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Monthly Archives: June 2010
Grayson Finds and Fills "The Hole" Gallery
Originally published in A Shaded View On Fashion

A Q & A with Kathy Grayson: Co-owner of The Hole
SSP: Briefly describe your professional and personal history with the Deitch gallery and your relationship with Jeffrey.
KG: Jeffrey is the most interesting person in the art world. he is the only art dealer who is a true historian. thus the best person to blaze the trail from art dealer to museum director. He has the best spirit and energy. He has shaped my approach to art exhibitions and, more generally, art and life.
SSP: How do you you feel when you read or hear yourself described by the press and public as Jeffrey’s “deputy,” “protege,” and even “legacy” or “beneficiary?”
KG: Jeffrey treated me like a curatorial and intellectual protege, I treated him like a mentor, which he was. We had lots of discussions about curatorial approaches, art practice and art criticism. He was the only person I would show my essays and articles to for feedback, and he would show me his essays to get feedback. We would cook up shows projects, and would plan events together. Beneficiary: I certainly have been the luckiest girl in the world to have gotten to work at Deitch and to learn all this from him, and then to have his support and assistance transitioning to being a gallery owner myself. but it makes it sound like a will and Jeffrey is certainly not dead! He is going to have an even bigger impact on art history as the head of a museum.
SSP: How did your time at Deitch develop your viewpoint and how you critique art? How do you define art, and more importantly, how do you characterize “great” art or art that really “matters” to you?
KG: I share a sensibility with Jeffrey, whether innate or developed in conjunction with working at Deitch, that the best art is art that comes from lived experience. Neither of us have any patience for art about art. We love when someone’s lifestyle or being and experience is really crammed into the artworks and they are about something real and important as oppose to self-reflexively closed down academically or emotionally. I may be a lot of things but I am certainly not boring, and I will never show boring art!
SSP: What makes an artist’s work attractive and exciting for you? Is discovering the “new” important to you?
KG: It is a very old avant gardist idea but I still think that each new generation has its unique set of experiences and those experiences inform their artworks, and the best and most exciting new artworks are those that cut straight to this and what it means to be here and now. It can manifest in all different ways though!
SSP: How did you decide and manage to co-launch “The Hole”(partners Meghan Coleman & Suzanne Geiss) and how is it similar and different from Deitch Projects? How do you make it your OWN?
KG: All the articles about Jeffrey leaving talked about “the hole in the downtown community” or”the hole in the art world” that he was going to leave. So we decided we would fill that hole! There used to be this great lawless club called THE HOLE that many of the our artists, and we ourselves, used to hang out at that closed a few years ago. plus we thought it was weird and post-feminist gross to have ladies running a place called The Hole. THE HOLE! Open for business! Our art operation will share the great spirit of Deitch Projects and I guess if anything, things might get even weirder!
SSP: How would you describe The Hole’s aesthetics; as a gallery, as a community, and as a collection? How would you describe your artwork? Your artists?
KG: Its hard to make general terms for things but our community of artists, the staff, the supporters,we are all just downtown creative types, on the weird side, hardworking open and enthusiastic. The vibe is like a COMMUNITY CENTER and everyone is welcome.
SSP: Tell me a little about your new blog artfrombehind. Is it your personal blog or the official blog for The Hole?
KG: I had a blog on MySpace for years and finally decided to move it to a real website. but now that I find myself opening a gallery I thought that it would be fun if the gallery had a blog and now the blog has become the gallery blog. I don’t know! I like posting photos of great art on the internet and making fun of bad and butts and parties and funny looking people. Its FUN!
SSP: What was it like spearheading your first show; “Not Quite Open for Business?”
KG: Like the press release reveals, this has been an extremely stressful and difficult time. The first show will reflect our struggle to get a gallery going and open the doors with art so quickly after Deitch’s closing.
SSP: With the opening only a few days away what are you most excited about and what is your biggest worry?
KG: I am worried the opening will be too crowded for anyone to see the great artworks we have!!! I am most excited about everyone seeing the show and loving it.
SSP: If you could buy any artist’s entire collection to decorate your home, who would it be and why?
KG: If I could hang one artist’s work it would have to be Ben Jones because he is so versatile: he makes paintings, drawings, videos, video paintings, sculptures, rugs, ladders, benches, furniture, and clothing. TOTAL PACKAGE!
Mark and Estel: Inside the minds of LA's hot designing duo

Lady Gaga in Mark and Estel leggings
SSP: Did you always know you wanted to design clothing? What are some of your earliest and fondest fashion memories?
M&E: We both used to make clothes for ourselves and sketch ideas for designs. Fashion is one of the most fun things in the world. What is more fun (and long lasting fun) than discovering and wearing a piece of clothing you really love? Okay, maybe some things are more fun, but that is up there! We love it when our clients tell us they are so happy with our designs because having the ability to touch someone’s emotions with our designs is awesome.
SSP: How would you describe your personal styles? Have they evolved over time and become more or less alike?
M&E: Our personal styles are always evolving. Right now Estel is doing a sophisticated chic thing which evolved from a funky sexy thing. Mark is doing a kind of Miami Vice mixed with L.A. Hippie thing which evolved from a Rock thing.
SSP: How did the two of you meet and what inspired you to team up and launch a fashion label instead of pursing your passion for music and art? What do you think a fashion designer can accomplish that perhaps a musician or artist cannot?
M&E: We met quite awhile ago in Los Angeles working on several projects. We were both living as artists and were one hundred percent devoted to creativity and we could sense that about each other. A few years later when we reconnected and realized that the passion for creating was still there in both of us, we kind of knew we had to do this thing together. We pursue fashion, music, and art as one entity. Mark and Estel is a collective of fashion and music, but also visual art, photography, film, and a few other forms of expression.
As for what a fashion designer can accomplish that a music artist cannot: we believe it is simply another medium that can bring a bit of happiness to people. This is why we have brought everything under one roof. Music is like a show for your ears while fashion helps you express yourself visually.
SSP: What did you hope your label would offer that the market was previously missing?
M&E: While there were so many great things out there already, we felt that a certain passion for fun, love, luxury and the celebration of life was being neglected in fashion. We kind of wanted to say this is about fun. We work very hard on our goal to make the world a more fun place.
SSP: What makes your cotton basics unique and how did you manage to succeed at a time when the market for t-shirts and leggings has become oversaturated?
M&E: We don’t really consider ourselves a t-shirt line, but rather designers who happened to kick off with t-shirt styles because we felt that the t-shirt can be taken to so many levels, and it is often the centerpiece of an outfit. There are lots of great lines but we approach this as passionate artists, and feel that our clients feel this the moment they try on one of our designs.
SSP: What are the benefits and challenges of co-designing and do you each take on separate roles with differing responsibilities or are you equal players in all positions?
M&E: It changes from day to day how we divide responsibilities. A lot of it is reacting to matters at hand: having meetings to plan, things to map out, and then work work work. The benefits are countless because our ideas more than double from working together: it’s like they increase a million fold. The challenge of working together is clearly communicating the idea in your head so the other person understands it.
SSP: Describe your approach to the design process as well as your greatest inspirations: where, when, and how do they come about and how are they translated into your actual designs?
M&E: In the beginning we were inspired from all of our surroundings and everyone around us. Inspiration still comes like that, but now the challenge is to translate our random musings into new styles about twice a year. When it is time for a new collection we get together and brainstorm and put on paper our recent inspirations as well as where we feel “the wind is blowing”. Then we mix our ideas together and develop a “bigger mind” concept for the collection which also often yields the name of the collection. Then we do a lot of experimenting and our studio is a mad mess of draped materials and undecipherable drawings and mannequins and loud music and samples. Next we get to the wrapping it up stage where we hopefully find we have created what we want. Finally we shoot the collections’ catalog and put it out.
SSP: Can you describe your collection’s design aesthetics? What song title or lyrics would best describe your collection’s aesthetic?
M&E: Our current collection is named Rock of Julia, and we are recording our song Rock of Julia for our next album. The song and collection are about a fictional character named Julia who rides on a giant eagle and hunts for her destined treasure: the Rock of Juli’.
SSP: Do you have a specific woman in mind when designing and if so how would you describe her? If not, who is your ideal market? Your actual market?
M&E: “Our girl” has a passion for fashion. Her t-shirt or leggings is as important to her as her most luxurious dress. That is our ideal market and our actual market.
SSP: What do you think about America’s current obsession with celebrities and the omnipresent fashion blogs whose sole mission is to cover and comment on what they are wearing? From your experience so far, how important is having a celebrity wear your clothing and what role has it played in your financial success?
M&E: We don’t think in those terms because we do not design with celebrity marketing in mind. Celebrities do wear our line and it helps in the way that it simply brings more exposure. But we don’t design with a particular celeb in mind or something like that. We are not one of the brands that is very affected by that although maybe it will affect us more in the future.
SSP: What is the utopian scenario for you as designers and for your collection?
M&E: To reach and affect more and more people in a happy way. One of the great things about meeting people who love Mark and Estel is that we bond with them over our passion for fashion, music, and art and if that keeps on happening that is wonderful.
Shopping with Sarah: affordable seasonless staples spotted in Soho
OAK NYC: Cheap Monday for A.OK $74
Seductive, Stylish & most importantly NOT TOO SHORT. This style is perfect at any age!
A fitted vest adds a feminine touch with a dash of sex appeal to the menswear trend.
Madewell Pointillist Scarf $58
Running late and need to make an outfit pop? A bold scarf will do the trick!

Madewell Necklaces
Necklace 1 $58 Necklace 2 $78 Necklace 3 $98
Adding statement jewelry turns your outfit from weak to chic.

Madewell Draped Racerback Tank $34
Nothing’s more basic or more versatile than a white tank. Instantly edgy with a pair of jean shorts and a multi-strand necklace, it’s also perfect for a layered look hanging loose under a jacket and sweater, or tucked into a pencil skirt for a more refined effect.

Madewell Garcon Blazer $117.60
The ideal and always popular boyfriend blazer.

Knitted Stitch Trim Cardigan $65
Cardigans have always been a staple; you can find them anywhere, any style, and any price. Nothing beats this cozy, stylish, and flattering cardigan for your air-conditioned office, a long plane ride, or for a chilly summer night out.

Wolford Bahamas Body Suit $200
Not only is a body suit an ideal solution when struggling to find the perfect shell under a suit jacket or blazer, but it also creates an impeccably sleek and sexy top when paired with a full and flirty skirt for an evening soirée.

Aldo Babbel Pump $90
Every woman must have at least one pair of black pumps in her closet that not only adds instant sex appeal and glam to an outfit, but also magically makes a woman feel more confident and assertive. These pumps can elevate your appearance and attitude in any season.

Malachy Leather Ballet Shoe $50
In addition to a pump, every woman should have at least one pair of ballet flats handy: they add classic gamine style to any look and are great to wear when you want a break from your heels.

Acne black hex cash jeans $225
Quintessential mid-rise sexy skinny jeans are always a must.
Katie Eary’s Fan Funded Womenswear

After earning numerous accolades for her radically unconventional and “dangerously beautiful” menswear collection, British fashion designer Katie Eary appeased her female friends and fans with the launch of her first womenswear line. Eary has consistently proven, with each new collection, that she’s a master of fashion’s yin and yang, evoking either a macabre madness or that of a colorful, contemporary storybook. Eary’s collections represent a newly revised trend which blurs lines between gender appropriate-fashions. With the help of Catwalk Genius, a platform which allows the public to buy shares of a brand they love and thus help fund the upcoming, Catwalk Genius-exclusive collection, Eary was able to create a fan-funded diffusion line of womenswear.
JC Report: When did you realize you wanted to be a designer?
Katie Eary: I’ve been creative from the word “go.” I never actually thought “when I grow up I’m going to be a fashion designer,” more, “I’m going to be an artist!” The Saatchi exhibition, Sensation, changed my life and my outlook on what I could do to leave my mark. And here we are in 2010 and I think I’m getting there.
JCR: Can you talk about your passion for literature and art?
KE: I decided that as much as I love art, I would like to enjoy it from the outside and let it continue to effect me in the way it does. I couldn’t do what Emin, Hirst, Lucas, and the Chapman brothers did. I could only add on to that movement. My decision to become a fashion designer was quite organic and came so naturally, that I went with it and will continue to do so till I have a change of heart. When you’re creative I think you can pretty much turn your hand to anything design wise. Except, in my case, writing! I love Irvine Welsh’s books so much. To me, his writing is so contemporary and exciting, it’s like a Saatchi piece made from language.
JCR: How would you describe the evolution of your personal style?
KE: Again, it’s a very natural process. I like what I like and just do it. It’s the way I’ve lived my life, really, and I guess that a certain ruthlessness reveals itself every time I do a show.
JCR: How did your collaboration with Catwalk Genius come about? Why did you decide to cross over to the womenswear industry and what worried you the most about it?
KE: I was approached by Helen, the director of Catwalk Genius. She offered a win-win proposition and I couldn’t say no! I thought it would be a great way of giving something back to all the women who have been waiting for me to hurry up and do womenswear. A lot of the pieces I have made in the past are delicate, couture, expensive pieces, making them quite unobtainable. So I thought it would be ideal to do a commercial range at an affordable price that coheres with the AW10 collection I just did. The thing that worried me the most was when the shares for the collection went on sale, it felt like sending out invites for your 14th birthday party, saying “Will anyone come?” But after a month, over 80% have been sold, so the party is going well so far!
JCR: What made you try the “public finding” method for your womenswear collection? What are the advantages from the designer’s standpoint?
KE: You know it will sell because the share buyers are interested and believe in you. It makes sense and it’s not as risky as getting a loan to do a womenswear collection, it might go nowhere! But this way, the customer is buying in before the clothes have even gone on the site. Its a good sign!
JCR: Do you see a clear distinction between men’s and women’s clothing? What did you want to bring to the world of women’s fashion that you thought was missing?
KE: I think womenswear is full to the brim of amazing talent. The only thing I can bring to womenswear is a bit of my menswear.
JCR: Can you describe your aesthetic for your womenswear collection? Do you have creative control for this collection?
KE: The aesthetic is sexy jungle. I’m designing for bold, sexy women who hold their own and enjoy the way clothes make them feel. I’ve worn my t-shirts from the AW10 collection and get a lot of comments, so when they are made into amazing, sexy, bodycon dresses and tights, they’ll look even better! I have creative control. The garments are going to be affordable, wearable, and simple. The prints speak for the whole garment.
JCR: What was one of the most interesting lessons learned after designing your womenswear collection? Was it easier or harder than the previous collection?
KE: It was a really nice, relaxing project and the team was lovely and chilled. Thats the only way I like to work. As the ideas started to flow, it organically turned into a nice, little capsule collection, branching from the AW10.
JCR: Now that you have designed both men and women’s clothing, do you plan on designing and developing both collections?
KE: Not yet, I’m sticking to menswear for now. I only did this womenswear collection because it landed in my lap with no risks.
JCR: What are your short-term goals for the men’s and women’s collection? What are your five-year goals?
KE: Short term: A few more catwalks and more amazing collaborations. Long term: Paris, please!
JCR: What is your ideal scenario as a designer?
KE: I work for myself, wake up and do or design whatever I want. I think I’m quite lucky now. I try not to get too greedy with dreams, what will be will be!
Eary’s final message perfectly captured her spirit and love of fashion: “A message to all the ladies: I made this for all the women who have asked me to hurry up and do womenswear. I hope you enjoying wearing it as much as I enjoyed designing it.”
Originally posted on JC Report
Dossier: Zöe Twitt’s Dramatic Leanings


From left: A look from Zoe Twitt F/W10; The inspiration: the White Lady in La Dame Blanche
At the age of seven, Australian fashion designer Zöe Twitt was already traveling the world visiting textile factories, albeit with her parents who owned a textile company. By the time she hit college, where she dabbled in acting and opera singing, she had a deeply ingrained love of the arts. In 2009 at the age of 26, Twitt combined these passions with her early influences and launched the eponymous womenswear label ZÖETWITT.
Each of Twitt’s collections reflects her ongoing effort to artistically and aesthetically express herself. For F/W10, this meant a return to opera, where she was inspired by the dramatic personalities, costumes, music and stories. Below, Twitt details a number of the female characters who struck her fancy, pairing the originals with their corresponding rebirth in her collection, titled Dark Heart.
Click “Read More” fora additional images.

The Queen of the Night in The Magic Flute

Medea in Médée

Julietta in Julietta

The Fairy Queen in The Fairy Queen

Mother in L’enfant et Les Sortileges

Malwina in Der Vampyr
This entry was written by Sarah Sulzberger Perpich for Dossier Journal
Posted in Blog, Fashion
Tagged Designer Profiles, Editorials, Fashion Designers, Zoe Twitt
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Sarah for POP 309: Tabitha Simmons
It all began with a blow out sale at Bergdorf Goodman: aka the only time that fashion stylists, assistants and writers can actually afford to buy the designer shoes that they are paid to know inside and out. I came across the hottest Tabitha Simmons black booties that I immediately recognized from several fashion editorials and mentions in “best picks” lists by every magazine editor. I instantly fell in love with them and, although I had recently come to the realization that I can’t walk in high heels, decided to buy them. They are spectacularly stunning and stylish and at the same time I can actually stroll down the sidewalk without my normal trembling and twitching. I must admit that the age-old fashion adage – that wearing high heels makes a woman feel more powerful and confident – is 100 percent true. In Simmons’s stamped and stylish shoes, I felt more surefooted than ever before. I was determined to meet the woman, designer and fashion stylist, behind the shoe that changed my life.
Growing up, did anyone in your life – friend, teacher, family member, mentor – inspire your love and curiosity of fashion and if so who and how?
I was always inspired by fashion. I think the singer Adam Ant was the one who inspired me the first. I loved his sense of style and music and I always tried to dress like him.
What was your first fashion love, clothing or shoes?
I think it was clothing first.
What is your earliest memory of getting a new pair of shoes that you adored?
I remember my first pair of Boy London shoes with a studded cross on the front with beatle crusher soles and spikes coming out of the top.
You also worked as a model. How did you become involved in modeling and why did you transfer into a styling position?
I worked at Joseph as a Saturday Girl while I was at college and got discovered in the shop. I soon realized that I was a rubbish model and I found styling to be more interesting.
I read that when you were styling, you frequently visited the East Village Shoe Repair and commissioned them to design a pair of platform boots for Kate Moss for a W spread. Did you experiment with shoe design at that time?
Yes, all the time! I would make rocking horse shoes out of wood or painter stilts shoes or cut out paper stars and stick them on the front. When I started, I never was given interesting shoes, so I had to improvise.
What ideas, philosophies, or personal mottos helped to prepare you for launching your own footwear?
Don’t follow trends and stay true to what you believe in!!!!
What’s most important, look, fit or comfort?
All of the above as the shoes can look great but if you can’t wear them then there doesn’t seem much point.
What makes your shoes different different from other high-end shoe brands?
I suppose they are quite quirky but feminine.
Can you explain the power and importance of the right shoe?
You can feel so many things with the right shoe: sexy with a stiletto, cool with the right boots…shoes finish off your outfit. I believe in the quote You can tell a lot about a person by their shoes.
Can you tell me which is your favorite style from your collections and which shoe you cannot live without?
My Sally boot from my first collection, and I am back into kitten heels again.
When it comes to footwear what is a Tabitha “Fashion Don’t”?
Crocs. I just can’t bear them!
Originally posted in Pop Magazine. Read it here.
Posted in Blog, Fashion, Press
Tagged Editorials, Fashion Designers, Tabitha Simmons
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Candy Pratts Price: A Candy-Coated Classroom

In my ongoing pursuit of interviewing Candy Pratts Price – repetitive emailing, endless phone calls, and weekly inbox updates and reminders, she graciously invited me to exclusive blog coverage of a private guest appearance and speech for the SPCA program at NYU. The professor is fashion legend June Weir, who previously was the top fashion editor and journalist at Harper’s Bazaar and WWD and remains invested and involved in the fashion industry today. Weir asked Candy to speak to her class about “The Changing World of Fashion Magazines,” and who better than the Creative Director of vogue.com?
Candy opened by showing her first “Candycast Blast” as an example of what the new online world of fashion journalism looks like. It was like getting a sneak peek at the last page of a great book. The infiltration and domination of the internet age has forced fashion editors and journalists to think differently and, as Candy said, start a “new conversation” and dialogue for the web.
Although her work for vogue.com, relationships, and even her personal life exist in a virtual world, she she confidently states that there always be a place for print. She recognizes the endless opportunities and benefits of the WWW, but also admits, “I love paper… holding it, flipping it is in your own control.” She discussed some of the latest tech devices for wireless reading, specifically the iPad, as having vast potential due to it’s universal “lean back” appeal – similar to to how one reads a magzine or book.
Then Candy hearkened back to the beginning of her career, honestly and openly walking us through chapters, describing in detail her past fashion careers and her personal accomplishments. She started with a rhetorical question, “how did I get where I am today?” her answer,”I wanted to be at the top, live a glamorous life, and be financially independent!”
She led us through her internships at FIT; first being a Christmas Angel at Bergdorf Goodman and second Bachrach, the society photographers. This is when Candy realized the power of an image and was incredibly inspired and intrigued with the idea of “ how an image is captured.” After graduating FIT, Candy’s various jobs and power in the fashion industry can be summed up by one word: “windows.”
She began as a window shopper or at least in a position on the outside looking in. One day she was walking past the Charles Jourdan boutique and out corner of her eye she spotted a fabulous pair of yellow suede sandals in the window display. Knowing she needed to have them, she went inside and asked for a job selling shoes, disregarding the store’s elite and selective recruiting process and a preference for hiring French women. She got the job though, and moved from humble shoe-girl, to the untouchable master of window dressing and displays. Candy borrowed art from the MOMA, which was across the street, everyday to decorate the store and window display. Every single day was a different window – and fashion at its most sensational. Candy noted that the window display was essentially “where liberal arts landed.”
Once Candy’s windows caught the attention of Marvin Traub the Bloomingdales family, Candy went from working solo at Charles Jourdan, to the Creative Director of all of the Bloomingdale’s window displays and storefronts, with a staff of 150, plus the union, plus an on-hand team of carpenters under her belt. She describes her time at Bloomingdale’s as “the best time of her life” and one of the hottest and most exciting times in retail history.
She loved retail, but after mastering the system, she wanted to face new challenges – thus, she entered the world of publishing. After one phone call from Anna Wintour asking Candy to become a part of her “New Vogue,” Candy knew she wanted “in and to be part of this new revolution”. She created and organized the VH1 Vogue Fashion Awards which was one of the first events bringing fashion and music together – branding. The second the internet and online world hit the fashion publishing industry, Candy received another call from Anna this time asking her to move to www.style.com.
Candy immediately took the job, helping to develop the site, to make it special and successful. She insisted that to truly succeed, the website should reflect a “curated magazine with no borrowed content.” Candy describes the “world of a website as 24/7,” leaving her little time for her personal life, although she does get to travel. Interacting and observing real people still has its merits. As Candy points out, “I need to see how you walk, what you eat, and how you wear your pearls otherwise I would never be able to tell people the proper way to wear them.”
Candy Pratts Price has recently moved to www.vogue.com where she is the Creative Director.
As she closed her talk, Candy asked for questions from Weir’s students. One asked, “Is the digital world crowding out magazine print?” Candy responded in a sentence that perfectly reinforced the lecture’s bottom line: “No. There is room for both a short story article as well as a breaking fashion news one-liner.”










