The founder and creative director, Jamila Jones, oversees all of her designs from the pattern making to print artwork and construction of the garment. Her creations empower and connect women through design; highlighting women of color and their beauty and strength.
Jamila runs her business with her sister, Maya Jones; who brings wholesale, marketing, and styling expertise to the company. The brand was founded in 2016 and is based in Brooklyn, New York.
Jamila graduated from University of Cincinnati's DAAP with a Bachelor of Science in Fashion Design.
What would be your dream job or role?
I always envisioned myself being in fashion design, so I'm really happy that I'm still doing it. I wanted to move to New York the moment after I came to visit for the first time so I can say I'm living my dream. I work for a brand called Frye as my 9 to 5 designing womenswear and it’s nice to be able to have that steady income and then do my personal brand and whatever I want as a separate interest.
Are you able to find balance in your life while juggling both your professional career and personal brand?
It's hard because fashion is not an industry where you make a lot of money in general and then I live in one of the most expensive cities in the world, so it's hard. But I do enjoy working in a corporate environment and I feel like I learn a lot that I can take into my own brand. Obviously it's 9 to 5 every day, so there's not a lot of time to work on your own passions.
What would you wear in your version of Utopia?
I love prints and dresses so I would say some type of comfortable flowy printed dress, probably some type of Ulla Johnson dress.
What project or collection are you most proud of and why?
When I was laid off from Macy’s in 2020 due to the pandemic, I started making masks for friends and family. I just needed something to do and a lot of people didn't have access to re-wearable masks that they could wash. So I started doing that and it turned into a little capsule collection that Tessa actually featured in the store. I ended up hand-dying crop tops and matching masks and it was nice because I had creative freedom to be able to start sewing again and doing things by hand. Also, I was able to help people and provide masks at the time and it was the first collection I had in a store. Then obviously my senior collection in school is going to be something I always remember. That is your proudest moment because it's the final moment of your college journey.
Where are all your designs being produced? And are you still sewing anything yourself?
I'm not sewing anything right now because I haven't had the time and capacity to but I do really enjoy sewing, especially the first prototypes for new designs. The collection Idlewild is going to have in for the Trunk Show is all manufactured in New York in the Garment District. This is also my first time having pieces produced because before, like with my tie-dye collection, I had done everything by hand. When I decided to have more colors and sizes for my brand it was exciting to finally figure out the manufacturing process and nice to do it locally in New York.
What's your favorite fabric to work with?
I like to work with some types of crêpe or lightweight suiting and don't really enjoy working with slippery fabrics like silk, it's just annoying. But I do like some types of crepe because it has the drape and doesn't wrinkle as much. It's also not slippery and it holds shapes well. So if you want a strong silhouette it could be manipulated to do a lot and I enjoy that versatility.
Could you name one designer or design house that you are inspired by and why?
I would say Aurora James from Brother Vellies. She started her brand with shoes mostly being handmade from suede and leather in Africa. Her whole brand was focused around the idea of sustainable fashion and ethical production. She started the brand focusing on these aspects but went beyond what most people might think about when it comes to sustainability. I feel like often people think about sustainability as how the fabric is produced or made but don’t view it as a pillar in their company. James has it built into her company from top to bottom thinking of the whole with how she treats her employees, the way everything is shipped, and wherever she is selling her pieces. Then during the pandemic she started the 15% Pledge. So I really look up to her because her brand is more than just about the clothes and everything is really beautiful.
In the time you have worked in the industry have you seen any shifts in terms of more diverse representation?
I think about how Macy's did have a diversity and inclusion officer the entire time I was there but remember when everything was happening during the pandemic with George Floyd and everyone was posting the black squares and all this weird stuff. Then all of a sudden companies were hiring diversity and inclusion officers and I just wondered how these Fortune 500 companies didn't have one in the first place. That was really shocking to me and that they didn’t have employee resource groups for all the different professionals in their company. I was surprised that these brands we shop all the time were missing such a key component within their organization and felt that a lot of them created these positions and groups out of guilt during the pandemic. But you do have to start somewhere and that was one the big shifts I saw specifically in the last few years.
Who would you say your brand is for?
That's a hard question for me because I don't wanna put my brand in a box but from the girls that have bought pieces in the past few years I would say they are similar to Tessa and I in a way. We’re not tied to a certain aesthetic but are strong minded and independent while having versatility in the way we dress. I’d also say that they’re creative and in different fields whether that be marketing, fashion, bloggers, or stylist but all have a sense of fashion about them. For my age range, I wouldn’t say my mom would necessarily wear my clothing, but probably between twenties and late thirties. So, I do always have a hard time with that question but definitely a strong minded fashionable woman.
How do you find yourself being empowered not only through design, but also your day to day style?
I started reading this book a couple of days ago and the author describes what fashion is, which can be a very complex term, saying that it doesn't only provide function when you wear a coat outside but that it captures the mysterious aspects of being human and I really liked that. I see wearing clothes as almost a costume for however you feel or who you wanna be that day. Sometimes if I'm feeling happy I might wear a printed dress because that's how I'm feeling, or if I don't feel super confident for a presentation or work I'll wear something with a strong shape to feel powerful or just make myself feel a bit more confident because fashion is very emotional. So it's more than just the functionality of clothing but how you feel or how you want to feel and I think clothing can help to make you feel empowered.
What would you recommend to someone that is struggling to find their own personal style?
It's interesting now because a lot of people mimic their style from everything they are seeing on Instagram. So it's easy to find your style based on what other people are wearing, but to your point, is that really finding your own style or is it just wearing what everyone else is? I would say to wear what makes you feel comfortable instead of trying to force your style based on how you want people to portray you. But to do that, you have to try a couple of different looks.
I definitely formed my style from my mom and different women in my family. Traveling is also a big source of inspiration for me with my personal style and when I would travel in high school or college I would come back with a few different pieces that I felt were new and different. I do understand that not everyone can afford that luxury but I think it would help people find their personal style and that could also be as simple as getting out of your hometown, state, or school.
Do you feel like your style and design has evolved as you’ve grown as an individual and as a professional?
Oh definitely, especially being from Ohio. There's definitely different pockets of fashionable people and places there, but being from Dayton there isn’t a lot of fashion inspiration. Back then I didn't have Instagram and TikTok so a lot of my inspiration came from Teen Vogue, Seventeen, and just watching TV. But now I'm living in New York and being around so many different types of people I definitely feel like I've mimicked different elements of the various people, places, and stores I have visited. Obviously, as I get older and mature, there are certain things I wouldn't wear anymore but I also feel like when I look back at old pictures there are still pieces that are core to my style and haven’t changed. For example, prints and dresses have always been something that's been consistent with my style as well as a mix of soft and hard dressing. I love a flowy top with a baggy boyfriend jean or a bomber jacket and mixing softer elements together with it. I definitely still fall into trends that go around but try to buy clothes that could be versatile and not for a certain time or occasion.
How do you see the fashion industry becoming more equitable?
I think something I've seen more, besides having diverse models in terms of race and ethnicity, is the inclusion of plus size models and curvy models and while it's not all the way there yet I have seen more size diverse models in the last few years in marketing and in runway shows. For example, I was just watching the Margiela Couture Show, because I looked at the pictures but hadn't seen the video of the full show, and they had a performer that was disabled and had one arm and I just thought that was amazing to open the show with someone that was diverse in that way.
So I do think companies, more so couture companies, are able to be more free with their creativity and are at the forefront of doing it. I do think it still needs to trickle down to more corporate everyday companies like Target or Macy's and having people like that present in commercials that are on TV. But also not just to do a one time photo shoot or this Black History Month photoshoot just because it's February but to do it and make companies feel more comfortable representing these people in advertising.
It’s also in the hiring process, even down to the company I work at. I've been here since May and we just now have a black woman at the VP level at the company, which is good and it makes me hopeful but it shouldn't be something that is still a first. Just having people that are diverse in age, race and ethnicity having conversations with the CEO is important. So, not just hiring people at an entry level position that are diverse, but making sure they're promoting us to get to that next level to be in the room with the higher ups and giving us a chance to give our perspective.
How do you kind of navigate championing other minority designers while also running and growing your own business?
I think naturally with my personality, whether you're black or come from the same type of background, I've always just naturally wanted to help people because I’ve been helped so much myself.
But it's interesting because when I was working at Macy's in the employee research group I was in, we started a mentorship program. At the time I was an assistant associate and they were trying to help us meet different Black VPs and senior managers within the company, but because it was optional there was someone high up that expressed they felt too much pressure to be the black professional that has to mentor others. They just didn’t feel it was their responsibility and that made me think about mentorship in a different light because even the managers that were my mentors weren’t a woman or black but they didn’t have to be. So I would encourage people to be more open minded and to look for mentorship from those that aren’t just like you, but to find ones that you are comfortable with and that will pour into your growth. It’s nice if they’re just like you but they don’t have to be. I also would encourage anyone to find a community of people within your job, even if it’s just as casual as going to lunch or chatting on teams, it can take the pressure away from someone being your mentor.
I'm wondering if you have any other favorite books you could recommend for us right now?
I definitely would recommend checking out Aurora James' new book, Wildflower. It's about her upbringing, how she got into fashion, and the creation of the 15% pledge.
What is your go-to coffee or tea drink?
I can’t drink a lot of coffee because I get too jittery, but if I do drink too much caffeine I do a cappuccino every now and then. But I can't do three cups a day like most people. Otherwise I love hot chocolate and ginger tea but if I had to give one answer I’d say ginger tea.
Check out Jamila Mariama website here. Follow Jamila Mariama on Instagram.
Idlewild is hosting a trunkshow featuring Jamila Mariama collection February 23, 24, 25 in-store.
]]>Bold, confident, sophisticated
Describe your personal style in 3 words:
Confident, timeless, a hint of sex appeal
Which collection or project are you the most proud of and why?
I would say Kaphill’s FW23 Collection because that’s when I broke out of my safe box and stepped into just what I wanted to do. I peeled back all the layers of what I thought I should be doing and just created whatever was on my heart and I think that has set the tone for the brand going forward.
It’s bold, has a lot of volume, and is unapologetic. It is just a perfect narrative to the space of my life that I'm in right now where I am unapologetically me and I am not afraid of taking up space, which is my brand's motto, standing in power and taking up space. I decided on that as really a chant to myself telling me to take up space. I feel like I've finally arrived at this place where I'm not afraid of doing those things and that collection is a direct reflection of that.
How long did you feel like it took you to even get to that point? I know you had a lot of other roles in corporate life and sector before this; were there ever times that you felt that confidence at moments or was it something that launching your own brand brought you to?
It took me 10 years to be completely honest, I had a line prior to Kaphill with my sister called Marie Annette and it was really successful. We had a lot of celebrity placements and strong sales, but it wasn’t my true design aesthetic and I didn’t know exactly what that was at the time. I was just seeing what was trending and following those where as now I don’t even look, I just design what’s on my heart.
Also having my daughter and figuring out who I was as a mom and who I was outside of that has brought me to this point. Had I not had my daughter five years ago, I don’t think I would have been in a space of figuring out who I am and who I want to present to her as her Mother
What is your dream job/role?
Well, my dream job was always to be a designer. I've always wanted to be a designer and I never thought that I could be because I felt I didn’t have the talent or the skill. So, I didn't go to FIT (Fashion Institute of Technology) for fashion design, instead I studied production management and kind of fell into designing.
I used to sketch in my room and my sister one day came to me and said,”Hey, do you want to start a brand together?” and I was like, “Ok, sure.” I will say I do also enjoy teaching so I consult people on how to set up their product development organizations. But speaking and engaging with people, I really enjoy that and you see that through my personal collections.
Where are all your designs being produced? And are you still sewing anything yourself?
I don’t sew anything myself and all of my designs are produced in New York. I'm in Turkey right now trying to see if I can move some of my production out of New York, but I work with other small businesses and local artisans to bring my collections to life currently. I still want to keep that element of the business but also want to be able to service my demand. So that's why I’m venturing out to new areas.
Could you give me one or two designers or designer houses that you look up to and why?
One of my favorite designers is Jean Paul Gaultier. I love all of the structure and line work he used and how he really accentuates the female form. It's something the brand does well and that has also drawn me to a lot of vintage and eighties fashion. I love, love, love period pieces and watch movies based in the Victorian era. That’s my jam, I will watch them over and over again.
I love the structure and the femininity of Jean Paul Gaultier, and I also like Giambattista Valli. His work is just very feminine and romantic and I think my brand is the perfect combination of those two elements as well.
How can you see the fashion industry becoming more equitable?
I think it starts from the top down and having more people who look like me and look like other minorities in those c-suite positions. I think that can lead to a trickle down effect within the company culture and it really opens up doors for other smaller and minority owned brands as well as people working within their organizations at large companies.
I do realize that change can happen from the bottom up but you really have to have that person at the top that's buying into your idea and when people don't understand where you're coming from or understand your walk of life, it's kind of hard to buy into an idea and I understand that.
I think that's important for organizations to continue to spread the word about minority designers and how it is a struggle for us to gain the capital to continue to grow, but making programs readily available to us that we may not be privy to is very important.
Who would you say your brand is for?
My brand is specifically for black women. I think there is such an emphasis on European women and women of non black ethnicities that brands focus on and once a brand says that we are focused on a black woman we are automatically assumed that we're pigeonholing ourselves.
I want to dispel that narrative and show that there can be a luxury brand that's created specifically for black women, but obviously made for all. My brand is designed with the needs and values of black women since I am a black woman and I design for women who are just like me.
What are some of your favorite fabrics to work with?
I predominantly use silk, that's my favorite medium to use and all different types, charmeuse, satin, all of the different types. I don't even know how I fell in love with silk to be honest, I think it was just something that was readily available at the time I started my line and then I just realized how many different styles I can create. I love how it can be weaved in so many different ways and the fluidity, luxuriousness, and timelessness.
What would you wear in your version of Utopia?
I think I would obviously wear Kaphill, but other than that I would definitely wear couture vintage pieces from the nineties like Versace, Jean Paul Gautier, and other designers of that era. I think if I could just be transported back to that time frame when it comes to fashion I’d be in a perfect world, that’s my jam.
I'm wondering what made you decide to step away from that corporate life and launch Kaphill?
For me I had this dream of climbing the corporate ladder and I wanted to be a head of a company. It wasn't really my dream to be the head of my own company, that was more of a pipe dream. It was something I wrote in my notebook in high school but never actively worked towards. I knew I wanted to be in fashion and once I got into the industry, I realized that I didn't have a voice and for lack of better words it started to piss me off. I just kept thinking, I'm here, I have great ideas, I know I bring something to the table, and I know I'm smart so why aren’t my ideas being heard? Even if they were heard, they weren't implemented. It would also be yeah, that's an amazing idea, but we can't do that right now or someone would take it as their own. That is really what pushed me in a different direction and then when my sister approached me, it was perfect timing. I will say that it is not easier working for yourself, but it's way more rewarding and I think that’s what is really driving me.
How were you able to balance running a brand while also having your full time role in the corporate America?
There was no balance, I'm not gonna lie and say that I did. There were things that fell through the cracks, whether it was work or it was the brand, but I was fortunate enough to have a partner at the time. Now I can't imagine running Kaphill and working for someone else full time in an office. I don't think I would be able to put the time, effort, and energy into it, but obviously having that financial support is so important. So it's a catch twenty two. People will say you can work after work, but you're tired when you leave a 9 to 5 or 9 to 8, whatever it is, you're tired.
Something I noticed about the brand after reading through your bios was that you communicate a sense of unity through design. So, I'm also wondering while making these pieces that communicate this sense of unity, how do you also balance that with making pieces that can be styled more individually?
I definitely feel like the community aspect comes through with the blog. The brand was actually founded as a blog at first and talked about my journey as a black woman in corporate America as well as being a new mom. That's how I found and grew my community and once I realized there were so many people who didn't feel seen and heard, I said I would now translate that into clothing.
I would say the pieces I create are very authentic and individual. They are garments that if you don't put your own flavor on an aspect of them almost gets lost since I don't want anyone to be in a uniform and look like everyone else when wearing Kaphill. It is for that person who wants to be bold and wants to stand out, but who wants other people around them that they can connect with. So, building the community of people who are unapologetically themselves is something that the brand continuously works hard at and continuously cultivates.
In the time you have worked in the industry, especially since launching your own brand, have you seen any shifts in terms of more diverse representation?
I definitely have, I think there's a really big boom right now of highlighting black brands, especially since 2020 and what happened to George Floyd. I think there's a community of us now and we all look out for each other. Even when it comes to magazine representation and what you see on the runway, there is this sense of inclusivity now where there wasn't before. I will say though that I do think that some of it has died off, which is unfortunate, but the brands that are making that a foundational principle are still going strong.
But the community that black brands are building with each other is amazing and it's just nice to be able to find people who are on the same journey with you and understand your struggle. That part of the industry was non-existent before and now we are sharing resources freely versus gatekeeping things.
I read this Toni Morrison quote that said “in this country, America. American means white. Everyone else has to hyphenate.” So off that, do you feel like there are people that label your brand as a ‘black brand’? and is that challenging to deal with or do you embrace it?
When I first started designing, I never wanted to be called a black designer. I'm a designer and a black woman but now I wear that as a badge of pride. I am a black designer and I design for black women and I'm unapologetic about it. I will say though that when most people think of a black brand, my brand doesn't come to the forefront of their mind. My design aesthetic doesn't match the imagery they already have in their head and I think that confuses them. They see me as a black designer, designing for black women, but it's not inside their box of how black women should dress. My imagery is all black, but then the styles can go across multiple races and ranges of people and some don't understand that. But I want to show that black women are more than just one thing. We're not just as they always say “urban style”, we are everything and can wear everything. That’s something that I've doubled down on with Kaphill.
Being a minority designer, you're often breaking into spaces that someone such as yourself has not been present in. Do you ever feel an elevated level of pressure and scrutiny and how have you managed that pressure?
I definitely feel like there is pressure in a way, but I would say it's more confusing for individuals over anything else. It often feels like people want to ask what are you doing here? I get those questions and looks without it being blatant. Also, when I worked in corporate America, I felt the same way and that had given me some training and taught me to have tough skin and to recognize that I belong in every space and that there is no space that's not for me.
It did take me time to get to that point because there were instances where I believed that maybe I don't belong here and I would shrink. Now I just always remind myself that I'm here for a reason and if someone else is here, why can’t I be here? What is the reason that I wouldn't be allowed in this space or why would it not be for me?
I will say that we as black designers have to work a lot harder to get into those rooms and spaces and are pushed at times to bend a little more when it comes to something like working with wholesale partners or catering to different standards for various people. So working twice as hard is something that I had always done in my corporate experience and still do working for myself. I think it's something that black designers can all agree on that we have to do.
How do you find yourself being empowered? Not only through design, but also your day to day style.
I have days where I'm just not in it all the time. I think as a designer, people from the outside looking in think that we’re always put together and always confident in our looks. Honestly though, I feel like most of the time I look like I've just run to the gym or been hit by a bus because we're so busy most of the time.
But I definitely lean on my style like a foundation, which is not just by timeless pieces and things that are of good quality which you can always rely on to look put together. So even if you don't feel it, you can always look at it and sometimes you gotta fake the funk a little bit.
What would you recommend to someone that is still trying to find their own personal style?
I would say just try new things. It's okay to change your style. That’s what I am realizing a lot recently, especially with Tik Tok and Instagram, there are always aesthetics or capsule wardrobes that you can see. No one, I don't care how structured you are, can avoid change. People evolve and it's always going to be that way. I was just saying to my intern that my style has completely changed and I have not shopped for other brands besides my own in so many years that there's nothing that I can even think of that I wanna wear.
I've evolved and it's ok to try new things and see what feels comfortable. But I would say if you're discovering your style, try the things that you are interested in, even if you think it's not gonna look good on you, just try it, you never know.
Do you see your design language changing with your own personal growth?
Definitely, I see where I used to only do statement pieces and clothing that are like, wow. I see designing in a more balanced way where I have things that can translate in multiple situations versus it being that one statement item. I also see my design being more refined and I really love that because it spans multiple age ranges. It is not just a customer that's 22. My age range is 25 to 50 and I can see different women wearing items at different stages of their life. But I wanna make sure that I'm making pieces that are accessible and flexible that can transcend time and age. So it's definitely changed since I launched my first collection until now and I can imagine that it's gonna continue to grow and evolve but not to come too far off the brand's DNA, it's always gonna have that.
What's your go-to coffee drink?
I'm not a coffee girl but if I do drink anything it would be a decaf cappuccino with a pump of chai. But I am a tea drinker. My family is Jamaican and we drink tea all day long and I’ll drink black tea, English breakfast, and chai. I love tea.
Could we get a couple of your favorite movies or a couple that you could re-watch over and over again and you never get tired of?
Oh, my gosh. Well, my favorite movie is actually Love Jones and not for the fashion, but just the overall vibe of their energy, they were just so cool. When it comes to period pieces I do love The Great Gatsby, Mahogany, and Marie Antoinette.
Could we just get a couple of book recommendations? Are there any books you're reading right now?
Well, right now I'm heavy into the business books. I'm reading a book called Profit First. But what book did I really enjoy that is not business related? I read Black Cake which was really pretty good. It's a book about a Jamaican family and because I'm Jamaican, I read all the Jamaican things. I have also read Passing was good and Black Girls Must Die Exhausted. There are three parts to that. I read all three. It was great.
Check out Kaphill's website here. Follow Kaphill on Instagram.
Idlewild is hosting a trunkshow featuring Kaphill's collection February 23, 24, 25 in-store.
]]>The Contemporary Arts Center in Cincinnati's annual gala is more momentous than ever for this anniversary celebration; the Zaha Hadid-designed Lois & Richard Rosenthal Center for Contemporary Art.
Declared to be "The most important American building since the Cold War" by architecture critic Herbert Muschamp for The New York Times, this iconic structure was completed in 2003. It was the first American project by internationally renowned, Pritzker Prize-winning architect Zaha Hadid, and was the first U.S. museum designed by a woman.
This year's gala celebration coincides with the CAC's exhibition A Permanent Nostalgia for Departure: A Rehearsal on Legacy with Zaha Hadid which considers the legacy of Hadid's career through the practice of a new generation of artists who respond to Hadid's portfolio and the Lois & Richard Rosenthal Center building itself. It is study of Zaha Hadid's legacy not as a conclusive overview, but rather as a point of departure full of possibilities and reflections.
As the main diffusion line for Maison Margiela, the inherent function for MM6 is to deliver consistent ready-to-wear. This is quite common in the industry, as many of the powerhouse brands we’ve come to know and love need proper financial supplementation to create the spectacles of runway shows and further the boundaries of fashion that continually captivate audiences. Unfortunately, this often forces brands into operating as mutated aesthetic generators, tragically wading through radioactive waste courtesy of the excessive nature of contemporary fashion. While this certainly reads as dramatic - bear with me – just look at some of the largest brands. Clothes drenched in logos, the same handful of silhouettes used ad nauseam; not to mention that most of these brands fall under the same two or three conglomerates. To make it worse, the quality of these clothes has drastically deteriorated. Who really needs a Balenciaga t-shirt whose quality is more or less the same as that of Uniqlo at a 4,400% upcharge?
This is what makes the latest collection of MM6 so refreshing. Unlike many other diffusion lines, it doesn’t rely exclusively on the watered-down imagery of a parent brand. Of course, with an aesthetically rich history such as that of Maison Margiela, references to the past are more than welcome. The Maison’s Spring/Summer 1990 show used an ingenious trompe l’oeil effect where images of garments were photocopied onto the garments themselves which gave a surrealist edge to the clothes. The latest pre-fall collection from MM6 referenced this in several wide-leg pants that have images of pant legs literally printed onto the pants. Such references harken back to the subversive and immensely instructive elements that Martin Margiela introduced to fashion, many of which inspired some of the most prolific designers working today. Before Margiela, the notion of upcycling was almost unheard in the world of luxury.
The beauty of MM6’s Autumn/Winter 2022 collection lies in its sense of simplicity and familiarity. However, subtlety is often misread as boring. It’s difficult for an audience to appreciate nuance when they’re conditioned to respond to loud visuals, often intended for digital consumption. MM6 sidesteps this expectation with an array of 36 looks that heavily features a variety of exquisite tailoring alongside soft, relaxed silhouettes. The show opens with a black wool double-breasted overcoat worn on a blue cotton button-down and a snakeskin turtleneck layering piece. The coat features the brand’s ‘circled 6’ logo on the arm, this time with an ouroboros forming the ring. The use of the symbol likely refers to the cyclic nature of the fashion industry, which tends to look towards the past. The interpretation here is optimistic; we can use our knowledge of history to move forward. The snake motif reappears throughout the collection in various forms, most playfully in look ten as a plush toy that calls to mind Bjork’s famous ‘Swan Dress’ from the red carpet.
The color palette was rather restrained, with most offerings coming in black, courtesy of leather blazers and pants next to wonderfully draped tops. Looks 22 through 25 used a sublime pale pink, the first of which paired wool trousers with a muted tangerine military bomber with a fur collar that looked like the best tasting dreamsicle from your childhood. Look 28 featured a leather sleeveless double-breasted coat in a beautiful shade of forest green.
In a moment where each subsequent piece of information we receive nudges our homeostasis towards an existential climax, whether it be a literal plague or an impending climate crisis, the most comforting things are those that allow us to breath and be one with ourselves. With clothing, that’s often better achieved with high quality textiles and shapes that don’t overpower. The heads at MM6 understand this, and they responded adequately. Indeed, less is more.
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What we like about Tibi post-pandemic is the sense of comfort mixed with curiosity each season — we know we can expect solid ‘without fails’ and are pleasantly taken by surprise with the colorways, fabrications, all gender wearability, and details offered in each new collection. And since her style series, we now we have a solid vocabulary to reference when talking about our wardrobes needs and wants.
As Amy states on tibi.com, “A piece can have tremendous design attitude and still be so damn functional that you wear it as a basic. And, in fact, if a basic is meant to be worn a lot, then the last thing you want to feel “a lot” is basic…”
Idlewild invites you to not overlook these seemingly basic garments, after all, they might become your new without fails… Shop our selection from Tibi here. Read about their SS23 inspiration and watch their runway show here.
]]>“Imagine digging out fully grown vegetables from the earth that have stored all the energy underground to grow from seeds and into roots and sprouts. Imagine looking at them and being captivated by their organic, uncultivated shapes and vibrant colors. This collection is dedicated to expressing the qualities of beauty and wonder innate to these wild vegetables.”
The opening excerpt to the ninth issue of “The Narrative of Making,” a magazine published by Issey Miyake, details the inspiration of the brand’s latest collection titled “Sow it and Let it Grow.” The rather literal interpretation of vegetation led designer Satoshi Kondo to explore the nature of plant growth, from the germination of seeds and the growth of roots that twist and turn through the earth to the upward and outward explosion of life upon their blossom.
Referencing these naturalistic themes feels instinctive to the brand as it often employs an intuitive, sculptural approach to each garment that conveys the free, unbounded progress found in the wild. Much of the collection features silhouettes that refer to organic growth, with bulbous shapes and fabrics that extend beyond the body’s true form. One such series in the collection, named ‘PODS’, connects three round pieces with pleats in between that resemble pea pods. These garments are then dyed using the Japanese technique of shiborizome, binding the fabric by hand with various ties and strings that prevent the dye from catching. Another section, aptly named ‘Slice’, examines the cross-section of fruits using the hikizome technique. Done by artisans in Kyoto, the fabric is brushed -by both air and hand- with garment dye that avoids the conventional process of soaking the garment. This process imbues the clothing with intimacy and the reassurance that each piece was tended to carefully. The seamless integration of these traditional techniques with the technological prowess of Issey Miyake articulates a position that positively considers both mass production and the necessity for craftsmanship in contemporary fashion. Many consumers are looking for evidence that their purchase isn’t just another throwaway. They want something with a story- clothing that’s thoughtful.
Even after 50 years, and a rotation of designers, Issey Miyake continues to feel as fresh and innovative as any other major brand. Perhaps the most pertinent reason for this is the brand’s devotion to the development of form. Other houses have struggled with contemporary fashion’s recent inclusion of diverse body-types, yet Issey Miyake’s tendency to adapt with time has offered the brand a newfound sense of cultural relevancy. Pleats Please is a perfect example- there is no compromise between pragmatic design and aesthetic, and the synthesis of these principles culminates in complex yet totally wearable garments. Combining these sentiments with Fall/Winter’s artisanal approach, Issey Miyake continues to deliver clothing that easily integrates into everyday living without sacrificing beauty.
Take a look below at Idlewild’s collection of Issey Miyake pieces from the AW22 season:
]]>What you spend your money on matters. We’re not here to tell you what you should buy or what material things might enhance your daily life in exchange for what is surely hard-earned money. This being said, an understanding of where that money goes and how it might affect you and others is imperative to living in a capitalist world. Chances are that if you’re here, you invest a lot into your wardrobe and personal style, so here are some reasons why it’s important for you to put the same amount of care that you do when choosing what to buy into determining where you source pieces from. The first step is to shop at small and local businesses as opposed to big box retailers and chains.
Let’s talk about ethics (try not to fall asleep–no, seriously, this is important). The most pressing issues when it comes to supporting large fashion corporations are breaches of the consumer’s morals. The mass production of clothing brings about the excessive waste and pollution created by these corporations. Large retailers focus on quantity over quality, and will produce masses of garments to keep up with trends even if they find their way out of your closet and into the landfill by the end of the year. Turning to small businesses who often create small collections designed to last the customer can help you and the planet avoid this tragedy.
You might be willing to kiss your morals goodbye in exchange for the happiness of your wallet since larger retailers are generally more affordable, but in the long run shopping sustainably where you know the product is designed to last is more budget friendly than re-purchasing cheap clothing time and time again. This waste not, want not lifestyle may feel uncomfortable at first, but you really have nothing to lose and everything to gain. Watch your style adapt from the mundane mainstream and inconsistent to your personal taste to unique and full of staple pieces that you love. Show the people around you that you are an individual with taste who takes care not only in the way they dress, but in the way they spend their money.
This internal growth is amazing, but just as important is helping your community to flourish. Shopping small and local will do wonders for you, and at the same time do wonders for any businesses you might support. Smaller designers are the backbone of current art and innovation, and by backing them in their endeavors we can make the world a more beautiful place. Contributing to this beauty within your city specifically will even bring about a sense of purpose in you. You can support what makes it special and at the same time model it yourself in the form of a unique piece of clothing.
It is never too late to become an agent of change and start shopping small and local. All you have to do is that, start! Simply ask or look around for small businesses in your area and purchase something really special rather than a surplus of overly trendy pieces at a department store next time you are craving something new.
]]>The following is the Idlewild Care Guide, which will walk you through our favorite processes for caring for our own clothing from start to finish! Some methods are tried and true, while others have been influenced by our favorite laundry care brand, The Laundress.
Sort items by fabric/weight/care label instructions:
Similar fabrics will usually call for similar care. Washing delicate garments with heavy garments may lead to piling and stretching.
Sort fabrics by color:
Sort fabrics into white, light, or dark. To prevent dye transfer from ruining other garments, test a garment by taking a damp rag and lightly rub an inconspicuous spot on the garment. If color transfers to the rag it is best to wash with similar colors or on its own!
Pretreat stains:
Stains should be pre-treated to prevent setting. Some stains will set when washed if they do not lift through the first wash. The Laundress offers a brilliant wash and stain bar and stain brush for all your pre-treating needs!
Flip garments inside out and/or use mesh bags (unbutton buttons, zip zippers):
While this is not a step that is totally required, for extra care you may turn pieces inside out to protect the outer layer of fabric from snagging or pilling. Next, buttons on shirts should be unbuttoned to prevent holes from stretching. Zippers should be zipped to prevent zippers from snagging other fabrics. Another alternative is mesh bags, which are highly recommended!
Read labels, and begin washing (or hand washing!):
Cool water is more gentle on fabrics and dyes, and uses less energy than hot water! However, certain stains will occasionally require a different temperature setting.
Hand Washing Tip: Do not wring out clothing that you are hand washing. Press excess water out of garments.
Drying:
Air drying is the most gentle method and ultimately leads to longer garment life. Heavy garments, such as sweaters, respond best to being reshaped and laid flat to dry, denim does well when hung to dry. Lighter, knit items can hang dry as well. Use your own discretion, and double check labels, whether air drying or utilizing a machine!
Ironing/Steaming:
Follow care labels when ironing or steaming.
Depilling knits:
Always work tools in one direction. Electric depillers are not recommended as they can catch and cut holes in fabrics! We highly recommend the Sweater Stone by The Laundress. It has worked beautifully for all of our garments.
Storage:
If storing clothing, be sure items are washed or spot cleaned. Odors and stains left on clothing will attract moths, rodents, and other pests. We recommend folding and storing in cotton or linen zipper bags.
Brand Highlight—PLEATS PLEASE: If you know us you know we LOVE Pleats Please! The ultimate every day, every occasion, and every scenario pieces. Pleats Please garments are very low maintenance but do require specific care. We recommend delicate machine washing in cold water with a gentle detergent, rolling excess water out with a towel, reshaping and laying flat to dry. PP stores best and retains its wearability when treated in this order:
Garment Highlight—MOTHER DENIM: We want your cherished Mother Denim to last as long as possible! When cared for as follows your denim will maintain its gorgeous color and shape. Turn the garment inside out, with the zipper zipped. Wash cold with gentle denim detergent on a normal wash cycle with similar fabrics and colors, finish with a low spin cycle. Hang to dry or lay flat to dry.
Wash your garments as sparingly as you can! To help with this effort, we recently stated stocking 2 fabric refresh items: Fabric Fresh and Delicate Spray. Whenever possible, we recommend spot cleaning over a full cleaning. The Laundress offers an array of products that we stock at Idlewild to assist you in spot cleaning!
Caring for your garments, whether investment pieces or basics, is part of a much larger and more thoughtful process! We encourage you to take the same care caring for garments as you do while purchasing them, to give them the long and loving life they deserve! If you ever have questions about how to care for a garment, ask away!
]]>In our book, versatility is queen, which is one of the many reasons why we love Nicholas K! The Drifter Dress by Nicholas K is truly a best-seller at Idlewild, due in large part to its comfort, but also its adjustability! We sell out of this style every season, so reorder this dress whenever it's offered. For spring 2022, we have it in Black and Stone Satin, and also in a Pebble Linen, both of which are perfect for the spring and summer.
When the Drifter is worn normally, it features a deep v-neck, and you can either wear it loose (as shown in Spruce) or cinch in the waist (as shown in black) to accentuate your waist and bust, making it the perfect dress for date night!
If the v-neck isn't your style, or you simply desire a more modest look for the day, turn the dress backwards! You now have a high neck line to style; much better for work or other more casual outings. We love it worn this way with a long necklace over it, such as this Online Pendant by Aumorfia.
Another great example of reversible styling is this Please Please top below. With buttons from top to bottom, it offers multiple ways to wear. When worn normally, buttoned to the top, it features a mandarin collar and a flattering tunic length.
So much time goes into considering what pieces to add to our wardrobes. When we get creative with styling we can give our garments so much more life, and this is the key to finding longevity in our beloved, sustainable wardrobes!
]]>Despite my previous remark on Cincinnati’s cultural participance, there is undoubtedly an energy that’s permeated the city, a rejuvenated sense of purpose among the populace in its offerings and reputation. Particularly with fashion. This newfound pride in the medium of textiles likely stems from the dramatic growth in recent years of the University of Cincinnati’s School of Design, Architecture, Arts, and Planning. DAAP for short. Idlewild’s store director, Tessa Clark, is a graduate of DAAP and found fame as a participant on season 17 of Project Runway. Her presence in the city, along with a legion of high-performing students and professionals that have spread across the nation, has earned Cincinnati and its namesake university’s design school a great deal of respect.
This September, Idlewild will be introducing select pieces from the Issey Miyake Fall/Winter 2021 collection to their repertoire of brands. While the store has consistently offered garments from Pleats Please, a diffusion brand under the Miyake Maison (others include Homme Plisse, Bao Bao, and A-POC; quite the empire), presenting the runway collection is new territory- for both for the store and the city. The museum’s tremendous collection of Miyake’s work is owed to the passion of Otto Charles Thieme, the former Curator of Costume and Textiles at the museum. Thieme fell in love with the beauty of Japanese clothing, and this devotion was passed to the museum’s current curator, Cynthia Amnéus. Though Issey Miyake may not need much introduction, it’s certainly worth mentioning his history and outstanding impact on contemporary fashion.
Born in Hiroshima, Japan, old enough to remember the bombing and young enough for the profundity of the cataclysmic event to last a lifetime, Miyake’s design perspective carries soulful weight. A seer of sorts, his approach to fashion blended the Eastern and Western mindsets, the former based on the principles of fabric and the latter centered on the body as the foundation for clothing. Launching his design studio in 1970, presenting his first collection in New York in 1971 and later debuting in Paris in 1973, Issey Miyake was one of the first Japanese designers to infiltrate the highly guarded Parisian scene, paving the way for many other influential Japanese creatives to approach and further disrupt the fashion capital. In the late 1980’s, Miyake began to experiment with his now iconic (and patented) pleating technique. Many pleated garments are made with fabric that is pleated before assembling the pieces. Miyake reversed this process, sewing the clothes together before the process of pleating. In 1994 the house launched Pleats Please, Miyake’s brand that specializes in this method of pleating. The garments released from Pleats Please are architectural and often incorporate unconventional silhouettes, yet the master’s uncompromising pragmatism affords the clothes their comfort and wearability. Throughout Miyake’s 50-year career he’s continued to push the technological boundaries of fashion and investigate clothing’s relationship with the human form, abiding by his famous mantra, “design is not for philosophy, but for life.”
In the most recent fall collection, with some pieces available at Idlewild, Miyake’s brand looked towards the “integration of nature,” and the augmentation of its elements “through the technology, the idea, and the ingenuity,” as described by the house’s current designer, Satoshi Kondo. Several garments utilized the ancient technique of suminagashi, a method of dye-dropping where ink is dispersed onto a thin layer of water. The ink, which spreads organically across the surface, is absorbed by a piece of cloth laid on top. The final prints come to resemble washed stones in a riverbed- a beautiful blend of technique and elemental references. Other prints are created by a complicated technique of removing select threads from a woven fabric, with their subsequent reintegration resulting in a hazy illusion meant to evoke the imagery of flowers glowing against the backdrop of moonlight.
On our tour of the archives, Cynthia and fellow colleague Megan Nauer navigated the museum’s subterranean maze of corridors. After a series of left and right turns across different levels, we arrived in the chamber of fashion. Upon entering we were ushered down a hallway adjacent to 10-15 large motorized closets. Contents included historical costume from the 19th century, clothes by Christian Dior, seminal Japanese fashion from Comme Des Garçon and Yohji Yamamoto, and of course Issey Miyake (the total number of garments housed in the museum’s archive is likely staggering). Prior to our arrival, Cynthia neatly prepared some of the museum’s best pieces from Miyake. Our group circled around a large table upon which laid about seven or eight garments. An all-black ensemble from 1989 featured some of his earliest pleated work, the jacket and pants pieced together in an almost medieval armor-like fashion. A nylon jacket in a muted shade of saffron from 1996 wore sleeves with protruding forms of a deep crimson, accompanied by a heightened collar that altogether looked appropriate for a venture into space. Perhaps the garment most emblematic of Miyake’s ethos as a designer was from 1990, named the “Rhythm Pleats Dress.” Laid flat, the dress is a perfect circle with the only identifiable features being a neck hole and two sleeves. Subjected to gravity, the shape falls into a perfectly wearable evening garment.
A quiet yearning for runway-level creations has plagued fashion fans in Cincinnati who believe they must escape to the major fashion capitals of the world or forgo an opportunity to witness such art. This collection of clothes was less than 10 minutes from my apartment. It’s here. Now of course, the art museum isn’t offering tours of its archive to the public; that would be a bit counterintuitive. But it doesn’t only exist in the discreet museum archives. Cincinnati is no longer simply a spectator. The city has become an active participant in fashion as an art-form. Idlewild stocks contemporary runway fashion that you can touch and wear. When I first found interest in fashion a few years ago, and up until I recently returned to the city, there’s no chance I’d have thought Cincinnati was home to renowned designer clothing. This newfound presence, particularly of Idlewild’s offering of Issey Miyake collections, generates a great creative energy for the city’s inspired individuals. I feel proud to be in place where fashion is no longer a fevered fantasy. It is reality.
ISSEY MIYAKE AUTUMN WlNTER 2021/22 from MIKIYA TAKIMOTO FILMS
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Puro Secret balances traditional construction methods with contemporary influences. An easy color palette of white black and grey is embraced through each design and the collection as a whole. Preserving their devotion to ethical production, natural renewable materials such as the highest quality leathers are sourced. Textures and designs, like embossing and hand-painted patterns, are added to leather to bring about different aesthetics while using familiar fabrics. Foam soles contribute to the shockingly lightweight nature of each pair of Puro's, perfect for all day and night wear.
Puro Secret does not simply design shoes, they aspire to create urban, sophisticated, wearable works of art. Special fasteners, valuable ornaments, and different genuine leathers make Puro Secret a well loved brand at Idlewild.
Comfort never sacrificed, wear these all day. Thoughtful, practical, unisex. Seen more as a work of art than as just a shoe.
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The collection has an air of off-duty street style, although Lauren is very in touch with her customer's desire for elegance and comfort above all else. Curve-grazing silhouette's accentuate the body without revealing too much. Her designs are cut from luxuriously textured fabrics that elevate the pieces to a place of modern refinement.
Lauren works with Irish handkerchief linen, pima-cotton, matte jersey, washable vegan leathers, washed silk organza and nylon. Together the fabrics and styles enhance many figures. The quality of the fabrics can be seen and felt and add to the overall flattering of each body. Modern fabrics and combined with innovative textures to create a visually chic way of layering.
The size-less nature of these garments make them ideal for our ever-evolving bodies; these pieces can be enjoyed year after year regardless of how we may change and grow.
Creative Director of Kowtow Gosia Piatek started with a dream to save the world. With that lofty goal in mind, and no background in fashion, she was on track to design her basic-wear brand differently. Unlike brands who are just starting to alter their systems to align with sustainable practices, eco-conscious values are at the core of Kowtow.
To achieve this profound goal and preservation the planet, Gosia analyzed the supply chain of each of her materials, right down to the buttons sewn onto each shirt. Kowtow’s clothing doesn’t sacrifice values for design, and goes as far as producing their fabric in-house to ensure all materials meet their ideal. In addition to this, when your garment is slightly damaged it can be repaired for free through their repair program, even offering the Japanese patching known as Sashiko, a visible patching technique that's meant to add character to imperfections. Unique from many other brands, these repair services prove the dedication to the lifespan of garments that have been so painstakingly produced.
Look closely at each piece in the collection and you’ll notice the application of classic stitches such as jersey, seed, and ribbing, to their organic cotton. These details are how they manage to create timeless staples with their sustainable fabrics. Their thoughtfully designed basics are quiet enough to layer under your favorite blazer or jacket, yet sophisticated enough to pair with more elegant statement pieces. The attention paid to the supply chain lends hand to these basics that are nothing but. Kowtow continues to set itself apart by consciously utilizing only sustainable fibers and ethical manufacturing.
When the basics you own begin to show wear, we recommend you turn to Kowtow. When fast fashion basics are just that, turn to Kowtow. Build your wardrobe on multifunctional staples that will stand the test of trends, and wear and tear. Not to mention the peace of mind that follows knowing you and Kowtow helped “Preserve the Planet, Protect the People.”
Double Porcelain Earrings in Black and White by Julie Clark Pottery
Producing pieces that can be touched and used are essential to the line — a utilitarian piece that can be functionally incorporated into daily rituals creates a satisfying experience for the user and the maker. With that said, Julie also finds meaning creating pieces that simply nod to functionality. A sculptural form or vessel strategically placed in the home can add depth, awareness and definition to a space.
Double Porcelain Earrings in Black and Rust by Julie Clark Pottery
Julie’s work encompasses a multitude of inspirations collected from her experiences over the years. Whether purchasing a pair of earrings or a plate for your future entertainment plans, inviting a piece of Julie Clark's work into your space will invite in the world of inspiration behind it.
]]>The Strapless Dress in Black features black sleeves that can be worn for an off the shoulder look or left to hang to the sides for a blowy sleeveless look.
MM6, established in 1997, acts as a diffusion line for the Maison. Though the lower price point targets a younger audience, the designs featured don’t strictly cater to a young crowd. Wardrobe staples like high top sneakers and tailored shirt dresses can find homes among the closets of a variety of ages. The subtle brand identity features an embroidered “6” and the iconic stitching on the reverse tag placement (four stitches for mainline, two horizontal lines for MM6).
The Logo 6 Shirt Dress in Midnight features a high low hem, and an oversized fit. The longer back hem, and roomy fit, provide total comfort while the deep navy and classic tailoring bring refinement to the look.
Opposite the typical womenswear prescription, the most recent pieces in store utilize characteristics like billowy silhouettes and tailoring inspired by menswear. Masculine cuts countered by light feminine fabric and draping prove that comfort takes the reins. Although there is an undeniable elegance that's equally prevalent throughout the collection, there is a practicality that comes with each piece, whether in the form of thick cylindrical heels, platform shoes, or high low dress hems.
The Boatneck Top in Off-White is a gorgeous, pleated blouse with a matching Side Drape Midi Skirt. 100% unlined Polyester enhances the flowing qualities of this set. Wear it as separates to dress it down, or as a set for a Goddess-like evening fit.
No sacrifices are made when choosing to wear MM6. Peak wearability takes these pieces from the workplace and beyond. Their contemporary take on classic styles crush everyday trends and will speak to those seeking comfort, wearability, and uncomprimising style.
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Born in 2009 from a devotion to the art of fashion, serien°umerica is a brand that considers constant research and experimentation its foundation. Based in Turin, Italy, the two designers, Maria De Ambrogio and Stella Tosco, focus mainly on knitwear and leather accessories. They work closely with Italian artisans to break away from usual schemes, reinterpreting the culture of the product. All pieces are made in Italy where the brand was founded.
The Over Jacket in Denim is styled with the Skant by Nicholas K, and the Undercut Sneakers by Puro.
Featuring details such as drapey shapes, flowing fabrics, exposed seams, and contrasting top stitching, these pieces are maximal in their characteristics. These staple pieces make a statement when introduced into any wardrobe.
Scroll through to see how we've styled a few of the pieces!
This outfit is great when you want to look put together but need to run around town all day. Both color ways are made from a slightly textured fabric that adds something extra to the traditional boxy button down!
The Boxy Shirt in the white colorway has been styled with the best-selling Hustler Ankle Fray by Mother Denim and the Lovett Shoe in white by Rachel Comey.
The Boxy Shirt in petrolio features a gorgeous jewel-like hue, and that visually appealing textured cotton fabric!
]]>Two words: Denim. Tuxedo. Serien°umerica style! The Over Jacket in Denim with your favorite Mother blue jeans pairs incredibly well with the Andy by Janessa Leoné and the Art&Sole boot by Puro.
Vibskov has a deep commitment to producing sustainable and ethical clothing. The designer's intention to always implement solutions with environmental awareness, including his use of sustainable materials and upcycling, packaging and production doesn't go unnoticed. The label goes above and beyond to move intentionally through their supply chain, and adjust and adapt when improvements can be made. A Code of Conduct is available for public view, and each entity they work with is required to review and sign the document.
We love Henrik's collections for their artistic style, combined with modern styling, and his sustainable practices. These pieces are a joy to style, and bring so much fun to an outfit.
]]>Baldasarre utilizes top quality fabric to complete their looks, each natural fiber and material is mindfully chosen before a collection is even sketched. Every design is uniquely inspired by the fabrics themselves. Once the fabric and color palette have the right feel “feel right” for the line, Baldasarre begins the process of quick, abstract sketching; these abstract sketches ultimately inspire the silhouette of the final garment. In an interview with the New York Times, Baldasarre says, “I will always think as a psychoanalyst does and the theories that I believe in will always be with me whenever I am conceptualizing a collection,” she goes on to explain that the process of creation is an effort of her subconcious. Having walked the path from psychoanalyst to fashion designer, we believe it is this exceptional transformation that leads us to say, “Oh, that’s very Delfina.”
Baldasarre’s past career has led her to create garments completely unlike the brands we have grown used to seeing, making each and every garment part of her story. For those of us who desire bold, sophisticated, and comfortable style, your calls have been answered by the designs of Delfina Balda.
The Interlock Wide Pullover in Raw White is knit from 100% Organic Cotton and features a rib knit neckline, and side slits. This pullover borders on silky it's so soft, but the double knit cotton features a weight one will notice immediately. This top is the perfect sweater to layer over a slip dress, such as the Winifred by Rodebjer. Go for the slip dress in Off White for a spring/summer friendly monochrome look!
The Lap Pants in the Terre colorway are cut from a heavy matte cotton and feature oversized knee darts, an elastic waist, and pockets! These pair SO well with a French tucked white button down such as the Flame Shirt in White by Henrik Vibskov. Add a pair of slides for a casual look, or a neutral boot for a more dressed up vibe! A Janessa Leoné hat is the perfect accessory to wrap up the whole look.
The Interlock Tall T dress in Carbon is an absolute must have. The flat double knit with a matte surface and a soft hand, is made using 100% Organic Cotton, and features side seam pockets and small functional side slits. Style it with the Ballet Flat by Modern Weaving for an easy, comfy, yet chic outfit. Though the dress naturally lends itself to being styled casually you can add a sleek leather heel, modern silver accessories (hello Cris & Shawn earrings!), and a Nicholas K belt for a super cool put-together look.
While these pieces are incredibly photogenic, you're going to want to feel them for yourself, to get the whole experience! Stop by the boutique to try these outfits on and to feel the absolute luxury that is Lauren Manoogian!
]]>Her designs are meant to honor the fabrics they're cut from. Some fibers are left un-dyed, allowing their innate intricacies to influence the final look of each garment. Pima cotton, baby alpaca, and organic cotton are a few of the luxurious natural materials utilized throughout the collections. A theme of strong details such as oversized knee darts and architectural silhouettes ties the collection together. Utilitarian details such as drawstring and elastic waistbands add to the overall feeling of comfort and hygge that the brand encompasses.
For anyone who appreciates substantial fabrics and garments with unique forms, Lauren Manoogian was made for you. Enjoy the subtle and sandy color palette all year long, with these neutral foundational "lifestyle" garments.
]]>Crishana Manigan designs and handcrafts her collection Cris & Shawn in Milford, Ohio. As a jewelry designer, her work embraces a minimal aesthetic by creating structural silhouettes with metal. Taking inspiration from her sketches, Crishana produces each piece by hand using sheet metal and wire to manipulate original forms. The use of hammers, files, and flame help to create scale through shapes and movement in lines. The resulting work is an exploration of lightweight, bold jewelry that is perfectly comfortable to wear for an entire evening.
Handmade items vary in form, and style characteristics change with each piece. Each piece is crafted with love and carries with it the charming characteristics gained from jewelry fashioned by hand.
We love Cris & Shawn for their wearability and their artistic forms that boldly compliment evening looks and elevate our more casual day-to-day looks.
]]>The material's utilized within each new collection are chosen thoughtfully and intentionally to achieve certain outcomes such as durability, sun protection, and breathability. Naturally occurring fibers such as raffia straw, 100% wool, and leather, are preferred for their intrinsic durability and functionality.
Straw is sourced from Ecuador and then handwoven in JL's factories, taking around 8-10 hours to produce a single hood. The hoods are then cut and shaped into their chosen final designs. No two hats are ever the same due to handwoven techniques and natural dyeing processes.
Their most innovative design yet is their line of packable straw. Straw is weaved with a durable fiber at its core to create a hat that can be packed for up to one day, fully retaining its shape once unpacked. The packable hat is the perfect solution for any and all beach travelers. The Andy hat in black, pictured below, is suitable for year-round wear and travel due to it's minimal and classic design.
The Ruby hat in Black is a structured hat designed with clean, dramatic lines, a wide brim, and tall crown. This style is absolutely striking, an appropriate addition to any modern, minimal look, any time of the year.
We love this brand’s sophisticated pieces and their focus on timeless, minimal designs that are both unique and classic.
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Once regulations forbade the collection of rattan, Kamaro’an pivoted to the use of vegetable tanned leather, a durable material that closely mimicks the strength and texture of traditional rattan. Naturally-occuring materials such as canvas and this vegetable tanned leather are featured in each piece for their durable, lightweight qualities. These fabric choices also lead to an accessory that ages and patinas uniquely with time.
The form and quality of these objects is very visually impactful. Each piece catches, and holds, the eye. The artisanal production leads to a unique style that stands out from the trendy, modern accessories we’re so used to seeing now. As we creep towards a more automated and technologically advanced world, Kamaro’an believes that handcrafted items will be cherished even more now and into the future.
Kamaro'an fits the bill for anyone who is looking for the perfect accessory to hold their every day carry. These practical pieces stand out due to their unmatched quality, yet fit seamlessly within any and all classic wardrobe settings.
]]>The latest collection by Comey features boxy, billowing silhouette’s in easy-going cotton twills and heavy enzyme washed linens. Many of the styles seem to draw inspiration from menswear, calling back to her start as a designer. Pleating is used throughout the line to add volume and create a “playful, care-free look”, a vibe that is prominent throughout this collection. For those who don’t feel represented by other high fashion brands, Rachel Comey offers the perfect respite.
Though Rachel began her career as a menswear designer, her educational focus is in sculpture, and it’s this that seems to influence how she’s progressed in fashion. Rather than following the status quo, Comey has forged her own path since the beginning, gaining her fans in the likes of Maya Rudolph and Michelle Obama.
Above all, Comey has gained significant traction among everyone from celebrities to every day women due to her functional designs, craftsmanship, and original prints.
All woven garments are made in midtown Manhattan while knitwear and footwear is made in Peru.
]]>With a commitment to supporting local artisans and ethical fashion, Theano utilizes vegetable tanned leathers from Greek tanneries, collaborates with Greek craftsmen, uses local made materials, and produces everything in Greece by hand in Athens the Ionian islands. From these workshops come leather adornments that intimately mold to the body of the wearer. Marked by long silhouettes, sharp cuts, luxuriously soft leather, and geometric shapes; one should also gather the subtle occultism of it all.
Aumorfia is meant to complement all clothing and personalities, acting as an extension of one's clothes and body. Growing old with us, and accepting the same love and care we give our own skin. Aumorfia produces pieces that will age with us and our clothes.
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