity to do it anymore at the same time. I was really burned out, so I stopped my signature line and I will probably come back to it in a couple of years. Spring ’08 was the last collection. I might revisit in spring 2010. I was burned out and I sort of wanted to reconcile the fact that Slow and Steady has an incredible response and I just figured now is the time to pay attention to that.

We have 10 Corso Como and all their stores in Korea and Tokyo, and when you think of 10 Corso Como it’s this very curated, design fashion boutique—and high-end too...the stuff is sitting next to Yves Saint Laurent or Junya Watanabe, which I think is really so telling that it is really being appreciated for the design aspect. We met with Urban Outfitters on Friday and we are in talks of a collaboration. I don’t want it carried there only because it’s going to be market saturation and that is one thing that Slow and Steady Wins the Race is not about. I agree with the democratic innovation of design and having it be available, but I don’t want it to be disposable.

I’ve been looking into their side and seeing how I could still work with them, while having it still make sense for us. So, that’s what I’m pleased with behind the whole philosophy of Slow and Steady Wins the Race is that is the design should be universal. It should be able to break social barriers, age barriers, high and low-end fashion, a cross over.

Where exactly does the name Slow and Steady Wins the Race come from?
It’s from the Aesop’s Fable about the Tortoise and the Hare, so that’s sort of the moral of the story. And it just certainly was the most fitting way to talk about more the brand itself and what it is set out to do.

Interview With Molly Yestadt Of Yestadt Millinery

coutorture — Mon, 18 Aug 2008 12:59:28 -0700

One of the two milliners whose designs we pulled for our Put A Lid On It photo shoot was Molly Yestadt of Yestadt Millinery. The New York designer, whom this editor met during her NYU days, walks to the beat of her own drummer. From our late teen years to now we've always admired Yestadt's inherent sense of style and disregard for the monotonous in fashion. Now with her own full-fledged millinery company Yestadt is taking her sense of fashion, which is undeniably unique, and applying it to a genre that so deserves a young, creative voice. Below, our quick interview with the designer.

Can you tell us a little bit about how you got into millinery?
My Grandfather and great Grandfather were furriers in Chicago, while the other side of my family had a tailors shop on the west side of Manhattan so I’ve always been around old world craftsmanship. Ive been doing Millinery since 2004 and Its been a real drive for me to create hand made pieces with the same skill and quality.

The history of hats/headpieces/scarves/coverings is rich with cultural information. How do these complexities inform your designs?
Millinery is an old trade, so there’s a ton of technique and craft involved in each design. In the community where I grew up, wearing a hat has connections to modesty, marriage, and status. It’s an accessory that bridges fashion and art with traditions.

Why do you think American women stopped wearing hats as fashion accessories? Do you think this will change?
Hats may have slipped from the wardrobe as American women became more informal and casual. Woman today have been spoiled in to thinking that everything needs to be comfortable. I think Men and Women are beginning to wear more hats already. Everyone wants to wear something special and different, it’s almost like a reaction to the big disposable fashion people are used to.

What other milliner do you admire and why?
Stephen Jones is quite inspirational in his manipulation of lines and materials. I also look to Cha Cha’s House of Ill Repute for their amazingly textured product and constant reinvention of the fedora.

What don't people know about this particular type of design?
To dress a head is really to frame the face and neck. Each hat’s contour has the ability to highlight a different feature. Like any other kind of handmade product, there is a lot in the details.

In terms of your own company, what projects or accomplishments are on the horizon?
Haha filling orders! I do a lot of bridal in addition to the fashion pieces I make so its always pretty hectic in the workshop. Also, Im working on a lot of exciting pieces for winter that are going to be totally outrageous with lots of furs and leathers.

Interview With Victor Osborne

coutorture — Mon, 18 Aug 2008 08:43:29 -0700

Victor Osborne, at least in New York, is a name you recognize even if you're not sure just where to place it. Osborne is the milliner, you realize, responsible for the hats and headpieces in countless editorials you've scanned. It's possible you've tried on his creations at Intermix or Barneys. He's also, you remember hearing at a cocktail party or showroom, a mere 23 years old. Well, at least that's how it happened for us. We'd met Osborne a few weeks ago without realizing it. We'd actually been in his space, which serves as the atelier and showroom for his company (which he runs with his business partner Zachary Barnett, 24 years old), and just didn't put it all together. Perhaps it's that he's so young, or that between the barman we recognized from Hotel Delmano, the amazing artist whose work brought us to the event, and the appearance of a certain blonde supermodel, it just slipped our minds to think about, well, the designer who made the whole thing happen. We're very happy to be up on the Victor Osborne pursuit and, to accompany his creations as seen in today's original Coutorture editorial Put A Lid On It, to publish a few quick thoughts from the designer on his blossoming company.

Can you tell us a little bit about how you started out in millinery?
I had an aunt with great hats that I loved as a child. When I was at FIT I took a millinery course and realized that I was the only student under 30... by 20 years. It was kind of like a challenge.

The history of hats/headpieces/scarves/coverings is rich with cultural information. How do these complexities inform your designs?
Our line is full of historical reference, some of our best selling felt shapes are blocks scored off a retiring costume designer from the Metropolitan opera. This incorporation of the historical is entrenched in the line.

Why do you think American women stopped wearing hats as fashion accessories? Do you think this will change?
There are a lot of factors. Casual dressing has plagued America for ages for one. Big hair is another reason. The list could go on, but I am just thrilled that so many people are responding so strongly to the line.

What other milliner do you admire and why?
[Phillip] Treacy does amazing runway millinery, as does Stephen Jones. Etre had an amazing way of drawing millinery. My favorite milliner is Dài-Rees. He is a welsch milliner, who made the hats for Mcqueen for a few seasons, who also had his own line for a while. I also really admire Lilly Dache, and Schiaparelli.

What don't people know about this particular type of design?
Most people don't know that you bake straw and felt hats.

In terms of your brand, what projects or accomplishments are on the horizon?
> We are planning some great collaborative projects with really creative designers like Tim Hamilton, and the Blonds. That's always exciting. There might be a trip in the fall to a couple countries to source some new materials which would be a blast.

JETS By Jessika Allen Designer Interview

coutorture — Wed, 23 Jul 2008 10:05:57 -0700

The thing about swimwear is that, no matter the print, it must fit well. Sure, we can wear harem trousers, oversized vintage frocks, or our boyfriend's t-shirts and the fit doesn't really matter much--the fact that it kind of looks bad, well, kind of makes it look good. The same does not hold true for swimwear. What makes this even more difficult is that it's as close to being naked in public as Westerners ever come (with the exception of gals who strut the MePa catwalks) and so our vulnerability makes the whole process that much more sensitive. We fell in love with JETS with that idea in mind. Her fit, above everything else, is really outstanding. It's the kind of swimwear that gives you generous coverage in the back (when the suit calls for it) and hugs your midsection so that you feel held in and rather flawlessly curvaceous. Our model, being that she was (we will be honest) a mere fourteen years old, definitely benefited from the JETS fit. In mere minutes she was transformed into a proper women and though we sometimes have mixed feelings about making young girls look like old girls, we do think the point is that a good swimsuit is one that has enough power to make us feel extra-woman. No matter our age or body type or nervousness about being so uncovered. We had a quick chance to catch up with a rep for JETS by Jessika Allen who gave us the rundown on the line.

The swimsuits are very flattering and appropriate for women of all ages. How does the Jets by Jessika Allen design process differ to that of a normal swimwear line?
Jets by Jessika Allen understands that every woman is unique. Our approach is to create smooth lines around the body, thereby creating a seamless look. We source luxurious fabrics from all around the world that twist and drape around the body to create the most flattering, sleek shapes. It’s the hidden secrets inside the garments, the ones not visible to the eye. The behind-the-scenes structural detail provides the self assurance of a perfectly cut swimsuit, sitting on the body like a second skin. The Jets by Jessika Allen philosophy is ”To enhance every women’s natural curves to create the most flattering silhouette; each piece becomes a unique creation, which looks as if it has been designed especially for you”

What other Jets by Jessika Allen pieces, aside from swimwear, are available? Are these places for you to grow the brand?
This season’s new range of outerwear is masterfully designed in co coordinating print and plains. Kaftan styles are romantic in floaty silk georgette, silk cotton, must have fluid viscose and lustre cocktail dresses, are luxurious to wear and will ensure the perfect, ultimately stylish outfit from poolside to party. Looking at the appropriate areas for Jets by Jessika Allen™ to expand the brand is something we are always doing.

Can you tell us a little bit about the atmosphere during Miami Swim?
Each year Jets attends the Miami Swim Show. Throughout the four day event we present our collection to department stores and boutiques from all around the world. Even though we work long hour’s everyday, which at times is tiring and a little stressful, we love and look forward to our trip to Miami every year.

One piece or two? What's the JETS pick for the beach?
The one piece is one of Jets signature designs, so it is always an integral part of the collection. The one piece swimming costume is about style & sophistication. Bikinis may be more revealing, but sometimes what you don’t show is far more alluring.

A Few Words With Charles Nolan

coutorture — Fri, 06 Jun 2008 08:27:02 -0700

Few designers are as articulate about their inspirations as Charles Nolan. We suspect his expressive personality comes from his detail oriented work process that focuses not only on the big picture of a season but on the tangible needs of his particular customer base. One never gets the impression that anything is haphazard when at the house of Charles Nolan. We were privileged to have a quick word with Mr. Nolan before his Cruise 2009 showing. Please take a moment to enjoy it.

Chris Habana Jewelry

coutorture — Mon, 19 May 2008 11:55:32 -0700

Jewelry designer Chris Habana balances the masculine and feminine in his decidedly unisex pieces. What translates is a jewelry collection where each piece is not without the sort of panache to make an outfit. New Yorkers aren't known for their modesty, after all. Using a variety of materials, from bright fabrics to gold plated alloy to oxidized silver, Habana's jewelry is a dynamic mix of concept and material. We caught up with the designer for a video interview and pulled a few pieces for what became the Static Gold photo shoot. Habana was also featured in our Everybody Is A Star photo shoot, where he set the tone with his unabashed poses and inherent style. His jewelry, to demonstrate its wearability on both fashion-forward men and women is sold, in New York, at both BBlessing and TG170. Just blocks away from each other these two shops are among the retail dictators of fashion downtown. Habana's jewelry, then, suits the BBlessing boys and the TG170 girls who know that like skinny jeans, Uniqlo t-shirts, and wayferers there are some things that just about everyone can get down with.

Interview With The Hellers

coutorture — Fri, 09 May 2008 13:30:53 -0700

Dania and Yoram Heller, based in Tel Aviv and Los Angeles respectively, are doing the unthinkable. That is, while their contemporaries are taking queues from outsourced, mass-produced, capsule collection producing elders, The Hellers are makin' jackets with deadstock fabrics and advertising by way of nightlife photography and word of mouth. Their jackets are wild and their acid washed jeans are right on the money. Check out our interview with The Hellers below.

So we shouldn't ask you how The Hellers originated, or else we'll get stories about your genealogy. Let's stick with the clothing, when did you and your sister first start designing together?
Dania: I came back to Los Angeles from living in Tel Aviv for 7 years ( I have since moved back). After looking for jobs and literally going door to door in New York, I came to the conclusion no one really knew what or where my school was (the prestigious Shenkar School of Design). So when I heard that our Mom got sick, I moved back to LA and took a job designing pockets at a jeans “factory” in Industry, CA aka the armpit of the Earth.
Yoram: When I came back from Buenos Aires in February 2007, we realized a few things. First, that it was worth it to try and fail rather than make pockets in a factory. Second, there was no one making great “streetwear” (I hate that word) for women. And lastly we realized that we didn't need to design whole collections to be outsourced. So we decided that we would make everything as high quality as possible, while knowing the names of everyone we worked with and using materials that already exist rather than having to create more in this already saturated world.

In your designs you use both deadstock and limited edition fabrics, what are the advantages to going about textiles in this way?
Dania: So in between our starting the company and where we are now, I took a hiatus to work as a designer in Israel for a LARGE company. The way it worked there, you never went to shop for material. People would come to you with swatches. You'd choose pantone colors out of a book and then send it to China and hope it would turn out okay. It was very virtual. I always felt like we were creating more waste and had no idea where it was actually coming from. A lot of my inspiration comes from touching the fabric, seeing the fabric and being able to play and compare swatches of fabric with my naked eye. So thats one thing. Waking up to the whole environmental issue and seeing that a lot of the times the vintage fabric are so much more right on than what is made nowadays just makes us want to work with these materials even more. These fabrics are so much more inspiring.

Also, Israel is a really small country (duh). All the designers go to the same stores and often use the same materials. It take some of the mystery out of it. People end up using the same simple cottons and the same kinda of color palette – blacks, grays, whites. These materials are all weird silks, taffetas, polyesters, drill, etc. - it doesn't look like what you normally see here. In terms of the artists prints, when I was working at that large company designing I would bring them patterns and pictures that I thought were inspiring. If they were even borderline weird, it would be immediately rejected. So when I left, I just decided that if I saw something that inspired me and that I couldn't find, I would just make it myself. So I guess the advantage of this is that there is literally no one else with these prints in the world. And the artists that I work with love it. They never expect their work to be incorporated into clothing. It's always great to collaborate with artists working in different mediums.

Aside from the fabric, what is the aesthetic personality of the brand?
Yoram: We never sacrifice quality. Everything we make is made by hand, by us. We cut and sew. This is our response to the globalized market. We have a relationship with the the clothes we make. And we want the people that purchase our clothing to feel close to and proud of the garment that we have made. We want to know who they are and for them to feel as if they have a relationship with us through the garment. Although I hate the word streetwear, it is kind of like a bespoke streetwear.

At the moment, you sell your clothing on your blog, what are some of the other ways that you promote your brand and sell your clothing?
Yoram: We have our clothes being sold at a store here in Tel Aviv called Art-C Ifrach. His store is in an old club that you enter by walking down a flight of stairs. He designs the most amazing window pieces ever. Over the next month we have plans on entering stores in London, New York and Los Angeles as well. Everyone that carries The Hellers are friends. Our brand is the opposite of anonymity.

And, dare we ask, what does the future hold for The Hellers?
Dania: Never sacrifice quality. Keep being inspired. Enjoy what we do. And more than anything, be grateful for the opportunity. And some dresses for the Summer.
Yoram: No, you dare not.

Interview With Layla Pakzad Of Salt Swimwear

coutorture — Wed, 07 May 2008 08:31:02 -0700

If there's anyone you can trust to put out a swimwear collection that's as beach-ready as it is fashionable it's Layla Pakzad of Salt Swimwear. Her line, started just a few years back, offers one and two-piece swimsuits in solid colors with dual functionality. The two-piece we're particularly found of is the Ruffle Triangle Top with removable neck straps for tanning. The first tanning lesson we learned, back in the 9th grade, was to get those headphones chords and bathing suit straps out of the way, and Pakzad has made it possible to do so with out looking like a fish out of water (squirming to to get them off). As for one-pieces, the Sienna Ruffle One Piece (left) proves that Salt knows a thing or two about being sweet as it's just about the only time we've seen an exposed belly button without thinking it looks kind of tacky. Check out our interview with Pakzad, the designer of Salt Swimwear, and our spread of her collection below.

What separates Salt from other swimwear lines?
Salt is unique because it fits the needs of many women. Our cuts are created to compliment all body types and our colors are chosen to match all skin tones. We design for the people.

With a background in fashion (everything from studying design to being a rep) do you think you'll ever expand the line to include more than swimwear?
Yes, Salt is soon to include beachwear. We have been cooking up some sexy day to night numbers. I love the idea of having pieces that you can effortlessly wear off the beach and into the sultry night..

What is the most challenging aspect of designing swimwear?
The fit! Especially for the one-piece. Everyone has a torso with a different length, so it is hard to gauge what would be best for all.

I know you are based on the West Coast, where swimwear is always in season, however, is there still a strong discrepancy between the winter and summer months? How do you prepare for these shifts in demand?
Salt is based in Venice Beach, California where swim is always in. There is definitely a proper swim season, but we are busy year round. During our slower months of August and September we turn our focus on promoting the brand.

What is something that most people don't know about having your own line (specifically swimwear)?
I think one big misconception about having your own line is the amount of time you actually get to spend designing. I design about 10% of the time and the other 90%, everything from A to Z...

Finally, one piece or two? Your preference on the beach.
That is a tough one. On the beach I would have to say, bikini. You just feel so youthful and free in a bikini. I do have to admit, I am a huge fan of wearing a one-piece out at night coupled with a great pair of high-waisted jeans.

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!!!