H.Lorenzo | Blog

2011-12-21T10:59:00.000-08:00

Please visit our new Online Shop and Blog here:

http://shop.hlorenzo.com/

http://hlorenzo.com/blog/

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A1923 (Augusta) SS'11 Sneakers In Store

2011-05-18T11:06:00.000-07:00

Spring Summer 2011 A1923 (Augusta) Sneakers

Four Colors // Now in Store

Spring Summer Tent Sale - Starts May 5th 2011

2011-05-03T10:11:00.000-07:00

Julius MA Spring-Summer 2011 - In Store Now

2011-05-03T10:02:00.000-07:00

JULIUS_MA

In Store & Online Now

ADICIANNOVEVENTITRE (Augusta) - Now in Store

2011-05-03T09:57:00.001-07:00

A D I C I A N N O V E V E N T I T R E formally Augusta

1st Delivery Now in Store & Online at our Shop Blog

Women's Fall Winter 2011 Previews Now Online

2011-04-21T17:14:00.000-07:00

Spring Summer 2011 Men's Collection

2011-02-25T12:21:00.000-08:00

Ann Demeulemeester Men S/S 2011 1st Arrivals

2011-01-06T16:19:00.000-08:00

New Ann Demeulemeester is here and with a shockingly stark black & white runway presentation for her S/S 2011 collection we couldn't help but feel a bit stuck in the gray. I think the results were quite wonderful.

Gray Hooded Jacket - $1755

[Also Available in Black]

Gray 10 Button Vest - $955

[Also Available in White]

Gray Button-up Shirt - $429

[Also Available in Black & White]

Gray 3-Buckle Space Ankle Boot - $1435

Gray Napoleon Jacket - $1739

[Also Available in Black]

Leather Asymmetrical Admirals Jacket - $3985

Black 3-Buckle Space Tall Boots - $1699

Truth Black Multi-Button Jacket - $2335

Pale Gray Striped Small Collar Shirt - $465

Also arrived in this shipment:

Black Double-breast Long Jacket/Coat - $1785

Black Vitello Rubino Derby - $835

White Vitello Fine 3-Strap Velcro Sneaker - $845

White Vitello Fine 3-Buckle Reverse Leather Ankle Sneaker - $1125

See our Preview for more photos

Julius S/S 2011 1st Delivery In Store

2011-01-05T14:58:00.000-08:00

We have received our first Julius shipment, loaded up with the leathers and heavier trans-seasonal pieces to bridge the winter gap.

Gray Lamb Leather Asymmetrical Cowl Neck Jacket - $3485

[Jacket is also available in Black & Red]

'Graige' Gray Destroyed Knee Cotton Drawstring Pant - $765

[Pants are also available in Black & Plaster]

Black Lamb Leather Curved Zip Moto Jacket - $3299

Black Waxed Moto Skinny Cotton/Poly Jean - $789

Black Lambskin Shoulder Bag - $1579

Red Lamb Leather Asymmetrical Cowl Neck Jacket - $3485

[Jacket is also available in Black & Gray]

Black Destroyed Knee Cotton Drawstring Short - $699

[Pants are also available in Plaster]

Gray Cotton/Poly Washed Jacket - $1199

[Jacket is also available in Black]

'Plaster' Destroyed Knee Cotton Drawstring Pant - $765

[Pants are also available in Black & Graige]

Black Lamb Leather Fingerless Zipper Gloves- $445

[Gloves are also available in Red & Gray]

Black Lamb Leather Backpack - $1675

[Backpack is also available in 'Raw' White]

A/W'10 Collections Private Sale Now 50% Off

2010-12-13T11:04:00.000-08:00

From the Archives: M.A+ Cross Cut Leather Shirt

2010-12-09T15:00:00.000-08:00

Another gem this week from Maurizio Amadei’s label M.A+. His leather shirts are a signature look and are without question, a staple piece for any closet. The material for the shirt is sourced from a single cowhide, patterned using a laser cutter and finally washed to give it a raw look. The cross cut shirt features a throne collar and as always Amadei's meticulous seam work. The fit is definitely a tight fit [pictured on a size 46/48], I would recommend this piece for a size 46 to 50.

Size

[running small, fits 48-50]

Price

~~$2439~~

SOLD

From the Archives: Julius Wrap Skirt

2010-12-07T14:54:00.000-08:00

For the brave this week we have a Julius wrap skirt. A standout piece from the collection which can be worn in a number of ways; for that colder weather throw on some leggings or pants or keep it simple in the heat. Full rayon twill construction makes you feel like you're wearing nothing at all and the interior drawstring waist allows these to fit a range of sizes from a 46 up to a 50.

Size

Price

$~~985~~

$492

Signals by Label Under Construction AW' 2010-11

2010-11-30T17:06:00.000-08:00

Corroded Graphite Dyed Double Layer L/S Tee

Fine Cotton

48, 50

$955

Corroded Double Layer Printed S/S Tee

Fine Cotton

48, 50

$995

Aphorism UV Graphite Dyed L/S Tee

Fine Cotton

48, 50

$779

SOS Arched L/S Tee

Superfine 140's Wool with Extra fine Cotton

48, 50

$769

A-N Cardigan

Superfine 140's Wool-Antilope

48, 50

$889

Laser Embroidery Graphite Dye Shirt

Medium Weight Cotton

48, 50, 52

$1079

Embossed Poem Glue Print Sweater

Merino Superfine 100's Wool and Selected Angora

48, 50

$869

Embossed Poem Graphite Dyed Sweater

Merino Superfine 100's Wool and Selected Angora

48, 50

$769

Embossed Alpha-Numeric Poncho

Felted Merino Superfine 100's Wool & Selected Angora

$1245

Aphorism Embossed Glue Printed Hat

Superfine 140's Wool-Antilope

$229

Favorites: Attachment Leather Hooded Jacket

2010-11-24T16:49:00.000-08:00

Winter hit Los Angeles this week, leaving most of us scrambling to find our winter coats. On the hunt for something to keep me warm this week, I picked our Attachment calf leather high neck hooded jacket. A soft heavy weight oiled calf leather built to brave the elements, inside a padded quilted cupra lining to keep you nice and warm. A serious coat with a slim moto jacket cut that isn't going to make you look too 'puffy' this winter.

Size:

3, 4

(running slim)

Price:

~~$3,565~~

$2495

Favorites: Individual Sentiments Coat

2010-11-15T17:07:00.000-08:00

Finding the right long coat is always a bit of a challenge. You want something to give you the length but don't want to hassle with something too 'pretty'. I want a coat I can live in and this seasons Individual Sentiments fits the bill. The outer shell is waffle textured wool blend, lined with a lightweight cotton and finished with Yoko's signature closure.

Size

[last size in stock]

Price

~~$1459~~

$1021

Aguri Sagimori S/S 2011 Short Film

2010-11-10T12:55:00.000-08:00

Just got a chance to watch this video today from one of our favorite new talents out of Japan, Aguri Sagimori. Her aesthetic is uniquely Japanese and translates ideas of feminine beauty and enchantment, frailty and strength. For her upcoming S/S 11 collection she presented a series of short films instead of a traditional runway presentation. We will update our preview shortly with the upcoming collection photos.

Sale on Autumn/Winter 2010 Collection starts NOW!

2010-11-08T12:25:00.000-08:00

----------------------

PRIVATE SALE
30% OFF ON SELECTED ITEMS
AUTUMN/WINTER 2010 COLLECTION

NOW

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From the Archives: Boris Bidjan Saberi Boots

2010-11-03T13:38:00.000-07:00

Boris Bidjan Saberi's footwear is something quite special. He brings to the table new shapes and construction techniques totally unique from anything we've seen before. With only a handful of these left, I thought they would be the perfect addition to this week's archive feature.

The pull-on wrap boot are made from washed and waxed treated cowhide on the outer portions and a soft lamb leather on the interior. The attached wrap tie string is detailed with 925 silver. Sadly we only have one size 41 left in this style, and is running true to size.

Black

Size: 41

Price

SOLD OUT

The fold over lace-up boots come in a deep black or rich brown color. They are constructed of vegetable-tanned cowhide, finished in an oil wash and hand moldered. The interior of the boot is a soft pigskin leather and laces are detailed in 925 silver as well. This style is also running true to size.

Black

Size: 41, 42

Brown

Size: 43, 44

Price

~~$1745~~

$872

From the Archives: Sistere Leather Pants

2010-10-28T12:25:00.000-07:00

With the cooler weather setting in, so is my desire to wear leather. This weeks piece is from one of our smaller Japanese brands, Sistere. Oh so.. comfortable and warm, this piece strikes a good balance for those of us looking for a leather pant that isn't skin tight. Made from a coarse grained calf leather with a Japanese cotton jersey legging lining inside, with the high level of finish we have come to expect from Japan. It also comes fitted out with RiRi hardware at both sides of the waist making sizing quite flexible. Looks great paired with boots or derbies, tucked or un-tucked. Best part has to be the price, especially when considering it with our other leather pant options.

Size:

(fits a range of sizes with RiRi adjustable waist, 44/46)

Measurements:

Waist: 30cm - 40 cm

Rise: 27cm

Length: 74cm (leather) 117cm (with legging)

Price:
~~$1199~~

$599

Favorites: Boris Bidjan Saberi Leather Jacket

2010-10-27T12:29:00.000-07:00

Keeping with the theme of all things new, this week I am adding another new feature to the blog entitled 'Favorites'. Here I showcase pieces from the current season which I have been drooling over; my personal favorites straight off my wishlist.

To start I went with one of the most unique leathers on the floor from Boris Bidjan Saberi

Constructed from a heavy coarse grain lamb leather, fitted out with single heavy duty zipper. All the classic Boris finishes with exposed raw inner lining and concealed stitching but with a more minimal approach then we have seen from Boris in past seasons. The seam work is what really sets this jacket apart for me; distinct and wildly nontraditional, the real eye candy for me. On the body it fits slim thru the lower arms and body with a more relaxed fit in the arms and chest, making this one of our most comfortable leather options. There really isn't a more unique moto leather out there.

Augusta AW' 2010-11

2010-10-25T15:13:00.000-07:00

AuAugusta's Simone Cecchetto most recent creations have arrived. His old-world handmade construction is met with new shapes and leather treatments this season, unique to each boot.

Destroyed Black Horse Leather Boots

$2260

Smooth Black Lama Leather Ankle Tie Boot

$2100

Coated Red Horse Leather Derby

$2100

Elastic Grey Lama Leather Pull-up Boot

$2100

Oiled Black Horse Leather Lace-up Low Boot

$2100

Hammered Black Horse Leather Back Zip Boot

$2150

DONT HANDLE WITH CARE

Augusta A/W'10 has arrived!

2010-10-22T13:17:00.000-07:00

Our much anticipated final shipment for AW'10 has arrived. We are unpacking now; photos and pricing up later today!

New Weekly Blog Series: From the Archives

2010-10-21T18:34:00.000-07:00

Our newest weekly addition to the blog. From the Archives a series where we select our favorite pieces from our archives and showcase them for one week on our blog. Each piece is unique; one size, one piece, available for purchase at 50% off the original price.

please send all inquires to info@hlorenzo.com

This week we feature two pieces from

A beautiful, lightweight linen jacket and shorts

Constructed from lightweight washed dyed linen with a contrasting lining in a deep gray color with hints of white; smokey with hints of concrete

Size:

(can fit a range of sizes, fit depending, but ideal for a 48)

Measurements:

Chest: 56cm

Shoulders: 45cm

Length: 88cm

Price:
-

SOLD

A heavier weight linen with rich brown hues, full of subtle detailing. There is not a more comfortable, better cut short out there.

Size:

(if worn with a belt can accommodate a 46, but will sit nicely on the hips of a 48/50)

Measurements:

Waist: 44cm

Rise: 40cm

Length: 65cm

Price:
~~$739~~

$369

MA_Julius A/W 2010-11 Now In Store

2010-10-19T12:06:00.000-07:00

With fall in full swing, our final MA_Julius delivery has arrived just in time. We have a variety of lightweight jackets and pants to get you through the season.

Black Lamb Leather Asymmetrical Cowl Neck Vest - $1929

Black Cupro/Cotton 'Loincloth' - $329

[styled with AW'10 Julius Leggings ($425) and Twisted Lace Boots ($1875)]

Black Lamb Leather Hooded Jacket - $2335

Cupro Cotton Satin Short - $489

L/S Cupro Jersey with Arm Detail - $299

[styled with Twisted Lace Boots ($1875)]

Charcoal Asymmetrical Drape Coat- $915

[also available in Black]

Black Cotton Modal Fitted Pant - $579

[styled with Twisted Lace Boots ($1875)]

Black Lamb Leather Collarless Jacket - $1929

Black Cotton/Nylon Adjustable Zipper Pant - $669

[styled with Twisted Lace Boots ($1875)]

Charcoal Cupro High Neck Hooded Jacket - $1119

[also available in Black]

An Interview with H.Lorenzo

2010-06-28T18:30:00.000-07:00

A video introduction to our stores and company.

A video by: DVcal

Filmed at H.L.N.R. 474 North Robertson Boulevard, West Hollywood

Forme D'Expression, by Koeun Park

2010-05-06T13:46:00.000-07:00

Interview by Kevin Y.

H.Lorenzo was glad to interview Koeun Park, the Haute Couture-trained designer of the emerging Italian men's and women's label Forme 3'3204322896 (Forme D'Expression). Koeun Park discusses her approach towards the complex relationships between contrasting elements in design. H.Lorenzo introduced the debut Forme D'Expression collection in 2005, and is proud to offer it for both men and women this season.

For you personally, what constitutes beauty in relation to clothing?

It would be difficult to define in one succinct way how I see beauty in relation to clothing. I am attracted to the notion of a "severe aristocrat," as well as a soft and fragile feeling. But whatever elements make such clothing beautiful, they must be in play with the wearer, and in either perfect harmony or a complementing contrast with their personality. Clothes that appear to have been worn with history, all one's life - that is beautiful - so that the pieces become him, not the other way around.

How does your approach to ready-to-wear differ than your approach to Haute Couture?

Haute Couture is a pure spontaneous obsession of minute and painstaking individual efforts applied to every angle of making a single garment for a specific client. A true luxury of all. I admire the patience of artisan coutrieres, and their single aim of suiting the client's requirements. I'm not really attracted to the shapes or products of modern Parisian Haute Couture scenes, but I do admire the spirit of couture, that is, the feel of hand and soul in the garment. My clothes are ready-to-wear, nothing compared to the Haute Couture standards. They are necessarily compromised by the demands of the commercial sphere. But I hand cut all my productions and fuse, mark, and prep each garment one-by-one before the sewing process. My staff and I hand treat all the pieces individually in the post production, putting an immense amount of time and effort into the collection. It adds to the final character of the garment before they get packaged and delivered to the stores with whom I partner. I see every single piece off - it's like sending off a child out into the world. Whenever I get tired, I think of my customer who will be wearing the pice. Then I come back to the place where I started.

How does your approach to womenswear differ than your approach to menswear?

The origin may differ, but there is always a huge synergy between my designs for both genders. I always start my season with menswear. Not only because menswear is ahead on the calendar but also because I like to explore new tailored structures and the new developments in fabrics each season. Designing men's and women's eventually becomes the same in essence, but since I am very interested in tailoring I see more possibility to do what I like with the men's collection.

My dominant theme, which never changes (especially in men's clothing) is "essence." By that I mean simplicity. I like men's clothes because they retain a simple integrity when compared to most of the women's clothing out there that's often merely visually entertaining. My next focus is "comfort" - both mental and physical. In order to achieve this you must understand how the jersey should hang on your skin. You must create something comfortable in which someone can be both amused and confident. But most importantly, it should not look too serious. That's where the masculine element becomes significant to bring in a balance. The mood of men's design permeates the process of designing womenswear, since I personally try on the men's prototypes. The softness in womenswear breaks the severity of the men's tailoring. There's some amazing feedback in the conversation between menswear and womenswear. I've been working for a while now creating soft tailoredware, structured garments from jersey and sweat fabrics. Exploring this interplay between the sharp tailoring and soft fabrics, there are no limits. I think this has become a signature of Forme D'Expression - blending tailoring and softness together.

How do you perceive the ideas of structure and fluidity in your clothing?

I perceive them with the help of some cues from physics, mathematics, and the human body - these make it all happen. And while it may sound traditional, designs are often the fruits of trial and error. Everything starts happening when you dislocate a significant part of a basic garment and start shifting the weight of the garment. Each time, you try to achieve a good balance that complements the human body, while trying them on yourself. You don't want to feel trapped in a bulk of fabric even when it may look gorgeous in the mirror.

For some, your line projects an aesthetic reminiscent of historic eras, perhaps the Victorian age. Does the notion of time or history enter into your design process at all?

I am not anchoring myself to a specific era, but certainly I am still looking back towards the 19th Century to see the traditional methods of constructing seams and inner details on those huge garments! Regarding a shared silhouette, I think this may be a coincidence stemming from the area of the body on which we focus our designs. For instance, I am very fascinated by the curve of a woman's back, moreso than the front, but I think that a Victorian label would be too proscriptive. I do, however, like to think about today and tomorrow with elements of the past. I like revisiting the classical bodies because older generations had a lot of wisdom in certain things, and perhaps a sense of technical ingenuity precisely because they were not privileged to have all the materials, technology, and resources that we now have.

Forme D'Expression is an intriguing line as it presents complex silhouettes while experimenting with proportion. How is the play between volume and fit important in your collections?

I'm not fixated on a particular silhouette, or "the" silhouette, nor do I aim to project a particular sentiment through it. I think that silhouette evolves from my thoughts when considering how I build a collection moving from one style to the next. The collection as a whole helps make sense of each piece. Sometimes I ask myself "what's missing here?" and then the next path happens quite instinctively. You always need to have something grounding you when you dress, and that's when I feel gravitated to design something quite fitted, or at least with a defined and constructed shape. Yet at the same time, stemming from my theory of contrasts (which I mentioned earlier), I cannot feel free if my body is wrapped in only fitted pieces. In the end, I want to ultimately achieve absolute freedom from any particular strictures of form. Hence, when I'm testing the balance between volume and shape I'm constantly seeking to create a piece that is both versatile and timeless.

I explore this relationship by starting with something very simple and functional, an every-day piece that will work with any other constructed pieces. Then I feel the urge to propose to people how to complement a fit with voluminous shapes, knowing that they inject the elements of comfort, elegance, and nonchalance. While speaking of volume and drapery, they're concepts not necessarily reserved only for women, mature, or rounder shaped people.

What kind of emotions do you associate with your collections?

At a personal level, it's something close to "angst," but in a positive way. I am so deeply connected to the work itself, that I take even the smallest things very personally and very seriously. When one cares too much, the disappointment is tantamount to that experienced with that in relationships. Those instances of creative pathos compel me to always be perfecting my work or revolting against the negativity. All of these emotions and the brooding of that moment in creation become infused in my work. From an objective view, I see my collection project quite the opposite aura, which is one of "peace." I guess peace is the only way to overwrite the angst after all.

Pictures courtesy of Forme 3'3204322896 / Factoryofaith

Augusta, by Simone Cecchetto

2010-03-23T12:40:00.000-07:00

Interview by Kevin Y.

H.Lorenzo interviewed Simone Cecchetto, the singular designer and creator of the artisanal leather line Augusta. Lauded for its rumpled, old-world leather footwear crafted from exotic hides, Augusta provides special leatherworks to the H.Lorenzo boutiques. Simone Cecchetto constructs every shoe by hand and even cultures his own leather, distinguishing himself as one of the most passionate leather artisans today. Below are excerpts from a meeting at our boutiques in Los Angeles.

- Square One -

( Words by Simone Cecchetto )

"I never studied to design shoes. I studied, worked, and evolved through 3 years of self-study. In 3 years, I explored all the possibilities for shoemaking, starting with the stitch. Then I was able to start designing a collection. The first collection used with a simple stitch - a blake stitch - and then in every successive season I tried to develop new shapes, develop new styles, and develop new ways of stitching.

Regarding the shape, I experimented with a square shape, a round shape, etc. I think every season I develop 10, 20 shapes in research. But when finally I go to Paris for the presentation, I think I present only about 2 or 3 new shapes. And so before, the research for the shape is incredible. I study and I find inspiration from many different sources. There was one artist...what was his name? I think it was Norman Rockwell an illustrator for the New York Times maybe 70 years ago. I found this old book of Norman Rockwell and it served as inspiration. I don’t remember if it was the first or second collection I did, but I was also inspired by Japanese manga. And so for every season my inspiration evolves and I'm led to develop new shapes. I develop for the moment and my design is spontaneous. I design for the inspiration i find in just one minute, it’s crazy. People can’t understand why when they go to the showroom they see so many variations of shape - there's one a little bigger and another one just a little bit smaller. But all these variations are just for me. Because I design so I can be satisfied, and so I need to explore all the different possibilities of shapes. My designs are probably good for one day, but not for the next. So the work in the back is incredible – for the leather, for the shape, for all, it’s very complicated to develop one pair of shoes. It’s super complicated. I always start with the leather - I study the leather hides, then I select one and experiment with it, try it, feel it, and explore all its tactile properties. I always search for the perfect leather. After selecting the leather, then I can concentrate on developing the shoes, starting with studying the shape, but also how the leather molds to the desired shape.

- Full Circle -

I spend all day working on my shoes. Because I have to think about how to develop a shape, how to develop a pattern, and how to mold the leather, and then creating a prototype, I don't have time to think about other parts of my collection. For all the (labels), it is very cool in this moment to say it is handmade. But not all of them (labels) are real handmade. To be considered genuine handmade, shoes must be handmade in every part. This takes a lot of time. For example, my heels. For many labels, the heel is just one solid block. But my heel is constructed of layered leather. I never explained this to the client but it’s important for them to understand why it’s expensive. So for the heel I use layers of leather, and for the sole I use two soles – one inside and one outside. So you can understand why when you go to the store it’s expensive. Handcrafting ensures that a shoe can be incredibly strong, but the construction is also very expensive. It’s not simple, you know, the shoes are not simple.

After selecting the leather and developing the shape, I then decide how to treat the leather. I do all of these treatments myself. For the prototype, doing everything manually is ok because I'll produce maybe 10 prototypes. But when I produce the collection for stores, I make maybe 800 shoes all myself and all by hand. So it’s a very long process for me. Especially because the last collection I also decided to culture the leather myself. Now I don’t buy the leather in a tannery, but I buy the leather hide with the original hair still there. And then I tan the hide myself because I don't feel that I can develop my persona with leather just bought from a tannery. I tried to develop new types of tans using oils. See, before I used to buy it in the tannery but see the problem is every design you buy is the same. So I think this is the only solution.

Ever since the first season, my collection has always been wholly about handcrafting the shoes. Through my collection, I want to communicate to people what handmade goods are like. It's not about branding the name, but about something you can feel and inspect. I want people to be able to look at my work and try to understand the construction. When people put on my shoes, I want them to not to be putting on the new avant-garde shoes, the new "very cool" or fashion shoes. It’s only simple shoes, it’s handmade shoes, with simple old-world construction. And when you put it on, I want you to have comfort – but comfort not only for your foot when you walk, but also for your mind, for your feeling - something that feels natural. I tried to work in the story of shoemaking, not in fashion. These shoes are very “old” shoes.

- Leather As Skin -

Probably what’s more interesting for me is starting from the leather. I studied the history of art and I studied body art. I studied how to work with leather, as if it were a skin on the artist. With my background in body art, which makes use of skin, I became very interested in leather. When it comes to using leather, I think the first step is footwear because it's used everyday for both protection and for balance. I think the feet are very important to humans, and so my interest in shoes ensued. But more compelling than the thought of shoes themselves is the idea of leather. I create leather shoes but I also want to develop protection and skin for other parts of the body in leather. So for me, yes I always wanted to design shoes because I liked shoes and because in Italy it’s a very important work to be making shoes, and now it’s a famous tradition, so I’m very happy for it. But my interest in principal is working with the leather.

My idea (about animal leather) is that it is like a second skin. I love the idea of the human skin which is like leather. I worked for an artist in Spain; he is an artist with a very strong work in body art, it’s very compelling. I love this path of art; it's a live art. The art is all very strong, I don’t know, some people like it, some people don’t like it because it’s very strong – they use the blood, they cut the bodies. Well this man, he developed a very nice work of human form and shape in animal leather – pig leather. Because the pig leather is very similar to the human skin, so when you wash the leather, and you trap the pigments, the pores are very similar to the human pores. I’m very fascinated about these properties of leather.

- A Sartorial Lineage -

I worked before for Carpe Diem. And I’m a friend of Maurizio – before I began working for Maurizio I was a friend of Maurizio. I worked for this artist in Barcelona, who’s a friend of Maurizio Altieri from Carpe Diem, and in this same moment he (Maurizio) developed a new project called Linea and Sartoria. When you move the body, he used an electronic machine to communicate with a computer, and he studied the movement of different objects in this type of digital experimentation. So I think it was a very interesting work because in this moment Maurizio developed Linea and Sartoria, and in Sartoria you have a project called the “Second Body” in leather, the second leather - most notably, the jumper for the men. So we studied the muscles of men very carefully. We studied the second skin for this artist, the second leather, and we put an electronic chip inside the jumpsuit for sending digital images so we could study the movement of the performing artist while he wore a jumpsuit from Linea. We studied the change in leather as he moved, and we studied the muscle dynamics while he performed. And also the first idea when he developed the Linea and Sartoria was very, very avant-garde. When he developed Linea, it was too much for the client at the moment. Maurizio can see probably in the future.

And I think the best idea for explaining Linea to the people is to use the body, because the body is a representative of you. It’s like a tattoo. When you put a tattoo in your skin, it displays your story. For me the leather is incredibly strong, it's very captivating, and when I see Linea I think it’s a very strong project. And for people to understand this story, I think the only solution is a new way, and I think the art and this project is a new way. I started to work with him to help explain the collection Linea, and then I worked in other interesting projects like creating the leather shoes for Carpe Diem.

- Prototypes -

When I decided to develop the leather jacket – my idea of a jacket is that it is a mix of a shirt and jacket in leather because the construction is similar to a shirt. I love a lot of pockets, so I tried to develop a shirt with a lot of pockets. For this reason, I studied the cutting of the natural motion of someone putting their hand into their pants pockets. I wanted to make it ergonomic, natural. So it’s complicated, because the difficulty of this jacket is that when you use one piece of a big leather without a cut, it is difficult to put in the leather the pattern, but I think it’s nicer for the construction. And I used a different stitch. To develop the stitch I used a very small machine. I also used the kudu leather – the kudu is very similar to the deer. But normally this leather is used only for the shoes because it’s a super thick leather. So I tried another treatment for developing the kudu to be used for the jacket, because otherwise it's too stiff and too heavy for a jacket. I used a new treatment to make it lighter, and I cut the layer of leather a bit more to make the movement more natural. The jacket in this leather was the first step for me, and in the future I want to work more in making jackets.

I will tell you of the transparent leather for this season. The transparent leather is a pig leather...I developed only 7 pairs of shoes for women in the world. Also the sole is transparent and the heel is transparent. It's impossible to close, because I can only use stitching and wooden nails, not metal nails. The nails alone cost 40 euros. After hammering a wooden nail into this porous leather, I then crushed the wooden nail so it would get caught inside and effectively close the pore. The explosion inside stops the wood nail in the leather. It's super complicated to develop the sole, because making the leather transparent compromises its strength since it's so porous. It's not a real finished product because it's like a sponge in the water. It's nice visually, but it's not good for real shoes...it's more an image, an object, but not real shoes. It takes 6 months to wash the sole, and it closes the pores in the sole, waterproofing the leather. It's a very special work, a very very complicated work, but it just represents the type of experimentation I do with leather.

- Finding Balance -

Earlier I worked for Rick Owens - for the collections Revillon and Rick Owens (mainline) - and then I decided to go a different way because my idea of shoes was completely different altogether: for Rick it was more avant-garde…more plastic, there was a different idea about it. For Rick, the women's shoes take priority. And work for the women's shoes is very different than work for the men's shoes. For this reason, I never developed real shoes for a woman, because it's a completely different work. Rick loves work with the high heel, so I decided that we have different ideas about shoes, so i thought it was time to start my own collection. I liked working with Rick because he's a very nice guy. I tried to develop high heels in leather but it's complicated...normally for women's high heel they use plastic in the heel, but if you want a high heel in leather it's not right. I tried different solutions, like putting metal in the heel to make it stronger, but the balance with metal and leather wasn't right. My woman's shoes are very much like the men's. I work for the woman as well, but these are shoes for the men. I think sometimes women are very beautiful with the guy's shoes too. After that I stopped work and I tried for a moment this collection (Augusta), and presented it in Paris. 2006 was the premier season – it was a super small collection. I think for my first collection i developed high boots for woman, and i think it's very nice.

- Labor of Love -

I live and work in Rome, and I work in a small space, a very, very small space. Before, I worked in a village close to Rome, which is close to where I lived. It wasn't easy because it was very far from my leather source. So in the beginning, I'd go to Tuscany to work in the tannery every week, and then I'd come back to Marciano where I finish my work. In the future, I will probably change this location to make my life more simple.

For the production, it’s automatic. But it’s very heavy for my hands, because when I finish the production it’s very uncomfortable for my hands, because I don’t have help and I need very, very fast work. So I wake up in the morning at 6:00 in the morning and I don’t have time until I go to sleep – 2:00 at night, I don’t know? I put my all in to my work – work, work, work. The difference is that when you develop the new collection it’s heavy because you think, and the problem is more imperative for the mind, not for the body; the production is more imperative for the arms and for my hands.

I'm tired. I'm really tired. The work in the back is completely different, sometimes heavy. My work is very very heavy. When I buy the animal, I buy it with hair, and you have the blood, you have it all. Sometimes i think it's super heavy. I do it all. I think of the collection, I produce all of it, and my wife and I sell it. So, it's not simple. I hope people will understand this. Sometimes I think it's time to stop because I can't do all this work completely by myself. Then I look at my shoes, and I think...I love my work too much and so I'll find the energy to continue my work because I love it. I'm tired, but I'm very happy because not many people in reality can really love their work. For me, it's very important. It's my life. It's really my life."

Lost&Found, By Ria Dunn

2010-03-22T17:25:00.000-07:00

Interview by Kevin Y.

H.Lorenzo had the pleasure to interview Ria Dunn, creator of the artisanal Tuscan label Lost&Found, to hear her meditations on design. Lost&Found produces phenomenal menswear and womenswear, and we read a complex interplay of nonchalance, experimentation, and luxurious elegance in this season's offerings. Like many things we esteem, Lost&Found is a label whose details are its most salient features, and so it should be experienced firsthand to be appreciated in full.

How did the label “Lost&Found” originate?

Lost & Found originated from my desire to create something that could communicate to a customer more deeply and could represent something meaningful. I had worked in the clothing industry for many years and I was stuck in this cycle of disposable fashion. I was tired of it and decided that I wanted to do something opposite of that world. I wanted to create clothing that would remain with time, clothing that was intriguing in a deeper sense. I wanted to create a way of dressing that was more introspective and private. So I began to think about discovery and loss...and it's cycle...and this was the creation of Lost & Found.

Using labor-intensive techniques, Lost&Found seems to reclaim romantic traditions with regards to how clothing is made. What compelled you to choose this path?

It was not really a choice I made, but it was really the instinctive and natural way I've always wanted to make clothes. I am compelled to go extremely deep in all of the research and development of a piece/a collection. I am an emotional person, and I need that you can pick up a garment and find something personally revealed in it. I can only do that by starting the creation process right from the first material.

I understand that your garments are made in old Tuscan textile mills, as an homage to artisanal craft of clothes-making. Can you share with us a particularly interesting step of your design (or production) process?

I do work almost exclusively in Tuscany with many traditional companies or artisans who have been working in a certain way for years. I suppose the most interesting part of the process is when I am developing a fabric for a collection. My inspiration could come from even a scrap of antique cloth I found some place. But my interest is not to recreate the past, but to take these old sensibilities and make them modern and interesting. After a fabric is weaved, I take it to a special place near my studio where it is then finished and dyed. It feels like some post-war laboratory, but magic comes out of that place! The man i work with is like a modern alchemist...and through different washes, dyes and finishes (for example a treatment with a powdered glass or live enzymes) these amazing materials are brought to life. I find it all incredibly interesting.

Could you please share about some of your research before collections (e.g. fabric choice, concepts, traditional garments, etc)?

I always begin with material. It is rare that I design something without knowing what I am working with.

And in many cases, these fabrics are custom developed based on the small pieces of inspiration I find. It is hard to define my process exactly, because every season it changes. I always draw upon my experiences of traveling abroad. I have done extensive travel through North Africa and this is something that will never leave me; it will always be a reference for me because it was such an important part of my life. I have large archives of the things I have collected over there, fabrics, garments or fragments of jewelry that I am always looking back at. And sometimes I take a simple concept and go deeply into it. This Fall for example, I focused a lot on taking the materials that are used inside a garment for construction and using them as the main material for the garment. I have taken these relatively crude or simple fabrics and refinished and dyed them to be something really interesting and beautiful. So my process always changes.

How do you desire that people interpret your clothing conceptually?

I don't want to tell people how to interpret my clothing. In fact, I like to tell them as little as possible about it so that people can come to their own conclusions, see their own stories or be moved for their own reasons. I want the garment to be a catalyst for their own personal expression, rather than adopting mine. Sometimes that means that the influences I put into it are lost, however it is not the most important thing for me. What is important is how a person feels when they interact with the clothes: purely and without influence.

Can you share with us typically how long it takes to produce a garment by hand?

Forever - I created a small pair of intensely knit gloves. They took 2-3 days to create one pair.

I understand that Lost&Found is something that is ever-evolving. Knitwear seems to be the current meditation of your designs. Will this carry on, or will a new medium emerge?

I began with a strong focus on knitwear because it seems to me absolutely essential...the ease of it, the way it can mold or blanket your body. And I was also technically very intrigued by knitwear as it is extremely different from work done with fabric. Knitwear will always be important in my collection, but it evolves with every season. There will of course be new focuses for continuing seasons. The mens collection is taking a lot of my time and focus as well, and my work in fabric is continuing to be more important. But new mediums must emerge, otherwise the project becomes stagnant.

For you, what constitutes beauty in relation to clothing? (e.g. silhouette, movement with wear, change over time, etc.)

Beauty is subtlety, a piece of clothing aged on a person, where it takes there form, the shape of their body, where the wear and color are changed with exposure, where it becomes an imprinted by the person that wears it...that is beauty to me at the moment.

How do you perceive the relationship between structure and fluidity in your garments?

I find that contradictions are the most interesting of all and I do try to infuse both fluidity and structure in the collection. I am constantly working with shapes and forms that collapse on the body. I like to study how a fluid shape can change once it is worn, but structure is becoming more important to me and you will see more of that interacting with the softness.

Lost&Found collections are always very interesting to the touch. How do you think the tactile experience of your garments communicates your aesthetic?

So many of my customers, when they see the collection, pick up the pieces and bring it close to their noses, to smell or just to get closer. It always makes me really happy to see this because it means that I have touched that person in the most raw and instinctual way. I have always worked to convey these natural aspects that are haunting and revealing, and I hope they are transmitted through the most authentic way possible, through all of the senses.

Do you work in other forms of art, or has clothing design always been the medium of choice to convey your message?

I have always thrown myself into painting, photography and writing and have done so for a very long time, but the natural evolution of those expressions has been in the form of design.

Is there a particular culture or era that fascinates you?

I am fascinated by Arab cultures and backgrounds.

Is there a certain emotion that you associate with this collection?

I leave that up to the person interacting with it to decide.

all images courtesy of Lost&Found Design.