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All of them have at least a woman involved; sometimes there are couples and design teams, but I like a visible female leader. I like there to be a true face of the brand; that’s something I respond to and my customer responds to a lot, as well. It is something I’ve wanted to do for a long time. I wish I had done my own pieces so much earlier, but it took that long for me to see what my customers want.
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From there, my very first order was from Colette, and that was the moment I just saw an opportunity and I took it. Arguably one of the more under-appreciated roles in cinema is that of the costume designer. Costume designers’ stylistic contributions to the world of film and by extension to our own worlds is undeniable. I think the design community in Los Angeles is amazing, and, if it weren’t amazing, I wouldn’t be doing my line.
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When I’m designing a line, there are usually two things I do. I’ve stopped beating myself up about it because most of the procrastination turns into subconscious simmering, and whenever I finally do stop procrastinating, it comes out pretty quickly. Also, there is usually a piece of art or an artist that I am looking at and drawn to that typically anchors the collection.
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Not mentioned as often is the debt both films owe to the talent of Michael Kaplan. I got this job three days a week working at Resurrection and learned about fashion through that little pathway. We would do fashion reports for each other—Halston was my first report—and we just were very clearly all going to do our own creative thing. So, as I was working there, I was taking my sewing class and started making clothes. Then a stylist friend said I should make a book of pieces and he’ll bring it to Paris.
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I was wearing a uniform of jeans and t-shirts, and I hated it so much. I’m into really functional but pretty stuff. For as long as I can remember, I wanted to be a fashion designer. I learned how to sew by making doll clothes, but I never knew that it could be a job.
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I was so green in New York, but practically doing anything in New York is harder—finding vendors is harder, the price point is harder, the wholesale level is higher, and there is not as much product. The short amount of time I was sourcing on the East Coast, it was much more difficult than it is out here. It is really competitive getting into Brooklyn Flea or something like that. There is just such demand, and so many people are waiting for a couple of years. Then I came to L.A., and I hit the pavement running. I was doing the Melrose Flea market, I did everything.
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After that, I took a huge break from making stuff. In 2013, when San Francisco was kind of pricing everyone out, and that’s when I started Town Clothes. Even as a kid, I would look forward to picking out outfits for school.
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I’ve done them every season, and they always sell like crazy. Irene was a true talent whose work still impacts on film today. Costume designer Colleen Atwood dressed Angelina Jolie in ‘The Tourist’ in a dress inspired by an Irene creation. This talented woman’s designs in films of the past continue to influence contemporary tastes. Iconic is the word that comes to mind when describing Deborah Nadoolman’s work.
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But there is a huge opportunity to manufacture in L.A. And, personally, manufacturing here is a great point of pride. And I am so disgusted by what’s happening with immigration, and I think we’re really lucky here in California, and I’m proud to be a part of the manufacturing here.
I think there is a lot of envy in a not-trying-too-hard kind of look. And then, I always wanted to do knitwear, and I met this woman and convinced her to work with me. She is based in Los Angeles and a few knitters work out of her house. We just bonded immediately and moved entirely into knits. Not only is she skilled at creating the unreal settings within a film but she is equally successful at contributing to contemporary realist works. She has thus cemented her reputation as one of the leading costume designers working today – perhaps even the most influential since Edith Head.
They often operate outside of the traditional fashion calendar, because L.A. Allows designers to work on their own terms and timelines. And, while the fashion industry is not always good to the environment, these designers are thoughtful about their fabrics, where their pieces are produced, and who they hire to make them.
It symbolized longevity and had a feminine appeal and it is also a kind of flower. Then it took a year of researching and planning; I opened right before Christmas in 2011, and it has just been growing since. A lot of designers have lived in New York, but there are a lot of incredibly talented, open-hearted and -minded women here. It feels very supportive and doesn’t feel competitive. Everyone embraces each other and appreciates each other and everyone has been very welcoming and kind and great. And in L.A., I can have a little bit more headspace to let my line really take off.
In this way they r complement one of the film’s major themes by transporting the viewer from the past to the present. I’ve been out here almost 19 years, and producing in L.A. It’s a great city to manufacture in; there are more brands who operate out of this country who are building their things overseas.
Many are transplants from New York and first sharpened their skills within that city's more rigid structure. The designers we talked to—all of whom happened to be women—praised a willingness among their community to share the means, methods, and secrets of production in this still-developing design landscape. Don’t get me wrong, I loved New York, but it was really hard for me to break out of a structure that existed there in design, and here it didn’t feel like it. I didn’t feel like I was supposed to be producing seasons or that things were expected of me.
I've only been here about nine months, but all the more established designers—and so many of my fellow transplants especially—have been so welcoming and open with their resources. Has gone more smoothly than I ever could have imagined. Eiko Ishiokas’ spectacular, mystical designs almost steal the limelight from the productions they inhabit – but not quite. They are, in fact, masterfully embedded into the setting, serving to complement films such as Francis Ford Coppola’s Bram Stoker’s Dracula. Tarsem Singh’s visually stunning films too owe a great deal to Ishioka’s work, in particularly their other-worldly dream like quality. In 2010, the company launched Design History Girls for the next generation of it-girls.
Fashion and clothes were a personal passion, something that I loved, collecting vintage and going through my grandmother’s stuff, and my mom’s old stuff, but I never thought of it as a career. Going to college at 18, I thought I should do something practical—study political science or go to law school. I worked in the legal world for a couple of years, and I was a teacher the New York City public school system.
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