How Loralee Baron-Soong Makes Fashion Her Business

SoFA Design Institute co-founder Loralee Baron-Soong’s philosophy to design is simple and tested. “Good design is one that is appealing, functional, and sturdy; not only must it be beautiful, it must serve its function as a product, and be of quality,” she shares. Seeing how this vision is shared by emerging Filipino designers, she wanted to provide them with opportunities to study fashion right here rather than needing to go abroad.
Continuing to develop the Philippines not only as a fashion capital but also as a design mecca, Loralee understands that appreciating the fashion industry doesn’t stop at simply admiring the collections. It’s about looking at the business aspect as well. “It was a very enriching experience for me to travel the world’s fashion capitals (New York, Paris, Milan, Hong Kong) regularly to view the latest collections and meet with luxury brand representatives to learn how they would market their brands.”

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She takes cues from the international scene to forward the local trajectory. “It is in this same experience that I’ve come to appreciate the unique identity and potential of Filipino design and saw the opportunity to grow Filipino talents through establishing a specialized design college. This would eliminate the need to go abroad and pursue studies in design, empowering Filipino designers to grow their brands in the same standard as those abroad,” she believes.
With this, she is positive that fashion, design, and creative talent will not only be limited to its initial borders. “Creative thought is actually essential to almost any field! it’s always important, even if you’re working in a desk job, to find a solution that is creative.”
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Designer Todd Oldham to have solo exhibit at RISD museum

Todd Oldham may have left fashion behind nearly 20 years ago, but an upcoming exhibit will celebrate the multidisciplinary designer's enduring sense of style.
"All of Everything: Todd Oldham Fashion" is scheduled to open next spring at the Rhode Island School of Design Museum. It's the first solo museum exhibition to focus on the designer's runway opus of the 1990s. It will feature nearly 70 ensembles, many of which were last seen on supermodels like Naomi Campbell and Christy Turlington.
Oldham and RISD collaborated to make the pieces new again, mixing seasons and years to create a fresh point of view.

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"I said, 'Why don't we try to look at how this stuff works together?' It's not a season; it's 10 years of stuff," Oldham said. "It worked beautifully."
Oldham arrived on the fashion scene in 1989 and gained recognition for his colorful designs and handcrafted textiles. The Nueces County, Texas, native was featured prominently on MTV's "House of Style," hosted by Cindy Crawford, where he gave viewers tips on everything from thrift shopping to reupholstering furniture.
He left the industry a decade later to pursue other creative projects, including his arts and crafts line Kid Made Modern, and he often gives lectures at RISD, which awarded him an honorary doctorate last year.
For the upcoming show, Oldham is designing one new dress, made from textiles he and his RISD students made in a class last spring.
"We're still working on it because it's got a ton of elaborate embroidery," he said.
Known for his playful point of view, Oldham said shifting back into fashion design was easy because he has the same spirit no matter what he's working on.
"I wouldn't in any way say it ignited a desire to return to this industry," he added with a laugh.
The idea for the exhibit came about last year, while Oldham was touring the RISD museum. Curator Kate Irvin was installing some 1920s beaded dresses that immediately caught the eye of the designer, known for his own highly embellished textiles.
Irvin, the museum's costume and textiles curator, said Oldham's designs are striking in person.
"The significance is what a thoughtful artist and maker he is, and that comes through when you see these pieces," she said.
And while some of the pieces are more than 20 years old, they don't seem dated, Irvin said.
"It wasn't made in the '90s with the idea that this is the fashion trend for the season, and I think that will come through when we put these pieces on display in 2016," she said.
Oldham is giving many of his designs to RISD, and a few will be on loan from the Metropolitan Museum of Art in New York City for the show.
Meanwhile, Oldham said he continues to be inspired by passion, singularity — and free-thinkers.
"Those are usually the things that startle me in great ways more than anything else," he said. "Frankly, I think Miley Cyrus is astonishing."
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NCCU grad wins Belk’s Southern Designer Showcase

Belk recently announced the winners of its annual Southern Designer Showcase competition, and a designer with Triangle roots was among the five collections chosen.
N.C. Central University grad Amanda Williamson, with her Ennyluap women’s clothing collection, was among the winners of the store’s design competition. Other winners were Blithe by Katherine Todd, Natt Taylor Collections by Natt Taylor, Reece Blaire by Katelyn Barringer and Emily Gonzalez, and three07 by April Moore and Courtney Tyre.
Williamson and the other winners will receive a cash prize and will have their collections sold in select Belk stores and on belk in spring 2016.

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Williamson launched her line in 2011. In 2013, she made her New York Fashion Week debut as a participant in a designer showcase at the Helen Mills Center. She says this win marks another big step in the future of her label and career as a fashion designer.
“This is an unimaginable achievement that is propelling Ennyluap in the direction it should go,” says Williamson. “I am happy to present our classic contemporary designs to Belk’s customers.”
Trunk shows
Certain Things in Cameron Village will have new shirts, dresses, jackets and more from Before & Again for a trunk show on Thursday from 10 a.m.-6 p.m. Refreshments will be served during the event, and shoppers will receive a free gift with Before & Again purchases.
Date Night at Bailey’s
Bailey’s Fine Jewelry hosts a Bourbon, Bow Ties and Burgers date night on Thursday from 6-8 p.m. at its Cameron Village location. Attendees can peruse the latest gems, along with bow ties from High Cotton, while enjoying cocktails from Crude Bitters and burgers from Bad Daddy’s. The event is free.
Day Without Shoes
Peachy Keen boutique in Cary celebrates One Day Without Shoes along with TOMS on Thursday. For every barefoot photo posted on Instagram with the hashtags #peachykeenODWS and #withoutshoes, TOMS will donate a new pair of shoes to a child in need. And on that day, shoppers can bring a pair of gently worn shoes to the store, and Peachy Keen will donate them to InterAct and give shoppers 10 percent off their purchase.
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Maria Pujana's journey from medicine to jewelry designer has many facets: Fashion Flash

Maria Pujana, 60s, Westlake
Fine jewelry designer, a clinical neurologist and neurophysiologist, retired professor from Case Western Reserve University School of Medicine
Your accent is wonderful. Where are you from?
I am from Spain and I grew up in Bogota, Columbia. I returned to Spain to study medicine. I came to the United States, first to San Francisco in 1982 then I moved to Cleveland in 1985.
Tell me about your journey from medicine to designer.
Fifteen years ago I decided to continue teaching at Case and to be involved in the areas that I love to work with including philanthropy. I've been part of wonderful organizations including The Cleveland Foundation, MetroHealth, The Cleveland Ballet, the Red Cross and others. Cleveland has been wonderful to me. It has been great for my personal maturity, as a person, a human, and a philanthropist.
How did you discover your talent for design?
Many physicians have a talent for the arts. I discovered the inclination and the talent that I inherited from my mother. She was a great haute couture designer and a businesswoman with her own company. She also created wonderful oil paintings. She designed big time fashions. I was always observing her and the beautiful things and miracles that she created with her hands. It looked like she was sculpting.

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How did you choose a career in medicine?
When I was young, I also enjoyed science. My father understood that I liked the arts, but wanted me to do something with my scientific side. He was a student of Chinese culture and said that medicine is listed as a healing art among the arts in China. That caught my attention and I went to medical school.
When did you discover jewelry design?
I had gone to a bead show with my son who was collecting stones and I discovered the beautiful beads. I bought rubies and sapphires and thought I would create things for my mother, my sister and myself. I wasn't considering selling anything. I realized I have a lot of designs in me. It was a great period of personal discovery. It was such a surprise when people liked my creations. It was relaxing and I was very busy with it. Then my friends started asking me to make custom designs for them.
How do you go from creating jewelry at home to being in the showcases of Saks Fifth Avenue?
I prepared a small collection. I had a friend who was a part owner of Yeager's Jewelers in Westlake. We had a small show and sold all of the pieces. After that I developed a line, made cards and flyers, I talked with people and then introduced myself to three managers at Saks. They liked my work and came to my studio. One of them thought I was very convincing so I was accepted into 20 Saks stores on consignment. It was only two years after I began my line.
That's so exciting. Was your line a success?
I was in stores in Beachwood, Manhattan, Chicago, and several cities in California, Texas, Florida, all over. Each store had about 20 pieces. I have an eye for accessorizing people and the customers liked the pieces and what I did with them.
What happened next?
I was still working at The Cleveland Clinic. Through a patient, I met Oscar de la Renta. I learned he was a great philanthropist. He had a center for children in the Dominican Republic. We met, I donated a piece of jewelry for him to raffle off at his fundraiser. I presented it to him at a luncheon in Washington, D.C. He invited me to an event for Hispanic designers that same night. My mother always taught me that you have to be in the right place at the right time, but on top of that you must always be ready for anything. Have the right clothes in your wardrobe for any occasion. But in this case, the wife of the Ambassador of Spain invited me to stay with them. We were the same size. She loaned me evening wear and a boa and we became friends for life.
How did you end up showing in Fashion Week in Madrid?
I met Spanish designer Javier Larrainzar at the same event for Hispanic designers and for seven years I created pieces and accessorized his designs for the runway shows twice a year. Through that, I was featured in Spanish Vogue. And just last February, I accessorized the models for the Malan Breton Fall/Winter 2015 Women's Collection during New York Fashion Week at Lincoln Center. There's a YouTube video of the show.
Are you a silversmith? Do you build each piece?
No, I am the designer and I control the business. I have jewelers here who do the 14K gold work and jewelers in Spain do the 18K gold pieces. I have someone in Columbia who makes replicas modeled after pieces in the museum. I have stringers and carvers. My best carvers are in Germany. I have a team all over the world.
Do you still go the bead trade shows to look at stones?
I go to some of them. I go to Brazil, Spain, New York and Tucson. I am creating constantly and finding inspiration everywhere.
Where can people buy your amazing designs?
My website ismarisedesignstore.That is the best place. The prices range from $200 to $10,000. I left Saks two years ago. My jewelry is also at The Museum Store and at the gift shop at the Intercontinental Hotel. And in July and August, I will be in the gift shop at Severance Hall.
Your pieces are beautiful; you have an eye for finding the artisans who work with you.
Yes, for instance, the cameos carved out of agate are made in Germany and a man in China carves the beautiful stone flowers. Through the Internet, we send photographs and we work together across the world. I always network. I found the Chinese man at the big gem show in Tucson.
Where does your sense of style come from?
My mother was my biggest influence and I read all the fashion magazines when I was young. I developed my own style early. When I told my mother that I was leaving medicine and starting a jewelry company, she was not surprised. She said that when I was little I always wanted to go to two places with her. The beauty salon and the jewelry store. I was good at drawing my mother's ideas and instructions for the jeweler.
Do you still start your designs with drawings?
Yes, I love to draw. Sometimes, I draw with a person in mind. I design while thinking about how the piece will lay on the skin, the length and the colors that will work best. Sometimes a beautiful stone will give me the ideas. I love to redesign pieces, too. My pieces are custom, one-of-a-kind and haute couture.
What is your best advice?
I recommend to my clients that they don't have to follow the trends. They might not be for them. We all have to learn how to develop our own style that makes us look our best.
Describe your personal style.
I am eclectic. I am an end result of my experiences. A mature lady must look elegant first. The length of the skirt must be the Chanel look, at the knee. Sometimes, I wear something a little edgy, for a special event. I take good care of myself through everything I've learned through medicine. I exercise and I don't smoke or drink. Genes play an important part, but there are things you can do to prevent and to take care of yourself.
Which clothing designers do you like?
I like Ellen Tracy, Ann Taylor, Elie Tahari, Evan Picone, Oscar de la Renta and Javier Larrainzar. It doesn't matter who makes it if it is unique, high quality and elegant. I have pieces that I've had for many years. My mother taught me that fashion is not about buying something new every day, it's about keeping the things that you look good in and taking good care of them. I look for good fabric and classic, serious designs. I always wear a two-piece suit. I go to many meetings. I like to volunteer in the community and I always donate my creations to raise money.
I can't believe I'm asking but what are your favorite accessories?
I love pins, brooches. I love flowers and coins in jewelry. I also love scarves and bags. I love amethyst. It's my birthstone. Purple is a great color. Egyptians and Romans only allowed royalty to wear purple. It's also a healing stone.
Purple is my favorite color, too. How do you choose a look?
I am the opposite of many people. I often decide on a piece of jewelry first and then I pick the clothes. I choose the jewelry depending on the feeling I have that day. I get feelings from people, too. Minerals have energy that we can sometimes feel. I am a healer in more ways than one.
Why does it mean to have style?
Style is so personal. It's the way we dress, accessorize and present ourselves to others. We convey an instant message about ourselves to people who don't know us. That can be a problem, too. If a person is very well dressed, others might instantly think that they are stuck up. The reality can be very different. I don't make judgments or take anyone for granted. People in the simplest jogging suits have bought my most expensive pieces.
And lastly...
I feel that human beings have so many facets, like jewels. I am thankful to have been able to discover my facets and I've been able to do something with that.
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Houston teen shows sexy, free-spirited fashion collection before heading to London

With finals and graduation approaching, you would think that Episcopal High School senior Amir Taghi would have enough to do without presenting an elaborate runway show at his parents' Tanglewood home.
But the 19-year-old has a real passion for fashion, so he staged a New York-style presentation highlighting his fall winter collection, featuring 13 looks in dark colors with intricate lace trim, tulle detail and organza overlays that lent an air of mystery and intrigue to the models wearing them.
A stickler for detail, Taghi marked each seat that lined the runway in several rooms with the calligraphed name of the more than 150 guests, including Diane Lokey Farb, Chloe Dao, Monsour Taghdisi and Henry Richardson, Neal Hamil, Jana Arnoldy, Lindley Arnoldy, Beth Muecke, Yvonne Cormier, Ursaline Hamilton, Erika Bagwell, and the designer's proud parents, Fariba and Iraj Taghi.

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Also on hand were Tatiana Massey, owner of the chic Laboratoria boutique, Tootsies creative director Fady Armanious, Martine Weitz, Danielle Cullen, Duyen Huynh, Sima Ladjevardian, Leisa Holland Nelson, Beth Muecke, Roz Pactor, Maryam Afshari andAli Taghi.
Dao, who knows a thing or two about fashion with a thriving label and a store bearing her name, praised the collection as "a lot sexier" and a dramatic departure for Taghi, who has shown several previous collections in Houston and New York.
"My whole thing is individualism," Taghi explained. "Each girl has a individualistic style. She needs to show herself the way she wants to show herself. And I'm there to help her along the way."
Taghi said that with a new seamstress, "I felt a lot freer to do whatever I wanted. I had no restrictions. And since (the collection) was so much smaller, I was able to develop things at a deeper level than before."
Normally a fashion show features anywhere from 25 to 45 looks, but Taghi concentrated on only 13 styles, although many looks feature several pieces that can be mixed and matched with an existing wardrobe.
The small collection, created with luxurious fabrics, opens with a velvet and satin cape paired with a lace skirt that sets a sophisticated tone. Among the other highlights are body-hugging cigarette pants with a tulle-trimed black mink crop, black stretch velvet bell bottom pants with lace detail paired with a floral cloque top cut high to expose the midriff, and a plunging V-neck jersey dress with cutouts along the side.
The consensus among the Houston fashion crowd was that Taghi had upped his game, with improvements in style and quality, along with a darker, sexier attitude.
He is now headed off to the prestigious Central Saint Martins in London, where he will study fashion design for the next six years. The school is home to such prestigious alumni as Alexander McQueen, John Galliano and Stella McCartney, so Taghi's supporters can hardly wait to see the changes in store as the young designer is exposed to the world's best fashion training.
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Charleston Fashion Week 2015 begins

Tuesday evening began with what is beginning to seem like a tradition, the mood being set with music by Daniel D. Charleston Fashion Week Runway Shows opened with a lingerie presentation byBits of Lace. In addition to the glamorous lingerie, Bits of Lace showed children's pajamas and least men feel left out there were stylish boxer shorts. Trés Carmen Boutique presented young cutting edge spring wear.
Capsule collections were presented by Emerging Designers, Sarah Hazel Cannon & Rachel Cole Cannon, Amanda Dreesen, Richelle Valenzuela, and Johanna Hickey & Orea Guthrie.
Sarah Hazel Cannon & Rachel Cole Cannon, winners of Tuesday’s People’s Choice Award, collaborate to design women’s ready to wear under the label Hazel Cole. They combine modern print technology with a classic feminine style reflecting the modern southern woman. Their color palette is tones of grey with a windowpane plaid as a reoccurring theme.

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Amanda Dreesen is a self-taught designer of women’s ready to wear, who designs under the label Dedinger. Her capsule collection was a fusion of costume and fashion with short modern jackets reminiscent of the classic bolero.
Richelle Valenzuela, winner of Tuesday’s Emerging Designer’s Competition, designs men’s ready to wear under the label passaporte. He combines hi-tech fabrics to create clothing that is comfortable, practical and innovative. He mixed Bermuda and cargo shorts to create a hi-tech, innovated, and modern shorts for men.
Johanna Hickey & Orea Guthrie design women’s ready to wear under the label Point Line and Plane. They use fabrics made from natural fibers that are hand-dyed. Their colorful unique prints were refreshing additions to the evening’s neutral monochromatic color palettes.
The show ended with presentations by featured designers Anna Toth and Plante. Anna Toth and Plante were co-winners of last year’s Emerging Designer Competition.
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Fashion Designer Julia Shapiro Discusses The Queer Dynamics Of Her Line J SHAP

This is the fifth installment in a miniseries that elevates the work of up-and-coming queer individuals working in the fashion world. Check back at HuffPost Gay Voices regularly to learn more about some of the designers of tomorrow and the way their work in fashion intersects with their queer identity.
Julia Shapiro is a young fashion designer and recent graduate of Cornell University living and working in New York. Though Shapiro doesn't identify as queer, her brand, J SHAP, informs a queer understanding of radical self-expression and self-determinism that translates through her designs and the overarching ideology. The greenest designer featured in this miniseries, Shapiro orchestrated a guerrilla-style presentation of her line at last year's New York City fashion week, drawing attention to her garments when she crashed the outside of Mara Hoffman's show. Embodying a philosophy that encourages individuals to "reject the business of fashion and give yourself over to the art of fashion," Shapiro is currently planning another guerilla-style "takeover" of fashion week in September of this year. Read the interview below to learn more.

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The Huffington Post: What has your journey as a fashion designer entailed?
Julia Shapiro: I have always wanted to be a fashion designer for as long as I can remember. It all started with a Manolo Blahnik sketch book I got when I was young and morphed into what it is today. I attended Cornell University’s Fiber Science and Apparel Design program but quickly realized I was unhappy with the lack of design focus. I felt like my loudness and craziness was being stifled and watered down by the atmosphere and feedback from my colleagues and teachers. Nobody really understood it. So, I left for my junior year and did an urban semester program in NYC in the fall, attending London College of Fashion abroad in the spring. This period of turmoil -- as well as what I turned it into -- was really when I found the confidence and boldness I have now. I came back with a whole new attitude about my work, finally understanding how to make the program I was in work for me. I think that always questioning, going against the grain, and not putting up with bullshit are what has got me to where I am today.
What is the nature of the work you produce? Why do you use a lot of recycled materials?
At the base of all my work is a commentary on consumption and the themes that go along with that: i.e. globalization, mass marketing/manipulation, obsession, anything that is “so American.” I like to apply these themes in an ironic way -- they are at the center of my aesthetic but they are also what I am fighting against. For example, a picture of a McDonald's sign next to an American flag would be something I would love -- an ironic glorification of something so American that it is beautiful but, in reality, actually sucks about our culture. The concept of "so bad it's good" is a solid way to describe it.
This is why I use a lot of recycled materials; fabric stores are very limiting, especially when it comes to these themes. Using recycled materials takes away all of the boundaries and allows me to literally create the garments out of the themes I am working with. For example, using beanie babies or hamburger wrappers to construct my garments. Even the work I do with recycled t-shirts is intentional because of the logos. Working this way not only frees me from limitations but it also encourages creativity because certain items will inspire me to make them into something I wouldn’t think to sketch.
While you don't identify as queer yourself, I would argue that your work speaks to a queer aesthetic. What is the underlying philosophy driving your brand?
The driving philosophy of my brand is self expression, baby! I look at fashion as escapism and identity exploration in the same way that Leigh Bowery and the club kids did. I try to push people a bit outside of their boundaries in every aspect of my life, encourage people to be more open, fun and self expressive. Through my clothes I do this by making things that people can’t say no to. I find a lot of “weird” or “out there” clothes are made with either no sense of aesthetic eye or taste level -- or else they are radically expensive. With my work I make it so that people relate to it, want it, look good and feel confident in it. If I can be the designer who prompts someone to buy one piece a bit outside their comfort zone that they love, that is almost like the gateway drug to being self-expressive and loud in other arenas of their lives.Why do you think your work has such a driving appeal to the queer community?
This aspect of self expression has always been aligned with the queer community. Those in the queer community are almost like the ambassadors of self-expression in my mind. There needs to be identity exploration in order to come to the conclusion that you are queer, and a big part of that exploration is through dress. Once you become comfortable and open with your sexual orientation (which is a hard thing to do) you become fearless. Fearless people have no problem with expressing themselves, and that's why I gravitate towards drag queens, gender benders, taste makers, etc. for my brand -- and also why I appeal to them. It doesn’t matter at all how someone identifies themselves to me, it’s all about the attitude.
What did your "takeover" of Fashion Week last year entail?
I was always told, like everyone else was, how New York City is this amazing creative hub where you need to be if you are in the fashion or art world. After living in NYC a handful of times for internships and art programs, I felt uneasy. Why wasn’t I feeling the way everyone else seemed to feel? Where was this magic I was told about? I had also lived in LA one summer to intern with Jeremy Scott and London for a semester abroad. These places seemed way more current in terms of self expression and fashion but, realistically, all arrows still pointed to NYC. For some reason I was unhappy with this.
It was one tireless night right after graduation that I was grappling with this dilemma and realized it wasn’t me, it was that NYC, in regards to the fashion scene, is not current. The mythos of New York Fashion, and the keywords traditionally associated with it -- groundbreaking, unique, creative, self-expressive -- are defunct. What remains is a handful of watered-down design houses relying on a dated reputation using spread sheets, trend forecasting and other statistics to pump out collections that will sell to the masses with generic (and unearned) praise best described as “conservative chic.” Many of these “designers” don’t show passion, they don’t create worlds, they aren’t doing anything new. I want fashion to come back to being an art, treated more democratically, with individuals having unique opinions rather than being dictated to by the market. I want to revive the spirit of what New York once was -- you should be able to tell a New Yorker from a tourist just by looking at them. This is why I chose to do the takeover, to point out the shortcomings of New York fashion week, to stick it to the man, to say fuck the system.
What do you feel like was accomplished by the takeover? What are you trying to articulate about the fashion industry and the future of fashion?
The takeover proved that people are ready and receptive to this type of change in the fashion scene. Photographers literally ran out of the tents at fashion week during Mara Hoffman’s show to get pictures of us. Everyone loved it and was really supportive. Some people even joined in. Honestly, this type of fashion makes people smile, whether they are loving it or appalled. Fashion is getting way too serious and stale. Yeah, putting on a top designer outfit may make you feel accomplished because of the label stitched on the inside, but the clothing I am making makes you feel happy, take on a different persona, attitude, or air. My brand, as well as this type of self expression, is just that on a larger scale. I want the future of fashion to be that people stop looking at clothes as a necessity but to look at it as personal adornment once again. For it to be more democratic in terms of designers who get praise, for people to have their own list of favorite designers, have opinions that are devoid of that of the industry, and to own pieces that will make them feel proud to wear. Reject the business of fashion and give yourself over to the art of fashion.
What is next for J SHAP?
The response to my takeover has prompted another event for fashion week this coming September that will remain to be seen. I have also been working on building inventory so that people will be able to start purchasing J SHAP! Recently I have launched a long-term series called "Dress Up With J SHAP" in which I invite friends into my studio to explore and create looks with my clothes, a sort of free-form photo shoot that is very organic to come up with looks, inspiration, and get great shots through the lenses of the person I'm working with, the environment, and the supplies/garments I have. I have also come to the conclusion that fashion as art should be seasonless, collections should come out as ideas are finished just as art series come out. This means that collections can come out as frequently as lookbooks or on the other hand can be given more time and attention if an idea calls for it. This also means that the silhouettes in the collections do not have to adhere to a set of rules set by a season but can be reflected solely by the inspiration and what the collection calls for. So you can look forward to a lot of new collections coming from J SHAP.
Most recently I was invited to attend the Consumer Electronics Show in Las Vegas, the largest trade show in the world which pioneers cutting edge and upcoming technologies, to gather the free giveaways and in less than 24 hours create a wearable technology look with the "swag" I gathered around the convention. This was my first exploration into wearable tech, integrating LED technology into the bodice controlled by an easy to use app, and hopefully I will be able to integrate more of this in the future.
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The Real Reason Fashion Labels Are Failing Plus-Size Women

Contrary to public perception, fashion designers do not hate plus-size customers. Full-figured fashion fans have been always been frustrated by the lack of selection from their favorite brands, and I don’t blame them. Clothing manufacturers actually do recognize the buying power of the larger sized shopper, but offering styles in plus is just not that simple.
Earlier this year, blogger Chastity Garner boycotted Target for excluding fashion fans in her size range from their latest designer collaboration. Another blogger, Sarah Conley urged shoppers to vote with their wallets if they want designers to cater to them. As a woman with curves, I cheered them. As a veteran of the industry, I lived the challenge of their disappointment.
I have worked as a technical designer for multiple size ranges for brands that include Lord & Taylor, Coach and many others. I can testify that perfecting plus-size fashion is more complicated than extending a label’s size range. A sample size for contemporary or upscale label could be a size 2, 4, etc. Merely sizing up from that into larger sizes would be treating a plus-size customer like a rectangle — flattering no one. There have been plenty of companies who try, and the clothing ultimately does not sell because the fit is awful. The executives then conclude that they do not have a significant plus-size customer base and then refuse to invest in it.

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To produce full-figured clothing well, it needs to be fit on a fit model that truly represents the customer. Professional fit models guide designers into adjusting proportions and tweaking individual clothing styles to look great on their body. Even then, full-figured shoppers could be very busty, pear-shaped or muscular. One fit model cannot possibly cover every body shape in that size range.
A professional fit model’s rate starts around $200/hour. Professional plus-size models charge at least as much or more because they are considered specialists. While this may be the rare instance in fashion where larger girls rule, it is an expense that many clothing companies do not have the budget for.
Unfortunately, the fit and budget are not the only challenges. The team assigned to execute plus-size styles is often at a disadvantage from the beginning. Technical designers are the ones who fit the clothing, correct the patterns and take it from concept to production. Full-figured styles often take their direction from the brand’s main collection. While the central collection has an entire season to develop, the plus-size styles are often put into work only after the regular collection has been approved. This means the technical designers only have a fraction of the time to prepare production to hit the stores at the same time.
I love asking full-figured fit models where they shop. The most common answer is brands that specialize in their size range. Eloquii, Lane Bryant and The Avenue are the recognizable companies. They do it well because they specialize in that customer. They also have large marketing budgets.
Like any independent fashion label, many do not have the same advertising dollars as the big corporate brands. There are plenty of plus-size fashion labels developed specifically for these customers who have to rely on word of mouth. Cushie B. was launched by designer Valerie Thompson, a former design director at Josephine Chaus and Cynthia Steffe who is herself a full-figured woman. I found many stylish labels at Full Figured Fashion Week catering to all price points and demographics. They came from around the world and served everything from swimwear, office wear to special occasion. They may not have large budgets but they are ready to serve curvy girls hungry for style.
Full-figured fashionistas were one of the most successful groups of influencers at the outset of fashion blogging. This was a powerful shopping demographic largely ignored by mainstream media. Collections developed with bloggers like Gabi Fresh and companies like Gwynnie Bee that rely on feedback from vocal shoppers end up with the most engaged customers.
Designers who want to serve fans of every size need to invest their resources efficiently: have design teams work from the initial concept direction at the same time to prioritize all size ranges, and collaborate more with influencers who represent your target shopper for styling and fit feedback — see them as allies, not a battleground.
Curvy girls, treat fashion like dating. If your favorite designer ignores you, give your love to the ones willing to spend their time and money to woo you. They are out there (and like any suitor, trying hard to get to know your body). Seek out the good guys that may be under the radar. Your wardrobe is a relationship totally worth investing in.
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Pittsburgh Fashion Week's future focused on opportunities for Pittsburgh-based designers

After five years of bringing a week filled with fashion to the city, Pittsburgh Fashion Week feels like it’s found its groove.
“Consistency works and subtle changes make a difference in easing people into the change,” says founder and executive director Miyoshi Anderson.
This formula of tried-and-true meets fresh ideas was featured during the fifth annual Fashion Week, which wrapped a week ago. A record number of designers (25-plus) and models (about 340) participated. Plus it was the first year the majority of events were held at a single venue, Highmark Stadium near Station Square, which Ms. Anderson found to be “beneficial, easy and less hectic.” She’d like to consider having one venue serve as home base for the week again next year.
A casting director for the upcoming film “The Last Witch Hunter” also attended several events, scouting models for the movie. Buyers from local retailers also were invited, but it’s unknown at this time how many attended and if any designers benefited.

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Pittsburgh Fashion Week surpassed past attendance numbers with more than 1,000 people passing through events during the week. Previous years tended to hover in the 800-900 range.
Looking ahead, Pittsburgh Fashion Week likely will hold its sixth annual event at about the same time at the end of September 2015 and plans to continue to find ways to foster the talents of Pittsburgh’s designers.
“We want to encourage [designers] into their own storefronts and their own websites,” Ms. Anderson says. “We want to be able to get [their designs] off the runway and into the closets of those who are seeing them on the runway.”
More from the Pittsburgh fashion and beauty front ...
Cops in Couture runway show benefit: The second annual fashion event to support the Law Enforcement Officers Memorial of Allegheny County and the Police Support Team will be 7 p.m. Wednesday (doors open at 6 p.m.) at The Mall at Robinson. Police and K9 officers from more than 80 departments across the region have volunteered to serve as this year’s models. Clairton Officer James Kuzak Jr., who was critically injured on the job in 2011, also will join the models.
Jeans, Jewels and Jam for Cancer Caring Center: Slip into your favorite denim, bling them up with your favorite baubles and mix and mingle on the rooftop deck overlooking PNC Park’s left field entrance. Guests also will have the chance to win customized jewelry by Brian Smith valued at $1,000. It’s Friday, with a VIP reception 6-7 p.m. and the main party 7-10 p.m. Tickets: $75 in advance at cancercaring.org/jeans-jewels-and-jam, or $85 at the door. VIP tickets are $100.
Natalie Deayala trunk show at Bella Bridesmaids: The shop at 1752 N. Highland Road, Bethel Park, welcomes one of its new designers for a trunk show 10 a.m.-5 p.m. by appointment Friday and Saturday. The brand’s philosophy is “friends don’t make friends wear ugly dresses” and is known for its cool and stylish looks. Natalie Deayala orders placed during the trunk show will be 10 percent off.
Rena Lange resort/spring trunk show at Larrimor’s: Shop ready-to-wear women’s clothes known for their luxurious look, quality and design consistency 10 a.m.-6 p.m. Friday and Saturday at One PNC Plaza, Downtown.
Vintage Valet fashion truck celebrates Pinktober: In honor of Breast Cancer Awareness Month, the Pittsburgh-based mobile boutique by Marissa Zimmerman will donate a portion of the proceeds from truck sales and the truck’s new online store, at shop to the Susan G. Komen Foundation. Also, shoppers who make a purchase this month and “like” Vintage Valet on Facebook while at one of the truck’s events will receive a free breast cancer awareness scarf while supplies last.
Pittsburgh part of Flannel City Face-Off: When it comes to flannel, what city wears it best? Duluth Trading Co. is holding its inaugural contest to answer this question. Pittsburgh is one of 16 cities vying for the title.
Sharspburg-based Simple Sugars update: Lani Lazzari, who founded the all-natural skincare line Simple Sugars at age 11, is up to $3 million in sales since the brand was featured on the ABC TV show “Shark Tank” more than a year ago. She expects the company to do an additional $4 million in sales in the next 12 months, an update segment revealed on the two-hour “Shark Tank” season premiere. Simple Sugars also recently struck a deal with Destination Maternity, which now carries its sugar scrubs in all 575 of the retailer’s locations across the country. In season four of “Shark Tank,” Ms. Lazzari of Fox Chapel made a deal with fellow Pittsburgh native Mark Cuban, who invested $100,000 for a 33 percent stake in Simple Sugars.
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fearless fashion designer Destani Hoffman does it her way

At the Mobile Fashion Week finale on Saturday, Sept. 27 at Hargrove Engineers + Constructors on S. Royal St., show-goers will watch Destani Hoffman's cool and defiant designs conquer the catwalk.
And some of the looks will be looking right back at them.
A couple of the rule-breaking artist's dresses are spattered with spooky-chic plastic eyes. It makes perfect sense for a designer with a deliciously skewed view of style.
"Love it or hate it the girl's got vision! Fashion Week is giving her a platform to show her own point of view and we are so enjoying seeing that on the runway," said MFW founder and creative director Richard McGill Hamilton. "When you see a designer with such a distinct point of view hit the runway there will be chatter, but if people aren't talking then you are not the center of attention."
At last year's MFW finale, Hoffman, a graduate of Spanish Fort High School and The Savannah College of Art and Design, presented an alternate fashion reality filled with velvety and outrageously frilly pieces of surreal and crazily proportioned eye candy; not very wearable, but highly watchable.

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This year's collection, although still avant-garde, will be easier for show-goers to add to their wardrobes.
"It's a little more wearable than my collection was last year. Instead of doing a lot of showpieces I did a lot of separates that you can build with when you put them on," she said. "When you put them on a hanger they look like a salable item, but on the runway I can style them so they're crazy. I'm trying to toe the line of acceptability but still spit in the face of what people think is right. "
The basics behind menswear were the jumping-off point for the collection.
"I drafted everything according to menswear techniques, with a ruler on paper," Hoffman said. "Really, I tried to play on the strict rule that society has put on wearable fashion, and a lot of that has to do with tailoring to the body and clean lines and trying to be simple. I just wanted to kind of throw it in their face, like this is whatI'm gonna do."
Hoffman's MFW show will be a mind-expanding mini style revolution sure to get tongues wagging and jaws dropping.
The runway will rock with sexy, slick and shiny pleather, PVC and vinyl layered with tantalizing textures and dominatrix-like details including metal collars, chains, spikes and buckles. Ultra-modern accessories will include hard, clear acrylic box purses and oversize vinyl envelope clutches.
Hoffman has enlisted both male and female models as her brave style soldiers.
"The guys are wearing kilt-like skirts and other androgynous looks to up the ante a little," Hoffman said. "The looks are just less feminine than the the rest of the collection."
In contrast to the exaggerated, in-your-face fashions, the collection's colors are cool and understated.
"There aren't a lot of warm tones. It's mostly white to a really dark grey. And I have pops of lilac," Hoffman said. "A lot of designers are focusing on blue and indigo this year, but I'm all about lilac."
One of the great things about the collection is people can adjust the attire to fit their own fashion persona.
The collars, chains and other extreme embellishments, are "all for show. If someone's not quite as fashion forward as someone who would like to wear a metal collar, they can take it off," Hoffman said. "I'm taking my ideas and giving you no reason at all not to be able to wear them. "
There is also another dimension to the collection that MFW audiences won't get to experience.
"My collection is actually twice the size of last year's and half of it is going to be in Mobile Fashion Week, and the other half I'm entering for Charleston Fashion Week," Hoffman said. "The Charleston part is more focused on evening wear."
Building her brand
Between the last and current MFW, Hoffman has been channeling her talent and creativity into promoting her own clothes and a cause close to her heart.
"Since last year I've really just been trying to expand my portfolio," she said. "I've done a lot of work with Eye Heart World, because when I met them I was so inspired and I had to get that out."
Eye Heart World is a Mobile Fashion Week charity that raises awareness about human trafficking and raises money for victims through putting on events and selling original apparel, purses and other accessories.
Hoffman was strongly drawn to the cause when she learned about it at last year's MFW, which was the first time Eye Heart World participated.
Right after last year's MFW, Hoffman and Eye Heart World co-founder Season Russo met for coffee and brainstormed collaborations between the non-profit and the daring designer.
A fulfilling partnership was formed, and Hoffman devoted herself to spreading the word about Eye Heart World with her own inimitable style.
"Destani Hoffman is not only one of the most passionate individuals about her work, but I've been blown away by the support and involvement she's put in to Eye Heart World," Russo said. "When we first talked about Eye Heart World, I could see her wheels turning in regards to how she can use her design talent to spread awareness and help others. I'm inspired by her drive to do something great not just for her gain but, for others in need."
Hoffman conceptualized Eye Heart World's spring 2014 fundraising gala at the Centre For The Living Arts. She created an emotionally evocative series of charcoal drawings depicting the struggle of a victim of human trafficking which was displayed at the event.
She also produced a promotional fashion shoot featuring Eye Heart World items.
Hoffman has the resources of Mobile's Six Degrees Marketing behind her. She works there, and her mother owns the agency. Six Degrees has taken Eye Heart World on as a charity client.
"We wanted to feature their products in a more fashionable way, so we did an editorial shoot and I directed it. I was also their stylist," Hoffman said. "They're really into up-cycling so we only bought re-used clothing for the editorial."
During the past year Hoffman also devoted a considerable chunk of time to creating a dramatic and decadent editorial spotlighting her 2013 MFW collection.
The editorial, shot at Fort Gaines by local fashion photographer Kathleen Clipper, is an artfully audacious twist on a red-hot pop culture craze.
"We took my clothes and did this crazy hair and crazy makeup and I told the models, 'Guess what? You're in the 'Hunger Games' and you're in District 13 and I want you to sip tea on the ruins of a society,'" Hoffman said. "We had them crouching in old tunnels, lounging on Victorian furniture on top of broken and cracked rubble and posing against cracked walls."
Hoffman submitted the photos to several magazines, and they were snapped up by an edgy international publication.
"A few of the pages got published in a Berlin-based web and print magazine called Superior Mag," she said. "I feel like I'm all over the place."
The rise of a runway rebel
Ideas like post-apocalyptic fashion shoots come quite naturally to Hoffman.
She's been somewhat of an avant-gardian ever since she sewed her first piece in a Spanish Fort High School home-ec class.
"I did a lot of art stuff in middle school and high school," she said in a previousAL article. "I've always been really into craft fashion design; making fashion out of trash bags and paper cups."
Prior to her memorable 2013 Mobile Fashion Week debut, Hoffman sharpened her skills as a student at New York's Parsons, The New School of Design and Savannah College of Art and Design in Georgia.
With a solid fashion foundation and the experience of creating two full original collections and a series of innovative editorials, Hoffman is poised to become a wildly influential force in the fashion world.
And of course, her strategy for world fashion domination includes a turn on Lifetime's popular fashion reality competition, "Project Runway."
"I tried out last year and didn't get in," Hoffman said. "Next time I will have such a crazy big portfolio to give them it's going to be awesome. I will give them no reason to say no."
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Mercedes-Benz Start Up names three finalists in emerging designer contest

Three designers based in B.C., Ontario and Quebec have made the final cut in a national contest for emerging Canadian designers.
Vancouver Island's Eliza Faulkner, Alberta-born, Toronto-based Sid Neigum and Montreal-based Valerie Tolila of the label Vaiken are finalists in the Mercedes-Benz Start Up program.
The trio will take part in the national finale at Toronto's World MasterCard Fashion Week in October, with each vying for a prize package that includes a $30,000 bursary and a fully produced runway show during Fashion Week next March. Three additional wild card finalists will be announced next week.
This will be the second consecutive Start Up final for womenswear designer Faulkner, who recently blogged about and posted a photo of Oscar winner Marisa Tomei wearing one of her designs.

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Neigum showcased his fall-winter collection during Toronto's Fashion Week last March and already has another emerging designer award to his credit as winner of the TFI New Labels contest in 2012. Womenswear designer Tolila is a graduate of Montreal's LaSalle College and has styled for magazines in Montreal and Lisbon.
Designers competing in Start Up must have a registered Canadian business that has been operating for less than five years. This marks the fourth year in the nationwide search for Canada's up-and-coming fashion talents. Semi-final runway shows were held this month in Victoria, Gatineau, Que., and Burlington, Ont.
The cash award is a new addition to the Start Up initiative. But rather than cutting the designers a cheque, the funds will be administered by a mentoring team.
"Helping them to manage their finances is part of the mentorship and we feel that this is going to be the best way forward," said Jarrad Clark, vice-president and global creative director of IMG Fashion Events & Properties, whose organization spearheads Fashion Week and Start Up.
"There are programs out there that just give cash to the designers, and I've known on a number of occasions where that's just meant that's a wonderful holiday or just paid off their credit card and that's not what this is about."
Clark said while Start Up wasn't created to be a cash prize property, industry feedback revealed that a number of younger designers require a certain level of seed funding support.
Designers will still have to go through the process of submitting why money is required as part of their business plan, he noted. "It's actually going to be made sure that it's in the development of their brand and their collection."
Clark said designers will continue to benefit from mentorship until the fall finale, which includes getting suggestions and even critiques on their collections as they're in development.
"It's a real world experience because the Holy Grail is to present your collection in a way that you want to see it presented. And this way, they get to have their hand held, so to speak.
"Some need it more than others, some have got a very clear vision in what they need. It means that they get the chance to tap into experts in their area of expertise."
Previous Start Up winners include design duo Danielle Martin and Pao Lim of Martin Lim and Montreal's Duy Nguyen. The prize was most recently shared by co-winners Cecile Raizonville of Montreal-based label Matiere Noire and Edmonton's Malorie Urbanovitch.
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Karl Lagerfeld shoots Eurovision winner Conchita Wurst in suspenders for fashion shoot

Karl Lagerfeld shot a series of portraits for an editorial entitled “The New Normal” featuring Austrian singer Conchita Wurstand pregnant model Ashleigh Good.
The legendary creative director of Chanel, Fendi and his own label shot the drag queen sensation for CR Fashion Book, the fashion magazine of his friend and former Vogue Paris editor Carine Roitfeld.
Wurst poses in new-season Givenchy, Prada, Chanel and Rick Owens with a perfectly groomed brunette hair and his trademark beard. In one photo he appears wearing suspenders alongside top model Ashleigh Good.
Good is a favourite of the German fashion designer, she modelled the closing look at Chanel’s haute couture show which took place in Paris last month.

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Karl Lagerfeld said: "I like Conchita because not only does he really have a voice but he has done something that's never been done before.
"We have all heard of "bearded ladies" but no one has ever seen a bearded man posing as a lady... This brings new meaning to the term 'drag'"
Talking about the photoshoot, he said: "A skinny musician next to a pregnant top model, it was a game of volumes."
Carine Roitfeld added: “It wasn't as easy as I had imagined… it was a sensitive subject, but Karl's talent in photographing with a classical style gave more strength to Conchita's character.”
25-year-old Wurst, whose real name is Tom Neuwirth, made his catwalk debut last month, when he closed Jean Paul Gaultier’s autumn/winter haute couture show in Paris. Gaultier usually saves that spot for the collection’s show piece design – the wedding dress however this season Wurst took the bride’s place wearing a black dress.
The iconic designer bowed at her feet in a theatrical appreciation. “I always say that beauty is difference and Conchita has shown us all that she is unstoppable. And she looks great in couture; she is a real couture woman,” Gaultier told The Independent post-show.
In the publication’s feature, Wurst said: “I created Conchita as the goal of a very long… well, actually, it's the story of my life. I grew up in a small Austrian village, a quite conservative one, and I was the weird little boy always dressing as a girl.”
“[Being transgender] is very serious business; it's a life within itself, so you mustn’t confuse the two. I always get the question, why the beard? And I think the beard, for me, has so many reasons and so many meanings, but at the end of the day, I want to show that you can achieve anything, that you can have a beautiful life with an kind of look, because the way you look isn't the most important thing in life. It doesn't matter.”
Last week another shoot from the new issue of CR Fashion Book was released, which featured 13-month-old Kim Kardashian and Kanye West’s daughter, North West. The baby was pictured wearing Chanel with a headline on the page that read “The Future”.
Another recent photoshoot from the publication saw models wearing the bizarre Chinese summer accessory of facekini.
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Meet The Nigerian Fashion Designer Building Africa's Hermès

Kunmi Otitoju, a 30-year-old Nigerian fashion designer and entrepreneur, holds two Computer Science degrees – a Bachelor of Science degree with first-class honors from Howard University and a Master of Science degree from Virginia Tech. But her first love was Fine Art. As a high school student in Lagos, she won the Fine Arts prize at school every year – for 3 years.
Having moved to the U.S. when she was 17, and then to Europe at the age of 25, Otitoju found herself deeply enmeshed in western culture. Keen on preserving her Nigerian identity and eager to propagate facets of Nigerian culture, she conceived the idea of lining high-quality leather bags with Aso-oke fabric, a hand-loomed cloth woven by Nigeria’s Yoruba people.
In 2011, after stints at Goldman Sachs and a few other internationalcorporations, Otitoju established Minku, a fast-growing high-end Afro-centric brand that produces luxury bags, wallets and other fashion accessories for men and women by subtly blending Aso-oke into contemporary Spanish leathers to present a transcontinental finish.

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All Minku’s products are hand-made at a workshop in Barcelona, Spain, but they are sold at high-end stores in Nigeria and on the company’s website.
Otitoju recently spoke to me about her journey, her future plans, and the state of luxury goods in Africa.
Why Aso-Oke?
For me, Aso-Oke is luxury. It is hand-woven, the weaving is dense, in the imperfection of the weaving lies evidence of the human touch, and it comes in sophisticated colours and patterns. What is luxury afterall? For me, it is the finest aspects of one’s culture, distilled, packaged, presented to, and accepted by the rest of the world. For example, Italy has leather and coffee as some of the finest aspects of its culture, and that is evident with the luxury companies out of Italy. Same with Switzerland and watches. Africa was a bit late to the branded luxury game, but we are catching up. Aso-oke lets me contribute to this in a small way.
Are you expanding into other goods and services?
Yes. We now offer a personalization service that lets our clients customize a purchase with their name/initials/message embossed onto the leather. It is a nice way to personalize one’s Minku bag, or just to include a message that is a reminder of love or a feeder of good vibes.
In our latest collection, I introduce bracelets for men. Men’s bracelets have gained wide acceptance among males, from surfers in Cape Town to investment bankers in New Jersey. I personally buy into the idea of a man wearing a beaded bracelet — it tells a story of travel and daring, and it alludes to an open mind. So combining precious metals — 18kt gold, sterling silver — with powder glass beads hand-made by the Nupe people of Nigeria, I created a collection of men’s bracelets. Each bracelet comes in an Aso-Oke lined watersnake leather drawstring pouch of varying designs. The pouches double as key-chains.
You have been running Minku for three years now. How is it received?
Minku has been well received. Like any other entrepreneur, I have had some discouraging moments. But many good opportunities have also arisen, sometimes unexpectedly, and it is those that have helped Minku to grow. So I work hard on product and marketing, but I have also learned that serendipity is part of entrepreneurship.
Are there any specific experiences that shaped your resolve to be an entrepreneur?
My parents have been entrepreneurs for most of my life, so I had exposure to the idea of becoming one, quite early on. In 2010, I was accepted to Stanford University to study product design under the Stanford Mechanical Engineering Masters program. This was a dream come true for me because I love Formula 1 and I wanted to study how to design faster cars (I still do; I love working with constraints, and Formula 1 car design provides constraint sets that fascinate me). However, I had just moved to Barcelona less than a year earlier, and did not yet want to leave.
So I had a hard question to answer: if I didn’t go to Stanford, could I still do good design, at a level similar to if I was a Stanford Product Design grad? I was not sure, but I decided to try. I think a lot of the courage to set out and start Minku came from desperately wanting the answer to that question to be a ‘yes’.
What do you think about the luxury market in Africa?
I think there is a fast-growing market for African-made luxury goods in Africa. Building this market to last will take a paradigm shift as to why it’s as cool to own a leather bag designed by a Nigerian or Kenyan luxury house as it is to own one from an Italian powerhouse. But it also takes much product/service refinement on the part of African designers and manufacturers. Recently, African designers have been hitting the mark on product refinement, even with local production. This has been producing results, and needs to continue. International gatherings like the 2012 IHT Luxury Conference also help to focus on Africa’s capacity for luxury creation and consumption. I like the idea of Africa as a destination for handmade luxury.
As a person running a business, what are some skills or attributes that you have found to be indispensable?
As a person running a business, I have found that optimism has helped me get far. If you combine an optimistic disposition with research and hard work, you can do great things.
As a creator of quality leather goods, what are some skills or attributes that you have found to be indispensable?
The main skill for me is creativity. I will go meta and say that an indispensable skill has been knowing how to get myself into my best creative mode.
Where do you see Minku in 5 years?
I try not to plan ahead much, because there are too many factors beyond my control. At the moment, growth for Minku is centered on making the most desirable products I can conceive. I am working with unusual materials: Aso-oke from Nigeria, and leather. So there is already some novelty there, but I am interested in seeing just how much excitement I can wring out of people, both men and women, on the mundane topic of bags. So much of my current focus is on that.
I belong to the generation where the most successful social network was started out of a dorm room, so for me, having a small atelier for working and an online storefront has not been unusual, and I am lucky that this model has been well-received. In five years, I would love to have a flagship store for Minku, perhaps in Lagos or New York City.
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The New A.P.C. Kanye Collection in Full

the New A.P.C. Kanye Collection in Full, and a Chat With Jean Touitou

For the second and last season of the A.P.C. Kanye collection, the brand’s proprietor, Jean Touitou, and Mr. West went deep into military archives. What they came up with is an arsenal of cool, comfortable-looking, luxurious casual clothes that are as unique and appealing as they are smart and simple. This will be your last opportunity to own a piece of this collection, as West is moving on to build his sportswear empire with Adidas. So put July 17 on your calendar—that’s the day it goes on sale (and will likely be your only chance, as it will surely sell through fast).

We caught up with Touitou last week as he was preparing to show his Spring/Summer 2015 collection in Paris to chat about this partnership, his outlook on future collaborations, and A.P.C.’s American expansion.

How did the process of working with Kanye evolve over time?

The process was easier the second time because we have learned more from each other, and then also we stopped by the military archive. It was surprisingly easier the second time, except at the end.

What happened at the end?

What happened at the end is exactly what he does to his own records, so I didn’t take it personally—like when it’s something he makes, and ten days before it drops, and then he wants to start from scratch. In music things are so possible, especially with today’s technology, good engineer, good computer, you could stretch time, but in fashion there are so many people involved, from weaving, knitting, choosing the yarn, choosing the color, making the pattern, making the first samples. It’s so much more material, but again, I don’t feel badly about him pushing the limits. So that was the difficulty. But apart from that, it was perfectly easy.

So he wanted to change things—

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That happens until, like, sixteen minutes before the presentation, I was changing things.

But at some point you were able to settle on some final decisions?

Oh, of course, of course, because it’s going to be in the stores and online on July 17, and we don’t have a reputation of being late. You have to manufacture all the clothes, and it’s not just virtual, it’s real things. At some point you have to say, “This is what it’s going to be.”

What led you to the military archives? Was that Kanye’s idea?

For a very simple reason: I do have archives where we live in Paris, and one day I wanted to show him what I did for almost twenty-seven years, and you know, there was a lot of my old stuff, a lot of A.P.C., and we started the process of designing from there.

You know, when you design something, you have to start with something, so that’s where we were, at my big archives to start with something. It’s not the process for designing a conceptual collection, but that’s why when we said we want a parka, its nice to see a parka from this army, and this army and that army and make your own design of it.

What was Kanye’s part in the design? For instance, would he have input on every aspect of how the parka was going to be made?

Of course he would decide with me on every part of it. We would choose the fabrics and the color and the proportions, sleeves, shoulders, and there were a lot of fittings. It’s not like we want to do a parka, send the pattern to China, and OK we have the parka and I OK it. It’s not like that at all. We produce a first and second sample, a mock sample, a third sample, and finally the last one is good. It’s like a couture piece for every item.

Was it a more involved process than what you typically do for A.P.C.?

No, it was the same, with being involved and making the patterns. It was exactly the same.

A.P.C. has done a lot of collaborations—Nike, Supreme, Carhartt, and others. What’s your perspective on collaborating with other brands?

I have no perspective. I’m tired of collaborating. I’m tired of it. And there’s not so many people that I want to do anything with.

So you’re feeling like this is the last one?

Kanye has his own line with Adidas now. And we do Nike because we don’t know how to do running shoes and they know how to do it right. I don’t have a major collaborating project. But I’m creating a new brand, and we’re launching Vanessa Seward in March, launching the brand with a new company and everything.

So you’re no longer focusing on collaborations?

Well, if it’s something very interesting to me, I’ll go for it. But I don’t look for collaborations, I just wait until it knocks at my door. I’m not pushing it all, doing something as humongous as creating a brand. Days are only twenty-four hours. And also we opened new stores. We’re not a huge corporation, we’re a small independent company.

The expansion of A.P.C. has really been impressive. Are you planning on continuing to expand?

No, we’re just focusing on America, and France is like the Titanic—still dancing, but it’s going to be at the bottom of [the ocean] soon. So I’m really happy to bring the brand to America.

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Backstage Before the Show With Dsquared²’s Dan Caten

As Dsquared² approaches its 20th anniversary, it’s apparent that Dean and Dan Caten are enjoying the success of the brand they built. On the eve of their Spring/Summer 2015 runway show, the Dsquared² studio in Milan is not a frantic madhouse of last-minute fittings and collection edits. In the large room in the refurbished warehouse where the brand (and the restaurant/nightclub they own) is based, racks of clothing organized into looks line the walls, shoes are in a neat row on the floor, bags and accessories are laid out neatly on tables. Dan Caten seems relaxed. He’s enjoying a cup of tea and a croissant. The soundtrack for tomorrow’s show is playing on the sound system, a mix he and his brother created that starts with a line from the film Factory Girl. Things are surprisingly calm. Not the scene you’d expect less than twenty-four hours away from the show. But Dsquared² isn’t quite like other brands. They don’t quite fit in with their fashion cohorts in Milan, but that’s fine with them. They like it that way. We caught up with Dan (with an appearance from Dean) to chat about the new collection, the scene in Milan, and the brand’s global expansion.

Can you tell me a bit about the inspiration for the new collection?

It’s the art world. It’s the studio—the New York studio. References from Andy Warhol, Basquiat, Keith Haring, Stephen Sprouse. So it starts in the sixties and the early Andy days, and then it kind of evolves through to the 1980s.

When you say “studio,” do you imagine these as the guys who work in the studio as artists?

Well, it’s just to put them in a place. We kind of said, “OK, they’re living in a New York loft and maybe he’s a painter or maybe it’s his art studio.” Andy’s Factory or whatever.

But more casual than a gallery.

Yeah, yeah, yeah. No, it’s dirty and messy. It’s got skylights and it’s got paint on the floor and lots of paintings everywhere. Yeah. A bit real.

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Your retail business is growing rapidly. What are your expansion plans for the stores?

We’re really pushing retail, especially in America. We’re opening three stores this year: our flagship in New York, which is in Soho; Los Angeles, we’re doing Rodeo Drive; and we’re doing one in Miami and Bal Harbour. They should be all up and running before December.

How many are there worldwide?

About thirty-two, I think now. But this is our first big push for America because we’re not in America at all. You’ll be seeing more of us in America soon.

What’s the importance of that for you?

Well, it’s a big market that doesn’t really know who we are or what our brand is about. It’s a weird thing because on our online store, the biggest customers are Americans, and it’s really weird. And that’s why we said, “Fuck, obviously we’re missing a market here because the biggest percentage of people who are buying online are Americans from Los Angeles.” It’s actually really good information—you understand a lot about your clients and what they want, and you can see what they’re buying. And actually, it’s what kind of gave us a kick in the ass to say, “OK, we better get on it.”

What cities are most interesting to you?

L.A. is where we have the most shoppers online, so that was one of the boosts for L.A. And then we got a really great space right beside Saint Laurent on Rodeo Drive—it’s actually going to be really cool. And it’s interesting because we’re kind of modifying our concepts for the stores, so as we’re maturing, the concepts are kind of maturing—they’re getting a little lighter, a little cleaner. Keeping up to date, I think. And they’re nice. So all the American stores are going to have a kind of different look. We just opened a store also in Mykonos and in Porto Cervo, so those are our two summer stores, and they’re lighter as well and they’re nice.

Are there things you’ll do specifically for an American market?

We do a different buy for each store. I mean, L.A.’s different from New York. We will do special things because we’re doing special things for other boutiques. Like Mykonos—we did some swimwear and some bags and different stuff for those markets. So probably for sure, something in New York. It’s always cute when you get something that you can only get in New York or only get in L.A. It’s kind of novel.

Especially for your customers, who are probably loyal to your brand and they also travel.

We did a silly Mykonos boxer-short bathing suit. They had a hundred and they sold them all in, like, two months.

Everyone’s talking about Beijing, Shanghai, Hong Kong. Is the Asian market important to your business right now?

Yeah. We actually opened up a new store in Hong Kong. We have two stores in Hong Kong now. We opened a brand-new store in Shanghai which is beautiful. We actually closed at Shanghai fashion week because the government invited us there, so it was kind of a push to promote the brand in China. I think we have seven stores in China already now and we have three partners and we’re going strong to get more. We have a definite plan. It’s just good for us. Tokyo, we actually have two really nice big stores. China seems to be the place where everybody’s nesting.

Does the restaurant business continue to interest you guys? How’s that going?

It’s going really, really well. Really, really well. It’s kind of like a cool place to be. The food’s great, the ambience is great. It’s very different from here, and I think that’s why it’s working. It’s not so “Milan.” It’s got a really international flavor, and I think that’s what’s cool about it. And it’s also like you can go and be seen—it’s quite cozy the way we designed it, also. Everything’s kind of in a booth. You have your individual space, your area, but you can always see who’s walking through or who’s coming in, so it’s kind of got that scene thing, which we love. It’s kind of like a fashion show—you see everyone walk by. The chef’s great, our partner’s great We got a lot of requests to do them in other places, so we’ll see. Maybe in New York. That could be like another business.

Milan has a reputation for being a bit staid, and you guys are obviously known to have one of the more fun shows. Do you think Milan needs to get with it?

I kind of like standing out here. We don’t really fit in so well, and it’s kind of a plus for us. I think we give something different to this fashion. Everybody [does theirs] in their way, and we do ours our own way. We go to the left when they go to the right. I don’t know.

What do you guys love about Milan more generally?

It’s a great city. It’s a good fashion week, especially for men. I love it. It’s a little hometown-y sometimes because it’s not really a big city. That’s why we live in London and we just come here back and forth and it gives us a little bit of an escape. It’s good for work, it’s good for shows, and it’s good for selling.

Other than working, what are your other summer plans?

We go back to Canada on the 26th. We see family. Then we’ll go probably to Greece to go to a promotion for our Greek store and stay there for the summer.

Is going back to Canada a way to get away from fashion and decompress?

No, actually, it’s more work. We’re organizing a big Christmas dinner for our two hundred family members that we haven’t seen for, like, twenty years. Our grandparents used to do this for Christmas day—we’d all go to Grandma’s house and I’d meet my cousins, I’d meet everybody, and she died and no one does that anymore. So we kind of said, “Let’s do it. Let’s be the host and we’ll host you all.” So they’re all excited.

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