New York-based designer Pyer Moss has won the coveted 2018 CFDA/Vogue Fashion Fund. The label joins the ranks of Proenza Schouler, Alexander Wang, Prabal Gurung, Joseph Altuzarra, and Gypsy Sport who have also won the prize over the years. The label was launched in 2013 and has been continuously lauded for its political collections and celebration of Blackness over the years. As part of the award, founder of the label Kerby Jean-Raymond received a prize of $400,000. Runners-up this year were Bode and Jonathan Cohen, who were both presented with a cash prize of $150,000. Congrats to all!
Read our full profile of Jean-Raymond in the Summer 2018 issue here.
Portrait shot by Joshua Scott. Editorial shot by Brian Higbee. Styled by Henna Koskinen.
Since launching in 2015, contemporary label Private Policy has quickly become a city staple. Already seen on high-profile figures like Kendall Jenner and Bella Hadid, and frequently captured in the nightlife circuit, the design duo has rapidly gained a loyal following and laid a sturdy foundation in downtown Manhattan.
Private Policy was founded by Haoran Li and Siying Qu, who met while at Parsons School of Design where they bonded over their senior collections—a similar success story stems from Jack McCollough and Lazaro Hernandez, who would go on to build Proenza Schouler after also receiving glowing praise for their senior collections. “We graduated at the top of our class and received [significant] press coverage for the thesis collection,” the designers share via email. “After research and discussion with friends in the industry, we realized that many young people are looking for clothes that match their social and political beliefs. So we founded Private Policy with an activist spirit in mind.”
This urgency to immediately go out and create something is reflected in their collections, which capture the essence and ambition of youth, something that is abundant in a city that continues to draw in young creatives year after year. “We think New York’s biggest treasure is how easily people connect. From Williamsburg street castings, to coffeeshop sociopolitical conversations, to wine bar socializing, to ‘really making friends’ in nightclubs.”
The duo cites the downtown club kids among their biggest style influences, something that’s evident in their work. Consequentially, their clothes are regularly seen on nightlife personalities. It’s this type of self-fulfilling inspiration cycle that effectively drives the brand forward, further cementing their cult status. “Our customers care about creativity, style, quality, and, of course, many of them are touched by our sociopolitical concepts, and become fans because of that.”Social and political issues continue to dominate the larger cultural conversation, and Li and Qu are integrating that into their designs. While the fashion world and society as a whole begin to acknowledge alternative gender expressions, Private Policy has maintained a gender-neutral stance since its inception. “We started the brand with genderless concept in mind. Today, it’s become a trend and bigger cultural movement. We are very glad about that. We developed a unique sensibility to create clothes that enhance the wearer’s personality.”
An increasing number of major retailers have seemingly embraced a gender-neutral approach by releasing capsule collections meant to be unisex. However, many attempts have been criticized as lazy, with brands opting for traditional jeans and T-shirts and slapping a gender-neutral label on them for the sake of promotion. Private Policy goes beyond that.
“The combination of silhouettes and fabrications make the collection very versatile. Our checkerboard print windbreaker jacket brings out the swag and cool in a guy, [and] it can be easily transformed into a sexy jacket dress for a girl. We don’t need to force the genderless idea onto people. If the clothes look good, why would they care if it is [for] men or women?” Private Policy’s clothes truly do reflect a sincere ethos—garments are designed with adaptability for a variety of different body types. Traditional clothing silhouettes are deconstructed and abolished, enabling new forms to rise. Having a point of view and utilizing any position of visibility is important to the designers, who routinely incorporate political stances into their clothes. Each collection can be tied back to a specific issue that it aims to confront, and that influences the approach, design, and presentation.
While the label maintains a strong basis in the city, their political engagement extends far beyond the United States. The most recent collection for Fall 2018 was heavily influenced by Charlie Chaplin’s The Great Dictator (1940), which mocked former authoritarian leader Adolf Hitler. Today, it’s a commentary on the “loss of the American dream,” accomplished by combining altered military wear with classic American patterns and colors. Another standout collection for Spring/Summer 2017 was inspired by the abusive work conditions facing fishermen in Asia. The brand repurposed vinyl and plastic (materials associated with traditional fishing attire) to make a statement that represents the conflicts and corruption of the global industry.
“We think what makes fashion exciting right now is how it is supporting activist causes. Private Policy was founded [using] sociopolitical issues as inspiration. We want to be one of the pioneers in fashion, to talk about social issues and political topics through our collections.”
In a time where revolution and radical self-care are dominating a generation, the label remains perfectly at the crux of political activism and nightlife. And while its name might hint at a sense of mystery, it’s clear that Private Policy is emerging front and center.
Storytellers, Opening Ceremony founders, and co-creative directors of KENZO, Humberto Leon and Carol Lim summon the same old tales in a new, paradigmatic fashion.
Essential Homme: It’s been over ten years since Opening Ceremony (OC) first opened its doors as a small store in downtown Manhattan. Now that you’ve claimed foreign territory (more than once), developed and defined an in-house line that rivals some of the store’s accounts, and revived the great house of KENZO, do you plan on letting up to enjoy your successes anytime soon?
Carol Lim: We can’t really sit down and stay still. We’re always constantly in motion, so even though we’re super proud of the accomplishments we’ve made, we’re always asking ourselves, ‘ok what’s happening next? What are we excited about now?’ I don’t even think at Opening Ceremony’s ten year anniversary that we high-fived or went out to dinner…we just kept going.
EH: Has this unceremoniously humble response to your work been molded by early success, or do you think it’s some sort of innate quality—or rather, natural thirst—that you both share?
Humberto Leon: No, it’s not about wanting more. Our goals are just a lot bigger than who we are and where we are now. We are at the tip of the iceberg for what we want to do. It’s difficult to reflect back on yourself, but it’s easy to know your goals.
CL: I met Humberto at Berkeley. We were 18 and had both grown up in Los Angeles. We realized that separate from before we had even met, we had a similar approach to life, work, you know, all of the above. We were—and we are still today—both very curious people and we don’t just stop at the surface. We want to know the details about everything and we like to reminisce about brands that we grew up with.
Image: Essential Homme.
EH: OC has had so many collaborations in its life thus far that sometimes it can be hard to keep track of, much less buy everything. From the Muppets to Maison Martin Margiela’s MM6, how does the inception for these happen? Were there any ideas that were just too crazy or weird to make the retail floor?
CL: Sometimes we’ve experienced something in the past and it ends up becoming the inspiration of a new project or sometimes a conversation or a person today will inspire us by triggering something. For example, every year Opening Ceremony picks different countries to focus on. When we decided to feature Germany, a lot of our friends were moving there—this is back in 2004/2005—which told us, ‘okay, there must be something interesting and creative happening in Berlin right now.’
HL: One thing you should know is that nothing is ever too crazy or too weird. What it comes down to is how it is approached. When you look back at the projects we’ve done, they range from introducing Havaianas to a global market, working with Yoko Ono and people like [artist] Terence Koh, and doing amazing projects with Rodarte and Chloe Sevigny. We try to see all our ideas through, so I would say the follow out is very few—maybe one or two that didn’t work out—but we have a list of a million more.
CL: We don’t have a formulaic process. We do plan things, obviously, and we think ahead, but because we’re so flexible—and since we like to respond in real time to real things—a project can come up on the table tomorrow, and within a few weeks we can execute something. We react in the way that I think human beings react. We’re not so robotic that we can’t.
EH: You just listed a bunch of names from a seemingly-unending registrar of high-browed products to complete brand resuscitations. Did any OC project particularly resonate with either of you on a personal level?
HL: In so many ways they are all personal accomplishments. The store really represents Carol and me, so being able to work with all of our idols—people, brands, and artists that growing up we just simply wished to meet—is a huge thing for the both of us. And that could be working with a company like Vans to working with David Lynch or MIA, I mean, the list goes on. We have a very fortunate job that we get to work with everybody and anyone that we think is the most authentic and coolest and raddest in the field, and not everyone can say that.
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We react in the way that I think human beings react. We’re not so robotic that we can’t.
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EH: How do you continue the momentum of the store given the commercialization of the boutique mentality and people’s constant search for a more interesting shopping experience?
HL: We follow our own momentum. The store comes from a very personal and curious place. It is super eclectic, and we approach everything in a very humanistic way. We ask the questions that you’d probably ask, but then we have to answer those questions to ourselves every day. We’re also not just holding onto things to hold onto them. When people love something and they want to see more of it, then we’ll hold to it. If we want to move on, then we will. There are brands that have been on the floor since the very beginning, but there is always an injection of new. We have a constant refresh button.
EH: OC is somehow able to interest both label lookers as well as the black sheep—extremists or ‘anti-fashion’ enthusiasts that would laugh at the idea of tailored formalwear. Particularly for men, this jump can be dramatic. How do you find an equilibrium between the likes of Band of Outsiders and Bernhard Willhelm under one house?
HL: We see the store almost as a person’s closet. There are occasions when you really just want to represent the classics; something fun, beautiful, and simple. Maybe you’re going to a wedding or an event. And then there is everyday life where you want to be individualistic. But also, there’s no reason why you can’t wear that Bernhard Willhelm top with those Band of Outsiders perfect-fitting trousers. We’ve never once said that you have to wear head-to-toe a certain one designer. Like your wardrobe, it’s all about how you put it together.
EH: As you suggested, there have been many brands with you since day one. I spoke to Patrik Ervell earlier this year and he referred to OC as an incubator for experiment. Who are some other voices or styles you’ve grown with?
HL: Brands like Alexander Wang, Acne, Rodarte, Proenza, and Pendleton would all tell you that we put a mark into their brand; in some way, shape, or form, that we were really a place where things were formed for them, and that’s super exciting. I could probably list another 20.
EH: And how have these brands affected you?
HL: I think that we’ve affected each other. We come from different point of views, us as retailers and they as designers or brands, but it’s always been about the cohesion of telling the story.
CL: They also affected us in a way in that we became homes for them. As their brands developed, we became an outlet for them to storytell their point-of-views.
HL: Sometimes it’s brands we all know like DKNY and sometimes it’s new brands. For instance, with the LVMH Prize, we’ve started off this season carrying all three winners [Thomas Tait, Miuniku, and Hood by Air]. Other times, it’s about re-discovering brands that mean something. We went back to Walter Van Beirendonck after we started to feature Antwerp to really question what life after Antwerp Six—beyond Raf Simons and everybody else—meant. Today I see Walter in a lot more different stores, which is great.
EH: How much creative crossover is there between OC and KENZO?
HL: They are both treated very differently. Opening Ceremony is a brand new story that is all about Carol and myself. While KENZO is about retelling a really important story to the fashion world. Knowing that Kenzo Takada was the first Asian to really make it big in Paris—by establishing a fashion house and bringing that cultural excitement to France—it’s an exciting story to be able to narrate. Both brands have our marks on them heavily, but the great thing is we are in control of both, so we can keep them separate.
Image: Essential Homme.
EH: I found it interesting that considering OC is so outer-looking—as you mentioned about its visiting country program—that for KENZO’s SS15 collection, you brought the brand back to its Parisian roots. How was this idea conceived?
HL: Through KENZO, we’ve celebrated a lot of different aspects to the brand, but the one thing we felt like we hadn’t celebrated was our love of Paris. We wanted to take a really bold stance for our Parisian take and talk to the city as a theme, while celebrating it from an outsider’s point of view. Not just as modern day Paris, but the historics of Paris as well; everything from the architecture, to the birth of Modernism, and all the aspects that we love and cherish about the Parisian lifestyle. It was really our nod to the city that is the birthplace of the brand.
EH: You’ve really pushed the narrative aspect.
HL: It’s hard for us to see product without a narrative. Partially I think because we didn’t come from a fashion background, and also because we are constantly with people outside of the fashion world, our approach is very much on a super black and white level of ‘how do we tell this tale?’
EH: Not to continue with the comparisons, but your influence isn’t just limited to IRL. Opening Ceremony completely revolutionized online shopping with a super interactive e-commerce platform and KENZO has begun to follow suit in the last few years. How do both brands—OC, a contemporary retailer, and KENZO, a luxury fashion house—fit into an online portal.
HL: Carol and I are two people that experienced life before the internet, yes, but we’re also heavily excited about the internet. The first thing that we did when we came to KENZO was create an online presence. We wanted a blog and a way to contribute content globally to tell the story and have a voice for the brand. It’s a different approach than others and a great Opening Ceremony comparison, because it’s the OC flavor that we brought into the fashion house’s heritage. Online is something we definitely don’t shy away from; instead, we approach and attack it very excitingly.
Image: KENZO.
EH: What do you think Takada’s reaction would be to the reawakened, cooler-than-ever KENZO?
HL: Our first week at KENZO we wrote a letter to him saying how honored we felt to be at his house. He wrote us back after he saw our first show and said that he felt like we were bringing the energy back that the brand represents. Three seasons ago he started coming to all of our shows. For two people to take over this brand, it’s very, very humbling to see the originator come, support it, and tell us how excited he is of it—that he sees what we’re doing and how we’ve paid tribute to him and the brand. Carol and I put a lot of thought into each collection in knowing that we are telling this on-going story. It’s a 40-year-old historical house, and Carol and I play a role in the timeline of it. It’s exciting and a little unbelievable to see his stamp of approval.
So we’ve got you covered, but what about Mom, the sister, your loved one, and the little rascals (furry included)? Don’t worry, gift guidance, like the holiday spirit, doesn’t just stop at your own stocking. Here’s some seasonal suggestions for the rest of the crew.
1. Boxy fur coat, FENDI
Image: Far Fetch.
FOR HER
What is a more lavish present than a fur jacket? How about a double dose. This two-toned emerald and gray mink coat completes any look with chicness and comfortable warmth.
Though ladies sure do love to play dress up, sometimes it can get expensive. Get this all-in-one, witty one-piece and give your girl a cute cover up with some extra imagination.
Proenza Schouler—that name you’ve heard all your girlfriends and sisters and co-workers of the opposite gender insensately chatter about for the last X-number of years and yet you somehow still cannot come close to reproducing yourself (Shewler? Shooler? Scooler?)—has teamed up with pioneers of the auditory experience, Master & Dynamic, for a limited edition capsule collection of fantastically-colored remixed versions of headphones that are as beautiful in design as the high-quality sound they emit.
Image: Master & Dynamic.
Featuring shiny goatskin headbands embossed with Proenza’s name, perforated ear pads in comfy lambskin, and a branded blue canvas pouch and box—yeah, they’re not super different than the original MH40 style … that’s ok—the three colorway release in blue leather with black metal, black and gunmetal leather with black metal, and white and copper leather with black metal, instead, inspires a cross-categorical creative flame, uniting both downtown design house and innovative tech company with a damn good/pretty product. I’d take three, but because of the limited edition run (only 200 pairs went into production) and appropriately-high coinage ($495 each), I’ll just salivate over each in spirit as I tolerate shitty Apple earpods. Oh and by the way, it’s Pro-en-za Skool-er.
Image: Master & Dynamic.
The Proenza Schouler x Master & Dynamic headphones are available now online and select retailers worldwide.
Last night, New York’s finest and most fashionable tastemakers joined Anna Wintour, Steven Kolb, Jeffrey Kalinsky, and Roopal Patel in attending the 11th annual Jeffrey Fashion Cares, a fundraiser that benefits The Hetrick-Martin Institute, Lambda Legal, and ACRIA & Point Foundation, hosted by Anna Chlumsky at The 69th Regiment Armory. After a red carpet opening and a wickedly-tempting silent auction (more Proenza and resort packages than should ever be up for grabs), Rob Smith was presented the Jeffrey Fashion Cares Community Leadership Award by Steve Madden. Afterwards, top-models (such as the legendary Chad White) stomped the stage in couture from Givenchy, Christopher Kane, and more. Other attendants included: Jason Wu, Joseph Altuzarra, Dennis Basso, Carole Pope, Thomas Krever, Diane von Furstenberg, Prabal Gurung, Mickey Boardman, Justin Tarquinio, and of course, us!
Hillary Clinton was there. So was a new retooled fashion industry film version of “Texts from Hillary,” which garnered a knowing smile from the Secretary. She was, you know, just doing a little honoring of Oscar de la Renta. Bravo’s Andy Cohen hosted the 2013 CFDA Awards and incorporated elements of his talk show “What What Happens Live” into the evening’s program with light hearted segments you like “The Vault” during which photos of the nominees from the 80’s and 90’s were revealed. Giggles and humility ensued. A film by Jun Diaz which was shot at a historic Renaissance Revival mansion was featured and provided a thematic foundation through which all individual honoree and nominee tributes were connected.
And then there were the winners. Menswear designer of the year went to Thom Browne. A deserving win but not the exciting upset it would have been if first time nominees (for designer of the year) Daniel Silver and Steven Cox of Duckie Brown/Perry Ellis would have won. Dao-Yi Chow & Maxwell Osbornefor of one of our favorite up and coming brands, Public School, took home the highly coveted Swarovski Award for Emerging Talent in the menswear category.
“We are honored and extremely grateful for this award. We were competing against very talented designers. To be recognized by our peers, editors and the fashion industry is an incredible moment,” says Chow. Adds Osborne, “We are thankful to the CFDA and Swarovski for creating this amazing platform for American designers. The menswear award is truly an honor.” Our eyes were already fixated on their growth from an indie label known for mixing structure into scruffy & edgy looks into now a CFDA award winning brand. There’s plenty to love about their Spring collection, but we’re pining for the next edition of their shoe collaboration with Generic Man that are coming mid-summer (image below).
Another notable menswear winner? Riccardo Tisci of Givenchy who was recognized with this year’s International Award, presented by Jessica Chastain.
On the womenswear side, Proeza Schouler won the award for best womenswear designer and the Swarovski Award for Emerging Talent in Womenswear was given to Erin Beatty & Max Osterweis for Suno. 3.1 Phillip Lim took home top nods in accessories with Pamela Love doing the same for the Swarovski Award for Emerging Talent in Accessories.
The night was electric and seemed to mark a turn in the page towards the future. Names like Thom Browne and Jack McCollough & Lazaro Hernandez for Proenza Schouler, that at only a mere decade ago would have been considered upstarts walked away with the most widely recognized award in the industry. New talent like Public School, Sumo and Pamela Love have been set on the same course. Time, style…and the CFDA…marches on.
Celebrating was on the top of the agenda at the 10th annual Jeffrey Fashion Cares Fundraiser, that was hosted by the beautiful Emmy Rossum on the Intrepid battleship in NYC. Well, near the top, because fundraising and fashion were at the helm of the event that first came to Manhattan back in 2003 (Fact: Jeffrey Cares has raised over $4 million for LGBT and LGBT youth charities in the last 10 years). The night began with a silent auction featuring Broadway tickets to designs from the likes of Tom Ford, Hermès, Proenza Schouler, Marni and Stella McCartney, and then turned in to a fashion show featuring hand selected items from the Jeffrey Store in New York.The fundraiser honored Tony Award winning choreographer Jerry Mitchell who was presented with the Community LeadershipAward by CyndiLauper. Other faces who came out to raise money—Chrissy Teigen, Sean Avery, Kelly Bensimon, Miss Universe Olivia Culpo, Ireland Baldwin, Hannah Bronfman, Steve Kolb, Thakoon, Veronica Webb and Andrej Pejic. Photos post jump.
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