Interview with Charles Froom

Masters of Fashion Interview with Exhibition Designer Charles B. Froom
by Stacy Lomman

Charles B. Froom in front of "Gothic" Exhibition poster. (Above photo by Stacy Lomman. Additional photos Courtesy of The Museum at FIT)


As ardent disciples of fashion, we admire the creativity and respect the time and effort designers dedicate to the works of art we covet. Fashion is art and it is dimensional, therefore, it is best appreciated when showcased in the round.

The Museum at FIT has brought us some extraordinary exhibits featuring many great designers and they have often depended upon Charles B. Froom to help bring their concepts to life. Not only is displaying each individual piece to highlight its intricacies in the best possible way a difficult feat in itself but, the exhibit needs to be considered as a whole on an aesthetic level as well as a practical level. This skill requires a special type of visionary.

I sat down with exhibition designer Charles Froom to discuss his many gallery projects. After living in Park Slope for nearly 40 years, Charles now resides in rural Bucks County and comes into the city on an "as needed" basis. Meeting him in his professional arena wearing a very serious suit and toting his 6-ft. carpenter’s ruler (which he carries at all times), I would never have guessed that Charles enjoys spending his rare down time fly fishing.

"Love & War" Exhibition

After Charles and I exchanged pleasantries, I picked his brain a little…

SL: Are you originally from New York?

CF: No, I grew up in Iowa. I was a very typical Midwestern kid out for sports, etc. but I was also interested in art.

SL: And where did you study?

CF: The University of Northern Iowa in Cedar Falls. I was a sculpture student and trained as a studio teacher. There were just a whole bunch of really great, passionate instructors at the University. I learned more about sculpture through conversations with them, building a bronze foundry with my sculpture professor or drawing with chalk on the cement studio floor than I did through the formal structure. I had a professor in college who gave me the book, "Tonio Kroger" by Thomas Mann, about a German boy who was a poet and had to come to terms with the fact that he would always be different. It was a very important book to read at that time and I still thank him for that.

SL: How did you get started in museum exhibition and installation? Was it something you always wanted to do, or were you more interested in sculpture and art?

CF: I sort of just fell into this more than anything. I moved to NY in the 60’s, I started working at the Brooklyn Museum and was mentored by the first director of the museum. Then, they created a separate design department to which I was appointed. From that standpoint, it’s all been learned by doing. Now, of course, you have classes and course work offered in museum studies. After that, I went to The MoMA and have been consulting since leaving there.

SL: How did you get involved with FIT?

CF: I met Patricia Mears (deputy director at FIT museum) at the Brooklyn Museum when she was the associate curator. After she left Brooklyn, we did a project together at The Pratt Gallery on 14th Street called "Cut & Construction." It was really quite wonderful. In that show, the backgrounds for my texpanels were old fashioned blue prints. We used rough cut things and, more interestingly, we took some pattern shapes and used them as graphic devices. The most exciting of which was at the beginning of the exhibition. There was a muslin of Madame Vionnet and we had one of her simple geometric patterns at a graphic device nearby, while at the back of the gallery we had an animator from Pratt put those same patterns on a video monitor and morph them over a dress form. Patricia has an incredible eye for fabrication and construction and that’s why I think she did such a fabulous job.

"Mademe Gres" Exhibition

SL: What exhibits have you worked on there (at FIT)?

CF: I did "Ralph Rucci" and "Madame Gres" with Patricia (Mears) and "Love & War" and "Chic Chicago" with Valerie (Steele). And now, of course, I did "Gothic."

SL: Wow, those were all great. And I’m not biased because it’s my alma mater! So, you’ve been working with them for a while?

CF: About three years. The relationship I have with FIT is fabulous. The people I work with are scary bright, they have such high vision but, at the same time, they are well grounded in museum practices.

SL: How do you guys collaborate? How much of it is your vision and how much of it is the direction of the curator?

CF: The vision is the curators. We all know Valerie’s work and now we all know Patricia’s work. Both of them are remarkable visionaries. Patricia has an almost classical sense toward the projects she takes on and we all know that Valerie has an edgy side to her. Both are brilliant scholars. My job is to give it three dimensional life. Because I can envision dimensional space, I figure out how to tailor the gallery and how to create interior architecture to focus the visitor’s attention on what it is they are looking at. So, I bring the design, I bring the fabrication and the production sense. In essence, the curators become my clients. Part of what I provide is almost a service organization on the fabrication and production side, but I can’t get to that until we have collaboration on design. So, that becomes very much a team effort.

SL: What was your first fashion exhibition? Was it at FIT?

CF: It was Geoffrey Beene and it was at The Toledo Museum of Art. They’re a constant client of mine and it’s an absolute gem of a museum.

SL: Do you do a lot of research on a designer when you’re working on an exhibit for say, Geoffrey Beene? Do you look at their work and become inspired, or do you approach it differently?

CF: Well, the Beene exhibition was a long time ago and I wasn’t smart enough to do that (laughs)! For the others, yes. With Madame Gres, we looked so heavily on the classical side and picked very stately, simplified classical columns, etc. I try to read up as much as possible in as much as time allows. I actually rely heavily on my curator. The great part about being a designer is that I’ve hung around with the best art historians in almost every field.

SL: How nice!

CF: I did a lot of work in Egypt and my colleague Bernard Bothmer was one of the greatest Egyptologists in the world. There’s nothing like walking through Luxor Temple with Bernard, or doing the "Primitivism" exhibition at The MoMA with Bill Rubin. He was a volatile gentleman but, by God, he knew his art! Here (FIT), I’ve got Valerie Steele and Patricia Mears and the younger generation of curators they’re bringing along who are doing a lot of work in the history gallery, etc

SL: You’ve worked with so many different subjects. What type of projects do you enjoy the most?

CF: I was trained as a sculptor so I love sculpture in the round. I love being able to light it and I love being able to create the circumstances in which it can be viewed. I’m very happy to say that I opened the Hirshorn back in 1975 and Joe Hirshorn’s collection was very heavily focused on sculpture. It gave me enormous gratification and the reviews were incredibly favorable. Also, much of Egyptian art is sculptural so I really loved being there, although Bernard to his dying day said, "Charles, you will never learn how to light a relief!"

SL: So, what is involved in the lighting? Did you study lighting design as well?

CF: It was an outgrowth. I had a lot of museum clients who had what you might call "antiquated lighting systems." I would do the design work but, you cannot appreciate what you cannot see. Lighting is painfully critical to the whole process so I would research that and get them to make upgrades. I am pretty much self-taught. I learned about lighting works of art (flat works, objects in the round, small objects) and then I found myself either renovating their lighting conditions or designing new lighting conditions. So it has kind of turned into a sub-set. The reason it’s so nice to do lighting design, is that I can then take that same design and put it to its ultimate use which is lighting the art. I look on fashion as I look on sculpture – it is meant to be seen in the round. Ralph Rucci is so engaged in the construction of garments, I loved being able to create a circumstance for it and I loved being able to light it. It was marvelous to look at. The presentation in the tent was utterly stunning.

"Ralph Rucci" Exhibition

SL: Is there anything in particular that you don’t like (doing)?

CF: There are two days that I don’t like on a project; the first one is walking in trying to sound like I know what everyone is talking about around the table, and the other is the first day of construction.

SL: Can you talk me through the process and what’s involved as far as your role?

CF: The ideal process is to first meet with curator to understand what project is and understand the scope of work. Then, we develop a calendar, present a schematic design, modify, turn that into design & development, modify again and turn that into construction drawings and specs. Then, we have the construction period and finally the installation period.

SL: That’s quite a long process!

CF: We often start about a year out. Gothic was even more complex so we started earlier. We divided into two phases, one being design & construction phase which was the basic fabrication of the gallery. Then, the art director (Simon Costin) came in and put his concept into work. We had the scenic drops that were behind one section, a projection in one section and we also had to balance out the section where the lights were going on and off behind the two way mirrors.

SL: How many projects do you work on simultaneously?

CF: I’ve probably done as many as 4 or 5 at one time and that’s a lot to juggle. I need some time for my fly fishing! It’s a matter of priorities.

SL: Has something ever gone drastically wrong forcing you to totally switch gears?

CF: The only time things have really gone awry is when I’ve had to rely on other peoples dimensions. Nobody knows how to measure anything. They give you two dimensions when it’s a three dimensional object, or they give you the painting size and not the frame size.

SL: You obviously prefer being hands on and in control?

CF: Yes, of course. Then, if there is something wrong with the dimensions it’s my responsibility. Every work of art has a real displacement but, it also has a visual displacement. And I think I have a good eye for knowing what that work of art wants. I know what height it needs to be for best viewing – the space around it, what is the most comfortable dimension so that it’s not feeling crowded or lonely in that space. That comes from being able to take the real dimensions but also being able to take its visual dimensions.

SL: So, proportion is critical?

CF: Absolutely it is critical, perhaps the most critical thing. We encountered a very interesting circumstance when I was doing the Hirshorn. We had a warehouse in New York and we set up one of the curved walls and brought in the paintings. We knew exactly at what height they needed to be and so forth, but one thing we forgot was that there were going to be paintings to the left and to the right. So when we got into the galleries those paintings began to have a dialog with each other. They wanted to be closer together or they wanted to be further apart so, in a sense the assembled works of art took on their own aura. A lot of the preliminary work had to be revised.

SL: Are you sometimes more inspired by certain projects and find you have an easier time working on the exhibition?

CF: Well, with Madame Gres, her classical lines sort of teased me and intrigued me so that helped a great deal. The same was the case with Ralph’s (Rucci) material. The other day, Valerie Steele and I were meeting with Isabel and Rubin (Toledo) and they showed me a garment in which she somehow used the structural integrity of the fabric itself to create the way it became a sleeve. It knocked my socks off. It was fabulous to look at.

SL: I wish I could have seen that.

CF: I love that kind of thinking. It’s just remarkable. If I can figure out some way to give that manifestation to the installation then I’ve succeeded. If someone else can come away saying, "Oh my God." then we’ve succeeded.

SL: How long are you going to keep doing this?

CF: (Chuckles) Awhile. I like it. I guess I don’t see myself not working.SL: You don’t see yourself fly fishing every day?CF: (Laughing) If only! No, I’m very fortunate to be doing something I absolutely love. Sure, it takes a lot of energy and you always have a deadline but, good projects make me very happy. It’s just a balancing act between that and the fly rod.

-end

Prior "Masters of Fashion" Interview: Style Iconoclast Iris Barrel Apfel Other interviews in this series include Ralph Rucci, Rose Marie Bravo, Elsa Klensch, Bill Cunningham, Grace Mirabella, Geoffrey Beene, Arthur Elgort and Ruth Finley.Copyright © 2008 Lookonline.com

The New York Fashion Industry Report for November/December 2009

"I Don't Eat Shark Fin Soup" - by Stacy Lomman

Fashion designer & writer Stacy Lomman at the rally

I refused to eat the shark fin soup. It sounds crazy, but I’m convinced that played a major role in the recent loss of my design job. Over the past fifteen years, I have held some rather difficult jobs and worked with some seriously crazy people. It’s definitely been character building, to say the least. I had been working in my latest role for just over eight months and I walked on egg shells every day because I feared that I could lose my job at any moment. I knew it was coming, the pattern had long been established. I heard from a girl in the production department that the owner fires a designer every six months or so. Apparently, some of them had quit long before that and walked out in tears because they were treated so badly. I was there when the designer from the other division was fired after she had put in eight months. “I can’t work with you,” the owner told her. Hmm, I thought she was a lovely person.

The author in Hong Kong

A little while later, with my eighth month rapidly approaching, I was informed that I had to make a trip overseas. I spent twelve excruciating days working in the factories in Hong Kong and China with my boss, and then I returned to New York, tied up the spring line in a nice little package and awaited my fate. I felt excited in a way -- like I was about to be released from prison. A couple of weeks ago, I went into the office and discovered that my password on my computer had been changed. Great, now I was forced to march into my boss’s office and practically fire myself! “So, you must know my password doesn’t work, right?” I said. “Yes,” he replied and handed me my expense check that was sitting on his desk. This is so surreal, I thought. “Is there anything you want to say?” I asked him. “I can’t work with you,” he replied. I resisted the temptation to snap, “It’s because I wouldn’t eat the shark fin soup in Shanghai, isn’t it?” Instead, I just marveled and the insanity of the situation and went home and took a run in Central Park. The noose I wore around my neck for almost nine months had been cut.

This story is not uncommon and I’m not writing this article because I’m feeling sorry for myself, but rather to speak up and try to change the way that creative people are treated in this industry. The fashion business has always been challenging, finicky, cutthroat and unorthodox, but these days, more than ever, designers face adversity. We’re totally dispensable. We are being phased out due in part to the economic situation as there are less companies and less jobs, but also because creativity is no longer a priority. Many of my design colleagues have noticed this over the past several years. While senior level positions used to demand ten years of work experience, now the ads for senior designers sometimes request only three to five years of experience. I call them “CopyCAD’s.” It’s standard practice these days for companies to simply buy garments from a store and pass them to a junior level designer to copy and send overseas. Therefore, it’s sufficient to employ an individual who can create a half decent sketch in Illustrator (Computer-Aided Design), measure a sample and pack a Fed Ex. And it’s cheaper than hiring a designer with significant industry experience and knowledge. Price points have become such an important factor with the American consumer that quality has suffered as a result. Manufacturers must source the cheapest labor in order to meet their margins and this means producing offshore. In many cases, the factories have become so powerful that they are the ones paying our salaries and making the decisions. Garment manufacturing has moved almost entirely overseas and has taken along with it, jobs and opportunities for New York designers, technical designers, print artists, patternmakers, etc. The recent HBO documentary, Schmatta: Rags to Riches to Rags, confirms exactly how much apparel we actually manufacture in the U.S. today. A whopping 5%! That figure has decreased from 50% since 1995. I have witnessed this drastic drop-off over my fifteen year career and I am dealing with the ramifications right now.




Textile "factory" in China



Garment industry veteran and former cutter, Joey Raico said in the film, “The garment center was once the biggest employer in New York City and now we are losing blue collar jobs and white collar jobs. We are giving it all away.” I saw Joey speak with the same determination at the rally to save the garment center, held October 21st. I applaud Nanette Lepore, Robert Savage, the CFDA and the many other contributors for their passion, drive and concern in organizing www.savethegarmentcenter.org. I was truly moved by many of the speeches that afternoon and was inspired by the feeling of unity in the atmosphere. “Stop exporting the American dream!” yelled Roger Cohen of Regal Originals (one of the first factories to work with Nanette Lepore). Everyone cheered. Roger also said my favorite quote of the day... “Does it make sense that Broadway has become a park for pedestrians?” No, it doesn’t. In fact, it’s kind of bazaar. While I completely agree that something must be done regarding the garment center’s zoning laws and rents in order to bring production back to New York, I also believe that we need to protect the creative jobs in the industry as well. Larry Geffner, President of Vogue Too factory said at the rally, “Without the companies in the garment center that provide all the skill sets and materials that the designers need to function, we will ultimately lose the American designer and it’s no joke.” My eyes welled up. I thought about the predicament I’m currently facing. I thought about Maryanne Dimatteo, a print designer who starred in the HBO documentary. “I have not found work in a year,” she said. “I will not have an apartment anymore because for the first time in my life, I will not be able to pay my rent. I desperately need work.” I whole heartily feel her pain.

So, what can be done to protect designers? Unfortunately, it’s not the norm for creative professionals to receive a contract when we accept a position. Therefore, we have no security and can be let go based on a mood swing or jealousy or because one prefers to wear only neutral colors. There is a large representation of designers in the garment center who do not have their own labels. Instead, we are employees within companies that create apparel in a range of categories and price points. Why don’t we have contracts or agreements? We should. We should also have realistic job expectations and valid grounds for dismissal. Lately, companies are saving money by cutting the number of employees, therefore, the role of the creative designer has expanded and we are expected to perform the work of three or four people. Many establishments do not have a Human Resource Department to protect employee rights, to problem solve and mediate and to prevent abuse. I did not lose my job because I wasn’t capable of doing the work and I do not for a minute doubt my abilities. I knew what I was getting into when I accepted the position, but I was desperate. I was overqualified and underpaid, but I needed a job. A girl’s gotta pay her rent!

Prior to my “Year of the Dragon” as I refer to it, I had been working as the design director for a bridge sportswear company. One day, after two and a half years, I was informed that the owners in Hong Kong wanted to downsize the design department in New York and I was let go along with the Senior Merchandiser. At this time, I noticed a major shift in the industry. I can remember when the Help Wanted section in WWD covered at least two pages. Suddenly, it had dwindled to a quarter of a page which comprised of a few sales positions, showrooms for rent and advertisements for recruiting agencies. Weeks and weeks stretched by and I didn’t see any ads for designers apart from a Childrenswear position or two. I contacted and met with every head hunter in the game. I heard nothing. The silence was deafening. It took me nearly a year to find the job that I just recently lost and now I am starting over again. After hearing my colleagues in the film discuss the difficulties they are experiencing in their search for employment, I’m not exactly feeling hopeful.

I had an interview the other day. The creative director carefully scrutinized my portfolio and spoke without making eye contact. He complimented my sketching, admired the photos of my samples and praised my choice of fabrics and color. I was feeling confident when he said, “This is great, I’m just going to take this in the back to show the owner.” A couple of minutes later he returned and blurted, “She said we’ll call you, she came in late this morning and is really stressed out.” He shuffled me away so fast it seemed like he was scared for his life. Quite possibly they copied a few pages of my portfolio (which happens all the time) or perhaps the owner did, in fact, send him away like a scared little boy. When I relayed the story to my friend and former colleague, she was not surprised. She had actually worked at that very company a year ago and told me to consider myself lucky things didn’t go any further. “The owner will make you cry,” she said. “Everybody cried. It didn’t matter how tough a person was, she managed to make them crack eventually. That was her thing, she got off on it.” My friend told me about the day she finally broke down and walked out (therefore, forfeiting her right to unemployment). “The owner gathered the entire staff to watch and took all my sketches and stacked them into a neat pile and dumped them into the trash can. She said they were garbage and that’s where they belonged.” It sounds shocking, but I know that designers, artists, technical designers, patternmakers, sewers, etc. have to deal with this kind of behavior all the time. We are all talented, educated, hardworking people who deserve more respect. Hopefully, one day, when and if the garment manufacturing finds its way back to New York, there will be better opportunities for all of us. Meanwhile, I’m searching WWD and StyleCareers on a daily basis; I’m networking, reconnecting and keeping my skills sharp. I’ve pretty much given up on head hunters. Occasionally, one will contact me but it’s usually for a design job overseas. “I cannot live in Asia,” I always say. “I don’t eat shark fin soup.”

Stacy Lomman is a contributing writer to Lookonline.com. See her 'Masters of Fashion' Interview with 'Masters of Fashion' interview with exhibition designer Charles B Fromm

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Isabel Toledo

FIT SHOWCASES ISABEL TOLEDO
June 17, 2009
By now, everyone should be familiar with the lemongrass shift and matching coat that Michelle Obama wore on Inauguration Day. The outfit received more press than the new White House puppy and has been analyzed and scrutinized more than healthcare, Iraq or the recession! Finally, Isabel Toledo is getting some recognition! The Museum at FIT is showcasing the exquisite ensemble (behind bullet proof glass, I think), as well as 70 other pieces in a mid-career retrospective titled, ISABEL TOLEDO: FASHION FROM THE INSIDE OUT, which will be on display through September 26. I attended the opening cocktail party on Tuesday evening, and aside from the bar running out of wine, the event was a huge success. After saying “Hello” to the museum’s director and chief curator, Dr. Valerie Steele, I spotted Andre Leon Tally perched on a bench, wearing a silk kaftan and a hefty, gold “charm” necklace with an Obama pin attached to one of the links. He generously granted me a photo-op and complimented my handbag! The affair attracted an eclectic group including; Matthew Modine (who happened to be chatting with a woman… ooops, make that a man, wearing nothing but a black body suit), Lynn Yaeger, Simon Doonan, Narciso Rodriguez, Francisco Costa, Ted Allen (Food Network, Queer Eye), Bill Cunningham (who slinked in and out of guests snapping candid shots) and FGI’s own, Margaret Hayes. Isabel and her husband, Ruben, looked chic as ever as they made their way through the room graciously chatting with press, admirers and friends.

As always, FIT did a stellar job thanks to Dr. Valerie Steele, Patricia Mears (deputy director) and exhibition designer Charles Froom. Ruben’s sketches decorated the venue hanging high on the walls and criss-crossing the ceiling. Isabel’s pieces were sectioned off into several categories including; Origami, Suspension, Liquid Architecture, Shadow, Shape, Organic Geometry and Manipulated Surfaces. Ms. Toledo suggests that she is not a fashion designer, but rather a seamstress because she uses construction as the point of view for her designs. She thinks of fashion from the inside out, describing ideas to Ruben so that he can sketch them. Her focus on dimensionality and technique reflect her fine arts background and each piece is an intricate work of art. Due this approach, her creations are timeless and so many of the items on display looked completely contemporary.

Since the debut of her collection in 1985, Isabel Toledo has received several honors and awards, and has garnered accolades and praise from her peers. In the fashion world, Isabel stands alone unconcerned with trend and disinterested with fame. Although the “Obama” dress has recently catapulted her into the mainstream, she and Ruben tend to “fly under the radar.” They just do what they love and the fact that they are hugely respected and successful is just a bonus. The exhibit at FIT is truly inspirational. I would urge anyone with a love of art, not just fashion, to visit the creative mind of Isabel Toledo.

-Stacy Lomman

Summer Trends

Cruel Summer

Summer 2009 breezes in just in time to lift the dark cloud of despair that has been hanging heavily overhead for the last several months. Right now, we all need a recess from the recession, a summer vacation, a new beginning. Or, we could just re-visit the past when things were happier (and more prosperous). Unless one has been living under a rock (which doesn’t seem like a bad idea lately!), it’s hard not to notice the rebirth of the 1980’s happening not only in terms of fashion, but in music and media. Bright splashes of color, bold prints, enormous accessories and strong silhouettes are invading the streets, store windows, advertisements and magazine covers. It’s almost as if fashion is arming and strengthening us in order to fight the battle that lies ahead for this economically challenged country.

“Acid Rain” -- Fluorescent hues, a la Stephen Sprouse, are the pioneers of the eighties revival. Neon colors have saturated the fashion world with no intention of stopping in the near future. They’re present in every category from shoes and handbags to dresses and blouses. Typically, we associate acidic pigments with the junior or “tween” market, but they are wearable at any age. I’m not suggesting a trip to Topshop to pick up a pair of ultraviolet leggings, but perhaps a new shocking nail color or a bright, narrow belt would provide a fun accent to an outfit.

“Purple Rain” -- Prince isn’t the only one singing about purple these days. The regal color is making a come-back (ironically, so is Prince). Purple is a part of the eighties “round two” as it was one of the most notable colors of that decade. Many people are afraid of this color and it can be difficult to pull off. Bluer shades (like periwinkle) tend to dull a complexion and can wreak havoc on women who wear their hair grey. Slightly more red casts like, orchid and lavender are much better choices, as are more saturated, brighter shades.

“Bolder Shoulder” – Ah, the shoulder pad. Remember the days of football player-like jackets? Well, they’re coming back! The shoulder has been a focal point on the runway for the last couple of seasons and we’re seeing it manipulated in a variety of ways. Strong shoulders, whether they’re achieved with padding, cutouts, asymmetry, shirring in sleeve caps, pleating, draping, etc., are one of the most significant features for the Spring/Summer season.

With a new President in office, America is ready to embrace change. It’s not just that Barack Obama is the first African-American President elected, but also the fact that he represents a new point of view. We are more concerned with the environment, with rebuilding our country and improving relations with other countries. Politics plays an important role in fashion and this season is no exception. Influences from all over the world are setting trends ranging from elaborate embellishments, tribalistic jewelry and motifs, rich colors, ethnic prints and complex fabrics.

“Exotic Safari” – Africa and India provide some of the biggest trends of the season. Jewelry in particular, is the perfect vehicle to embrace the idea. Necklaces and bracelets have evolved into large, ornamental works of art made of wood, bone, agate, metal, shell, stones and leather, and have (in some cases) become the most important component while the clothes just serve as a canvas or backdrop. Textured, natural fabrics such as linen, silk and cotton in neutral tones as well as warm, saturated colors are key.

“You Snake!” – Reptile texture (and print) is such a dominant trend for Summer, I can’t think of one area that it doesn’t show up. Of course, the easiest place to find a snake is lurking in the accessories department. In addition to snake skin, animal prints in general are hot this season. While it’s never difficult to find a cheetah or a zebra print any time of the year, Summer ’09 is overwhelmingly animal friendly.

The return to American idealism is perhaps the biggest trend occurring as of late. Because we know that nothing can change overnight and that “Made in USA” may take a while to come back (at least in apparel), we choose to reminisce about times gone by. America is the birth place of Rock ‘n Roll, and although musical influence is always present in fashion in some way, shape or form, it is particularly relevant for Summer ’09. A sense of unity and pride conjures up appreciation for our forefathers and the strong desire to preserve and rebuild our country. Americans are recalling simpler times and getting back to the basics.

“What’s the Skinny?” –Narrow pants, narrow ties and narrow jackets remind us of how cool Buddy Holly and Elvis Presley (circa 1970, of course) were. Perhaps this applies mainly to the male fashionistas, but women are adopting the lean look as well.

“Bandage, Bondage” – Don’t be afraid, I’m just referring to the wrapping and criss-crossing of elastic-like materials to create sexy, tight-fitting dresses. The good thing about these pieces is that the elastic quality actually holds everything in place and disguises unsightly lumps and bumps. Think of it as wearing a very fancy pair of Spanx!

“Chain Gang” – Layers upon layers of chains are weighing down necks all around the land. Not only is the accessory market taking advantage of this craze, but apparel market as well. Detachable (and attached) necklaces adorn knit tops while chain-link belts gently embrace skirts and trousers.

“Woodstock” -- The Bohemian style lingers on, but in a more elegant way this Summer. Maxi-dresses are one of the season’s most important silhouettes, while the mini-skirt is still present. Watercolor prints, floral, medallion and paisley decorate chiffon, jersey and voile. Ornamental touches of crochet, lace, eyelet and other open work fabrics add texture.

“New Frontier” – Feathers and fringe, turquoise compliment buffalo checks, plaid and Navajo motifs. Cowboy and other styles of rugged ankle boots make a strong statement and, as always, denim dominates. After all, Levi’s was founded in the U.S.A.

Wall Street may have crashed and burned recently, but the market has bounced back, in a sense, emerging in fashion. Clean, sharp, lines materialize into tailored pieces while, on the flip side, a wave of feminism is washing over the fashion industry providing a balance between the masculine and feminine.

“It’s A Man’s World” – As a key component of the season, trousers have never been more diverse. Skinny, flat front pants still stand strong, but a new regime of wider leg silhouettes are marching in with higher waists, pleats and yoke treatments. They come in all lengths ranging from full, to cropped, to shorts. In fact, shorts have exploded as a category and are available in a vast array of shapes and styles. Combine trousers, Bermudas or a pencil skirt with a crisp white shirt and possibly even a vest (another hot new item) and the look is complete. Don’t forget to accessorize!

“Thrills and Frills” – On the opposite end of the spectrum, soft fabrics and colors are draped and layered creating pretty pieces fit for a princess. Ruffles are unavoidable this season as are rosettes and bows.

“Greek Goddess” – While Donna Karan has been the “Queen of Drape” for years (and let’s not forget the late greats, Halston & Madame Gres), the Grecian look is becoming increasingly important. Draping and folding tend to camouflage and accentuate where needed, therefore, it’s no mystery why women gravitate toward these styles. We feel pretty, soft, sexy, self-assured… like a Goddess. In tandem with the Greek trend, the gladiator sandal returns (another Eighties throwback). After all, what else would Aphrodite wear?

“In the Flesh” -- Nude is a fresh, new color (or non-color) for Summer. Shades of neutrals (buff, beige, taupe, Champagne) and tints of color (blush, porcelain, peach) help to soften and ground the bold brights. These lovely cosmetic colors evoke femininity and lend themselves to pretty, flirty styles.

With the message of change permeating the country, there is more focus on America’s youth. Thanks to the Internet, Facebook, Twitter, IPhones, etc., the younger generation is more aware than ever of politics, science, culture and fashion. An awareness of domestic and international issues is infiltrating schools all over the country. The last time our youth was so politically active was the 1960’s. This exceptional decade is also influencing what is happening in the world of fashion.

“Gossip Girl” – OK, I admit it, I watch this show. Apparently, I’m not alone because the prep-school socialites have created a huge buzz in the fashion world. Pretty little fine-gauge cardigans and preppy, cropped blazers mingle with short tulip skirts to create a refined and sophisticated (but inherently young) ensemble. Top it off with a decorative headband (a huge rage in the accessory world) and the look is complete.

“Optical Optimism” – Fashion is giving us a lesson in geometry as black & white graphic and colorful geo patterns inspired by the sixties are popping up everywhere.

“Polka Party” – Dots and spots in all sizes dance around on a variety of fabrics and silhouettes exuding zest and vitality as if they are personal messengers of hope, assuring the world that everything will be OK.

-Stacy Lomman

Parson's honors Fern Mallis

THE 10TH ANNUAL PARSONS FASHION STUDIES LINE DEBUT 2009
May 14, 2009

Despite the unpredictable and inclement weather New York had been experiencing, Parsons Graduates (AAS Fashion Studies) debuted their 2009 line on the roof top of Lord & Taylor Thursday, May 14. The forty looks featured had been pre-selected by a jury of industry professionals. Garments were displayed on mannequins and students stood proudly by their ensembles posing for pictures and discussing their vision. The party-like atmosphere implied the student’s relief to be finished with the grueling program and their delight in seeing their hard work rewarded. Simon Collins (Dean, School of Fashion) spoke briefly before turning the floor over to Associate Dean (ACOPS) Pamela Klein, followed by Tamara Albu (Director of Fashion Studies). Albu presented the Stacey Nipps Alumni Award to designer Jen Kao. Kao launched her-high end womenswear line in 2007 and while her pieces focus on the details and integrity of design, they embrace functionality as well. Sarah Creagh was selected as the winner of the CRYSTALLIZED Swarovski Elements Award. Her designs will be showcased in Bloomingdales this fall along with runners up Nicole Neeb and Maria Santos.
The event also honored the Senior V.P. of IMG Fashion and 7th on Sixth founder/organizer Fern Mallis with the first annual AAS (Associate in Applied Science) Icon Award. Notorious womenswear designer Betsey Johnson presented the award to Mallis. After Ms. Albus lengthy and somewhat lackluster oration, Betsey took the stage and her effervescent nature held the anxious audience captive for a short while. When attention spans began to fade, Ms. Johnson managed to quiet the crowd by mentioning that she was hiring and would be taking a very close look at all the garments on display. She admitted her love for the spotlight (as if we didn’t already know), stating that she felt like a rock star when she strutted past the make-up and fragrance on Lord & Taylors main floor, creating quite a buzz. In typical Betsey fashion, she veered from the script she was holding (apparently composed by Fern) and, instead, told stories and anecdotes about Fern, “Ferny” or “Fernsville” – nicknames Johnson came up with on the spot. She admitted that despite much interaction with “Ferny,” she really didn’t know a lot about her and confessed to “Googling” Mallis prior to the evening’s affair. Johnson provided the audience with a bit of trivia, revealing that Ms. Mallis went to High School in Brooklyn and was voted the “best dressed” in her class. She praised Fern regarding her support for designers as well as her charity work for breast cancer (which Betsey battled). I noticed that Fern, who was standing only a few feet from me, dabbed the corner of her eye with a Kleenex -- clearly touched by Betsey’s words.
By the time the guest of honor actually stepped up to the podium, the house was extremely restless. Many people slipped away to the terrace, hunted down cocktails or simply chatted amongst themselves. Unfortunately, the well-written and eloquent speech Mallis prepared didn’t garner the attention it deserved. She talked about the beginning of New York Fashion Week which was, apparently, brought on by a crumbling ceiling at a Michael Kors show back when Naomi and Linda graced the runway. At the time, Mallis had just been hired as executive director of the CFDA. The ceiling incident prompted her to “modernize and centralize” (as she put it) the shows. Fern has been a pioneer for New York fashion for decades and she is solely responsible (well, practically) for putting New York on the world fashion map. The industry is lucky to have such a dedicated and innovative individual. Where would we all be without her? Certainly not at Bryant Park or Lincoln Center (where the shows are moving in September), perhaps there wouldn’t be a Fashion Week at all.
The event was sponsored by Donna Karan Intl., Side by Side Financial and X-Rated Fusion Liquer.

-Stacy Lomman

Industry Highs and Lows: Week ending April 5, 2009
-Stacy Lomman

HIGH: FASHION

Jil Sander joins Uniqlo.
Uniqlo, the ubercool Japanese brand that replaced any reason we may ever have had to shop at the Gap, has recently appointed Jil Sander to oversee the men’s and women’s apparel. She will also design a collection featuring her signature looks (set to launch in fall 2009). After Prada Group bought a 75% share in her company in 1999, Sander resigned for the second time as creative director in 2004. Their loss. Uniqlo’s gain.

LOW: FASHION

Thierry Mugler signs on as creative advisor for Beyonce’s upcoming world tour.
As a fashion-forward child of the 80’s, I considered Thierry Mugler to be somewhat of a demigod. He is notorious for theatrical shows and sculptural ensembles. His work is marvelous, dimensional and unforgettable. Are we really ready to replace the fabulous Jerry Hall with Sasha Fierce (Beyonce’s stage name)? No. I’d rather not tarnish my memory of this designer and such a remarkable time in fashion. Sometimes it’s best to let sleeping dogs lie.

HIGH: RETAIL

Topshop opens in NYC.
The opening for London’s golden child of affordable, trendy retail finally took place on April 2nd. Following an exceedingly hyped advertising campaign (complete with Topshop vans delivering goody bags around the city), the flagship opened at 478 Broadway (near Broome) to a mob of anxious customers. Were they actually going to spend money, I wondered, or were they merely hoping to catch a glimpse of Kate Moss who was rumored to be present for the ribbon cutting?

LOW: RETAIL

The line at the Topshop opening.

I know we’re all anxious to get our hands on some funky printed leggings and sensational costume jewelry but the scene outside was ridiculous. The line to enter the store wrapped around the corner and stretched back for as far as the eye could see. I asked one woman, who was standing patiently near the entrance, how long she had been waiting and when she replied, “Two and a half hours,” I decided to come back another day.



HIGH: CAREER

24 Seven’s downloadable guidebooks.

In addition to their job placement services, classes and workshops, 24 Seven provides a useful (and free) guidebook for both job seekers and talent seekers. The surveys are helpful if you work in fashion and want to know how your job measures up. The guide also provides hiring companies with information to help them remain competitive in their recruiting.

LOW: CAREER

StyleCareers cancels the Spring Job Fair.
According to Chris Kidd (owner of StyleCareers.com), there simply aren’t enough companies hiring right now to support the career fair. Initially, since the space was already booked and paid for, the alternate plan was to host a day of seminars and Tim Gunn was tentatively scheduled to appear. Unfortunately, the Employment Workshops have been canceled as well.

HIGH: PRICE
Gucci’s blue and green agate bracelet set in 18 karat yellow gold ($6900) http://www.gucci.com/

LOW: PRICE
Imitation pink agate pendant choker ($99.00) So Good Jewelry, 496 Broadway, New York, NY 10012