Gray Silk/Linen ruched dress lined in silk charmeuse with hand-ruched gray silk chiffon bodice; Wool coat lined in charmeuse silk leopard print; both from my Fall line. Model: Katie Osumi shot at The Surf and Sand Resort
Today lovely Ada at Classiq
posted a very kind interview with me
about my Fall clothing line. She asked a lot of difficult questions and made me realize that I rarely discuss the process of making my line. So much goes in to it that at the end of the day, it's easier to just write about other things that inspire me and leave the cares of manufacturing behind.
A few months back I was chatting with a woman who told me that I was inspiring her to start her own line because the pieces in my new line were so simple. I choked on my latte and almost fell off the bistro chair. Before I could explain that none of the pieces in my line were simple, some of them had to be re-done several times by amazing patternmakers to get the drape and the fit just right, everything was completely lined in silk, a lot of pieces have hand work--she repeated in a bright and firm voice, "Oh come on, there's not much to them, they're easy patterns!" with a wave of her hand. And well, there was just no point in explaining that the most expensively made garments often look deceptively simple.
What I do know for sure is that there are 52 pattern pieces in the portrait collar jacket above, and the couture sewer who worked on this piece complained a lot during the process. The patternmaker made sure to let me know that when she was making patterns for Yves Saint Laurent, she kept a little notebook where she would log in the hours. She brought it out to show me, "See, 76 hours on this jacket... 120 hours for this dress. There would sometimes be 10 or 12 fittings with a client to get it right, but now ladies don't like to wait." In other words, I had no right to complain that we didn't get it exactly right on the first pass.
The fit was off and because of scheduling, the jacket had to be re-cut/tweaked by another patternmaker I started working with who had worked as the head patternmaker for James Galanos
for 30 years. The sewer balked at re-sewing it since she claimed to have spent too many hours making the bound button holes
and the silk taffeta collar and the pocket tie details, which were all hand sewn. I could go on, but let's just say that this piece, the core of the line, did not come easy.
If you'd like to read more about my line, check out Ada's interview here