LATEST STORIES

BRADELIS- THE COMFORTABLE UNDER COUTURE

4/5/2025

Model wears Classy Bra

Comfortable couture, a term I’ve penned to sum up Akiyo Hirakubo’s brand Bradelis. After meeting with the company and discovering the ethos behind the innovative lingerie company it was the best way to describe Bradelis, a company that are putting women’s confidence and voices at the forefront of importance.

With their headquarters in Japan, founder Akiyo Hirakubo began the company in 1991. After studying abroad in the U.S and encountering the experience of getting fitted in the U.S for a bra, she realized how important that experience was. That it wasn’t just an undergarment she was purchasing but something that can give you a quiet confidence, a wow experience that she wanted others to experience. So it inspired her to begin her own line of lingerie, something she felt was perhaps missing for a winder customer in the market place.

Model wears Luminous Slip

The mission of Hirakubo is a simple one. She wants women to feel good in their own skin. To know that one size doesn’t fit all, that different body types exist and they are all beautiful. She wants to give women a positive experience when being sized and purchasing their bras.

A shocking statistic of 80% of women in the Unites States are wearing the wrong size bra and perhaps an even larger percentage of women don’t feel comfortable in their own skin and are neglecting this part of themselves. Hirakubo wanted to help change this.

The company was founded in 1991 in Japan, expanding to NY in 1994. Japan now has 20 stores with 160 store staff. The key to the company is the personal experience, so the knowledge of the staff members was of huge importance to Hirakubo, giving them over 600 hours of training to ensure that every customer got that personal positive experience. She wants to give her customers the experience of feeling truly comfortable. Especially those that feel insecurities with themselves, to give them that confidence to feel good in their own skin. To break away from the image that every body type has to fit into a standard ideal, Hirakubo really wants her customers to embrace themselves.

In order to reach a wider customer the company expanded their online business and has a QVC presenter who represents the brand with the company mission of encouraging women to embrace themselves. Sales staff are not only selling the products but fitting and consulting and semi-customizing the bra to suit their customer, everything from strap length, to removing or adding pads for the customers preference, a customised personalised experience which is the DNA of the brand.

The customer’s voice is really at the heart of shaping and developing Bradelis. The bra has 15 patents on their pieces. One of which is the three-layered tunnel support on their bra. It supports from three sides, including the front of the breast, so it creates shape but with comfort. It doesn’t cut into the skin but rounds the skin with no underwire needed. The cup is almost in a smooth curve, there is so much detail in each component. Wireless but still giving support, holding up, but not with any wires that are going to dig into the skin.

Model wears seamless push up bra.

The company is always listening to their customers feedback, what they need and then incorporates that into the development of their pieces. Every season, there’s new developments, perhaps tiny things but always putting the customer at the forefront and having their voices heard and not trying to standardise the woman’s body.

Hirakubo chose New York as the city to set up the company in the US because it’s a creative city, has a confidence to the city that resonates with the brand, reflecting Bradelis own ethos.

Lingerie really can change how a woman feels about themselves. When Hirakubo was at the store and she heard the customers from the fitting room speaking about their positive experience of trying on a Bradelis bra from the changing room, it really touched her. Hearing the confidence coming through, not realizing they could look and feel as confident as they did in the moment of discovering the brand. An inner assurance, a quiet confidence they can carry with them.

Comfortable couture and inner confidence. Something every woman deserves.

Price range is $42 up to and up for more decorated couture pieces.

Find Bradelis at:

IG @Bradelisny
www.bradelisnewyork.com
Stocked at – Flying Solo

Photographer: kenji shibata @k_shibataphotographyworks
Hair & makeup Stylist: sonoko @sonokopper_hairmake
Talent/Model: Matilda @matildanavratil

A MOTHERS GIFT- BY LOLITA

3/20/2025

Stacy Fan with designer, Melina of By Lolita

I'm here in New York to interview jewelry designer Melina for my Flying Solo designer series. As I walk to the end of the store, I find myself standing in front of the designers stunning statement jewelry. Her brand, By Lolita. Melina is wearing a denim shirt and jeans. An ensemble that is so elevated because of the jewelry she’s wearing, of course pieces she has designed herself. A pair of gold dangly earrings incasing a stunning red stone inside that matches perfectly with her red hair and thoughtfully chosen red lip, as well as a long cross necklace layered with another longer gold embellished necklace. The look is cool, chic, but authentically Melina, making it look effortless at the same time. I can already see her jewelry tells the story of who she is. Her pieces say something, they're bright, colourful and without doubt become the focal point of an outfit.

Within minutes of meeting Melina there’s three things that instantly standout to me about the designer, clearly her deep passion for jewelry, it’s been there her whole life, her love and closeness for her family, her mother and son are both her inspiration and driving force and that she was always meant to be here, designing. By Lolita is the embodiment of Melina.

Born in New York but with roots in the Dominican Republic (both her parents are from the Dominican Republic), Melina started her brand 8 years ago. The designer tells me, “I basically grew up in this world. My mom has been a jeweler for 30 years. She inspired me to start my own brand as well.”

Designer Melina wearing, By Lolita

Jewelry was always what Melina wanted to do, but she did try and venture into another career before starting her own brand, “I went to school for Criminal Justice, to John Jay College. Just to make my dad happy”, she laughs, “But deep inside I always knew I wanted to do something with jewelry or fashion, that was really my first love. It was my mom that was really the one who inspired me, her iconic looks back in the 90s and 2000s, she was always the flyest person in the room, she really was. And in my culture it’s really who you are and it tells a story without you even having to speak.”

I couldn’t agree more, I’ve always said fashion is a language of its own, Melina indeed told me so much about herself as soon as we met, even before saying hello.. “Just because of what you’re wearing, people really can relate to that certain piece. I really feel that’s such an important way to connect with an individual. I’ve always just been obsessed with the art of jewelry as well. I have a lot of pieces from my mom, I used to wear her name necklace xoxo, it was such a thing back in the 90s. My dad actually gave it to her and I would wear it all throughout high school. And her name earrings and rings, my dad’s rings as well."

Clearly, Melina has always loved jewellery, ever since she was a young girl. It's in her blood, “The style of the 90s and 2000s actually really inspired me to start my brand because it was everyday pieces, that was my inspiration to start and the things to sell. A lot of chunky rings, a lot of layered necklaces a lot of hoop earrings. Where I grew up that’s what everyone was wearing. And my cousins and my aunts, everybody was just so into jewelry. Even now, but back then everyone was just really into the fashion and that scene. I grew up with my mom selling jewelry in the salons. She would sell jewelry in these types of stores, boutique stores in uptown in Washington Heights. I would go with her to the salons or to the store and I would just watch her. So she was really my teacher in how to do business, how to sell, how to market myself and how to market my brand.”

Her mom really has been integral to Melina, shaped who she is and helped her with the inception of her brand.

I actually dedicated my last collection to her. It’s called, El lagado’ which is, the legacy, in Spanish. It was me giving her flowers, because she did so much. She provided for all four of her kids and it was time. To let her know, ‘Look what you did for us and where your legacy’s taken me’. The seeds that she planted, now she’s able to see that grow.”

Melina with her mother, the muse for her collection El lagado

Melina gets her phone, “Let me show you pictures. It was literally the most liked collection.” Her mother is stunning and the relationship between mother and daughter shines through in the photos. The photos are from the campaign, “My mother was my muse for that collection”. “I feel like these pictures are so timeless. I will be able to keep them forever.” One picture is of her mother placing a necklace on Melina’s neck, “She’s putting the necklace on me, passing down the throne. It really meant a lot.” Melina shows me her mother in the 90s clearly a real point of inspiration for her, both her mother and that time period.

Another chapter in Melina’s life that changed her was becoming a mother “Back then I would just release things randomly but after I became a mom, that changed me so much. I created a structure for myself and after I became a mom I created my first collection which was called, ‘The World s your Oyster’ and I dedicated it to my son, Valentino. My son has changed me, I love him so much, I see myself being a mom in every lifetime for sure.”

“After that I created six other collections and I just feel like every collection I create I’m peeling off a layer of onion, of who I am as a person. I go through so many things in life and situations, when I travel, the people around me. They just inspire me so differently, everything in my life inspired me in a different way. And I just start creating and creating to create a certain collection. It has been life changing after creating collections. Because people are able to identify and relate because people love the story telling of it all. I love creating collections now, it’s really my thing.”

Melina is currently working on two collections, “I’m releasing one this month, ‘The Cherry on Top’. It’s going to be about cherry’s, tapping into your muse, your inner goddess. Feeling your best about yourself. And then my next collection is going to be called, ‘En La Lucha’ Which is everyday pieces that you can wear. In Spanish En la lucha is a Dominican saying, when people ask, ‘How are you doing?’ they respond, ‘en la lucha’, working, hustling, providing, we’re here every single day but we’re going to make it happen.” A sentiment that Melina is clearly living by herself.

"I’m also moving to wedding….brides!” Melina says smiling, "ohhh" I say.. “Everything? Earrings? Bracelets? Headpieces?” Melina replies, “Yes, yes.. I’m thinking about headpieces for brides, right? I’m going to give them everything.” I immediately think as she says this, there isn’t enough standout bridal pieces for brides, “Yes! Especially if it all ties together” I say, Melina replies, “Yes giving them a certain look! I want to release these first two collections first so I can start working on that, because I want to give it my all. I want to do pieces for woman, that’s the important day in their life so I want to make that happen.”

Instantly I can see that her pieces are going to be a unique style for her bridal collection. The pieces in front of me are real standout pieces, beautiful colors and statement pieces, I can imagine a stunning headpiece as a bridal center piece. Would you include color in there? I ask “I want to! Emeralds, ruby’s, colors that mean something to them. The bride is able to identify with them, like a birthstone or something like that. They can use that as an heirloom and pass it down. I’m very excited about that collection.” Melina says smiling.

You truly get the impression when talking to Melina a huge reason she loves to design jewelry is to make women feel the best they possibly can about themselves and making that possible to a wider customer by keeping her price points accessible, starting from $50 and going up to $150 "I want to keep the prices affordable, even though they’re luxe pieces, they are maximalist pieces, you won’t see them anywhere else, I still want people to afford them and wear them. People say, ‘You could sell that piece for $300’ but I always keep people in my neighborhood in mind as well."

The margins are a little bit lower but I feel good that everyone is going to be able to afford it. I curate pieces with the best material to be long lasting. I started 8 years ago and I still have clients coming up to me telling me that they still have pieces from 8 years ago.

Melina continues, "Most of my pieces are statement pieces. But I feel like I started with both maximalist pieces and simple pieces, but now I have pivoted into maximalist pieces. I feel like there isn’t that much maximalist jewelry." Melina says. “There’s a lot less” I agree “And it draws back to your roots, that the center piece of whatever you wore was around the jewelry, that was the starting point of your look.” I add, “Yes! It was everything, I remember in high school I was the girl in high school with a whole bunch of bangles. I was the girl wearing the trendiest jewelry. I look at my pictures I’m like wow, I really was that girl in high school! I remember in college before I even had my business I was already selling jewelry to my classmates, because they were just so obsessed with my pieces, pieces I’d made and pieces from my mom as well” Melina laughs, “I would take her pieces and sell them to my classmates.” Clearly this was a business she was always destined to begin. “That’s what also really pushed me to start my brand, people just asking me constantly, ‘Where can I get this?’ or ‘Can you sell this to me?’ So my friends, and people around me really pushed me. Even when I worked at Zara, I would sell jewelry to my co-workers, so insane..!” We both laugh, "Well they are stunning pieces. Your little babies” I say, “Literally! I feel like, By Lolita was my first baby.” But now I changed it, Valentino first, By Lolita second” Melina gives a loving laugh. Yes, I think, as we wrap up, a mother in this, and every other lifetime.

By Lolita: IG @bylolitajewelry
Available at: bylolita.com
https://flyingsolo.nyc

NEED IS THE MOTHER OF INVENTION - KREYA BAGS

3/17/2025

Stacy Fan with Kreya Bag designer, Kulveen Sarna

Need is the mother of invention…

No truer words were spoken when it came to designer Kulveen and the launch of her handbag line, Kreya. I’m at Flying Solo in New York to meet the next designer in my Flying Solo series.

As we approach the display of Kulveen's beautiful handbags in front of us, the designer says “Do you often carry a tote bag and do you feel like it weighs you down? “Yes” I reply, thinking, all-the-time.. “Well, it’s a universal problem, but our bags are meant to be multifunctional so you can turn them into a backpack and so it still looks put together, it still looks chic but you’re not dying on one shoulder while you’re walking around, or traveling or whatever you need to do. So the whole philosophy behind the brand is multi-functional but beautiful. Things don’t need to be one thing. We’re very complex human beings so our fashion should also reflect that and I’ve always been passionate about handbags. So even our crossbodies turn into shoulder bags by changing out the buttons on the side so you just swipe it down. As you use it the leather just becomes softer, so I do this while walking on the street. I call it errands to dinner, or brunch."

I love it when designers create pieces or accessories that fill a need. Something that makes like just easier and if it's stylish, even better. The bags are suitable to wear on your back around the city or at the airport and then with one simple move later will have you swinging it into work with style, they are made of the most beautiful leather and the new items in a nylon fabric.

"So the thought behind this started for me in college. I went to college in NYC and I would carry 2-3 tote bags with me and walking a mile to class. And at some-point my dad came to visit and he was so distressed by it he bought me a tec backpack and I used it whilst he was in town and then I ditched it because my friends, said, it’s not cool” Kulveen laughs. "I took an accessories design class in college and it kept coming back to me, so that’s where the initial protype started."

The prototype was a backpack that had multiple pockets including those for your phone or passport, a padded compartment for iPad or laptop enabling you to carry all of your items in just one place.

A Kreya bag that goes from backpack to tote in one quick step.

Kulveen says, "It's like, how do I look put together but how do I not die from back-pain? I left it alone, and in my head had done my problem-solving exercise and then I went on to work in the world. I started working in fashion, pivoted to advertising, so I was very corporate, but I felt like, I still needed this item that I designed at one point in life. Anyway the pandemic hit, and I just got back into it. I found the prototype I made, and made it technically better. I spent the winter of year 2020 into 2021 doing that. I felt like the need hadn’t disappeared but I felt like once things came back to normal people would still need it. And it was so good for travel and across the board. I really wanted to solve the problem. And that’s when it came together.”

“I spent months trying to figure out the design, the technicality of it. I’d taken one pattern making class in school with handbags and so I had some understanding. But did I know the technicality of leather production? Absolutely not! So at one point I quit my job and really fully went into figuring out a way. So I launched in November 2022. It took me a year post quitting my job to get it off the floor. It’s been really wonderful.”

Kreya Bags, compartmentalised pockets to keep all your items organised.

It's not immediately obvious when seeing Kulveen’s beautiful and innovative bags, but her and her family’s heritage has played a huge part in not only the inspiration behind her bag line, but she has so beautifully physically interwoven a part of her family’s roots in the bags.

“All of the dust bags are handmade in West Bengal in India which is where my mother family moved to postapartheid in India. I’m ethnically Punjabi. It’s very complicated, Punjab was split into two, half of them went to Pakistan half went to India. Both side of my family are on the Pakistan side. So everyone was displaced. My dad’s side are in Deli and my mom’s side are in West Bengal. Ethnically we don’t look like we are West Bangal and I don’t speak the language (my parents do) but it’s that diaspora kind of effect. I just wanted to play an ode to that.” Kulveen tells me her mother’s parents are the closest grandparents to her and have sadly now passed away. She pulls out a picture to show me, “I have a picture of my grandpa” The resemblance is uncanny. “It’s going to be ten years, so I miss him a lot. But it was my way of keeping that West Bengal, even though technically, in the politics of India... but I still have so much of a hold to West Bengal because of all my time spent there. So that was my way of adding that into something, that obviously means so much to me.”

The Aurora bag in brown leather.

It's this clear love of her grandparents and a longing to pay homage to them and her heritage that sets Kulveen’s bags apart from so many others. “My parents immigrated here; I did spend a couple of years in India where I really got myself immersed in my culture. I was in high school (when I went). It was the most beneficial thing in the world because I really got to spend time with my family and my grandparents. I got to be immersed in the culture and there’s so much in textile and design and fabric in India which is so amazing and to actually see all of that happen in real time. You see the embroidering on the loom and all of that. So that was really beautiful. And I knew in my heart I wanted to pay a tribute somewhere, somehow. So the dust bags were the best way to do it. Hopefully in the future we’ll find ways to bring that into the actual handbags.

Kulveen launched her line in 2022 with four bags, they’re now expanding in both style and colorways. Kulveen has been so incredibly thoughtful when it comes to the design of her bags. The inception was creating a technically functional bag that looked stylish whilst being practical, but she’s also been thoughtful with inclusivity when considering her consumer.

“We launched a new bag about a month ago. These are in nylon. A version of the Aurora backpack / tote bag. This is the new version and the fabric is called Nova, and it’s a nylon and they have adjustable straps. So the biggest thing I love about doing this is that I always want to be inclusive. This brings in inclusivity in terms of price point, it also brings in inclusivity in terms of sizing. Sometimes you need more room under your arm, sometimes you need more room against your back. So we’ve brought in the same design detail as the crossbody here so you would adjust your straps with the buttons, but you can go as you need. So all of that thoughtful design (is there). All of our bags have a phone pocket. Our backpack tote bag has it one side and in the crossbody it’s in the back.

The Aurora bag in Nova

“For travel this bag is wildly popular. You can take the kitchen sink in here but it still looks compact, it doesn’t look bulky. I’ve had a lot of customer’s feedback that they love this for travel. This one comes with more compartments. A built-in laptop sleeve that you can fit your laptop into. A whole bunch of things. We have expandable snaps on the side so you can expand it.”

I take a look at Kulveen's own bag, and she has indeed managed to carry a lot in there. More than I would have guessed looking at it from the outside! "This is when you get to see my kitchen sink..." Kulveen jokes.

Next month we’re launching more of the bags in canvas. It’s hard to find things on the market that are minimalistic, but still functional and put together. You can wear it to your meeting as a backpack and then when you get somewhere you can use it as a tote so you can just feel a bit more put together.”

Kulveen is clearly incredibly intelligent, culturally rounded and I love that she has used the technical side of her brain to create something that blends both her love of fashion with her more logical, scientific way of thinking. Blending the two, she’s created something technically beautiful and chic, and certainly fills a void in the market.

“I was in every art class in school. I dropped science to take a pottery class” Kulveen laughs. "I was also very brainy but I loved art and expressing myself. I went to Parson’s for undergrad. Went into the fashion program, but then I missed the other side of my brain, so I switched my freshmen year, so I switched to strategic design and management which was their design thinking program. So I got to do everything I like to do. I got to be creative, I got to be analytical. And I think it’s always wrong when they say creatives can’t be analytical, I’m like uhuh..take it back, take it back, because that’s not true. So this was a perfect fit for me. I got to do my accessories design class.”

Kulveen has always loved bags, “I used to carry my mom and aunts’ handbags all around the house as though I was going somewhere. At 8 years old or whatever it was, I would always be into their stuff. I always going to Claire’s and find little bags to carry around. So I’ve always loved handbags. Then I kind of switched my design thinking to advertising and I ended up in pharmaceutical advertising so I did like a 180 sort of spectrum, what’s going on…! I missed it. I missed being creative. I got to work with a lot of creatives but I just missed being creative myself. I would do things on the side. My eye was always on the runway stuff, my ear was always on the ground. But I was always a little bit removed from it.”

The new Aurora bag in the new nylon fabric.

A flair for fabrics and fashion clearly runs in Kulveen’s family, “My mum has this insane ability. She’ll touch a fabric and she’ll know exactly what it is. And I’ve always loved shopping with her. Especially in India over the summer break and she’ll be like this is poly, this is pure, this is chiffon, this is silk something. And I’d always be like, ‘wow’…!”

"So she grew up in a world where you got things made and that was what you wore. It wasn’t like the fast fashion world we live in now. I’ve always been around fabric."

In a world where we are so often judged by what we look like, what our religion, culture or heritage says about us has most certainly played a part in Kulveen starting up Kreya Bags. That desire to always represent yourself in the best way possible.

“My grandmother, both grandmothers were really into fashion. My aunt, all the women in my family. But the men in my family also really care about the way they present themselves to the world. I’m Sikh, my faith is Sikhism and all of the men wear turbans.

So we sometimes talk in my family, when you look so different than everyone else, it’s so important to put your best foot forward in how you present yourself to the world and that breaks down a barrier a little bit. It’s funny, it’s just been around our family all the time. Being put together, looking good in front of the world and also expressing yourself in that way. So that’s always been in our system.”

Giving back is also hugely important to Kulveen, even as a new company. "We like to donate to organizations in India. One of the organizations we have donated to a lot is Palsa Aid. It’s not limited to women and children but they go to areas that are in conflict and go to help them with food and shelter and all of that. That is an organization near and dear to my heart."

Created with heritage and heart in mind, whilst being centred around inclusivity and functionality, Kreya bags are certainly filling a void. And in a time of needing to put our best foot forward, and perhaps breaking down a little barrier, Kreya bags are here just at the right time.

Kreya Bags are available at :

Flying Solo
www.shopkreya.com
IG: @shopkreya

THE CINDERELLA EFFECT WITH CELESTE VICTORIA

3/13/2025

CELESTE VICTORIA

Stacy Fan with designer, Celeste. Stacy wearing a Celeste Victoria piece.

When I meet Celeste at Flying Solo, she has an undeniably beautiful energy about her. Wearing a stunning black top (her own design) her collection is a true reflection of herself. Glamourous and striking yet approachable. As we make our way upstairs to see her collection, Celeste tells me, “Celeste Victoria came about, especially the name of the brand (because it was) me incorporating myself and my grandmother, as she is the one who taught me to sew as a young girl. So when I was coming up with the name of the brand, I wanted to pay tribute to that and create a name that was worthy of my clothing and her legacy. So Celeste is my name and Victoria is her name."

Celeste’s story and road to becoming a designer, unbeknownst to her at the time, began when she was just two years old.

“I was born in Jamaica, in St. Elizabeth. I was two years old when I moved to stay with my grandmother. I lived with her for the early part of my life, between two and ten. within those periods it was really.. it was hard. But I didn’t understand, actually I didn’t know it was hard, but I learnt now that it had an effect. She already had grown kids, and you know, here I am, this brand-new little baby and my dad had to leave me with her so he could do what he needed to do for the family."

However by Celeste spending her early years with her grandmother, a seamstress, ultimately ended up being one of the reasons Celeste became a designer. "She was a seamstress, has always been and I remember every weekend, when we would go to the market, she would make bedding, I mean everything. My clothes she made from scratch. Everything I wore from age two and ten was from my grandmother. I mean, I didn’t even know they made clothes… “ Celeste stops and places her hand on my arm, leaning in and with a surprised smiling face, exclaims, “I didn’t even know there was actual real clothes!” I laugh along, “Wait there's a shop?” Celeste laughs. “Like no… and a designer? What is that?”

“She taught me the basics of sewing when she was doing it, how to thread the needle. And it was an old school sewing machine, you know the ones with the peddle? I had to sit on her lap and she would do the peddle and she would show me how to thread the needle and stuff.”

After seeing her grandmother the last time in 2021, after the pandemic, Celeste says, “I started just going hard at the fashion, designing. And 2022, life has changed, you have to become more serious. Before I was always in fashion, I sold in the vintage market, in the flea market in NY, that was my fashion. But this part, I kept it under wraps for a long time, because I’m self-taught. So I wanted to take my time and really develop what it is I want to say to the world before I put it out there. And I was very comfortable with my day job and I didn’t want to complicate my life because I loved my freedom."

Having been a flight attended, Celeste certainly had freedom, a view of the world that has undoubtedly given her an even greater perspective as a designer. But giving up that freedom was a hard challenge for her. “You don’t have a lot of freedom when you decide to step outside of being just an employee and becoming your own boss. And as a small start-up in fashion, oh god! So I wasn’t ready, but the pandemic forced me to be. After that it was just tunnel vision.”

“My collection is the progress of my design. I started out with evening gowns and that was for me, the dream. The grand moment of everything. It was me escaping my reality and living in that bubble and thinking about what my future will be. And it will be the woman, that steps on the red carpet in these beautiful gowns that transform you.

It’s a Cinderella effect. And the moment you put on my dress, I promise you, you will have that feeling.”

Celeste Victoria's pieces are beautifully structured, the piece I try on at the end of our interview is transformative, as promised. The construction perfection, and as intended able to be worn almost any time of year. Paired back to the matching skort, worn with jeans to instantly elevate, or for almost any season if you layer a roll neck knit underneath. A timeless piece that will see you through every season.

“As I grew and I taught myself more, and now that I’ve lived that dream. My dream has become that reality and now I wanted to share a little bit more of that with a larger population. So I started to scale back with the evening gowns and getting in to that ready-to-wear market so I could touch every person that wants the dream. And you could own just a small piece of my collection. And I call it that small luxury. You don’t have to have everything. You just need one small piece. And all of my pieces most likely break down into individual pieces that can be worn together or separately. So as a matter of fact, a skirt was ready-to-wear version of the evening gown that I showed with Flying Solo in Paris, 2023. This was the (fabric from the) closing piece" (a gold jacquard brocade material).

“Then I decided to create something a bit more wearable for everyday to go from day to night depending on how you style it and I came up with this piece.” (a stunning skirt that could be paired with a t-shirt and a flat for the day or a bralette for a stunning evening look).

“As well, it was the first time I was introducing more of a ready-to-wear so a lot of people didn’t expect it. And I created this top, a halter top in horse print) and a pair of pants and I put it down the runway. And even my friends were like, “Who is that? I don’t know how that is?” Celeste laughs. I said, "Not to worry, I am coming, ok!”

“Also I chose this print because I love horses, but I’m also a lover of great prints. I gravitate to prints and it just tells a story for me and it goes back again to how I started with my grandmother. She really, really just gravitated to a lot of really great prints that she sold every weekend in the market, and that’s how I got into fashion altogether or even in to fabrics. They are all meant to be worn individually or separately. And you can just break them down and you add your personal pieces to it.”

“I made everything that I have, to be worn with your personal clothing, because I love fashion. I can’t just wear my clothes, I’d be bored! So of course I need my wardrobe, other designers, pieces to be worn seamlessly with my design. That’s what I try to do. I mean I live in New York, I’m not going to walk around in stilettoes hardly ever, so I made things that could be worn with sneakers or chunky shoes.”

After moving to America, Celeste lived in Atlanta, Georgia where her father was a chef, but Celeste later made her way to New York. “I wanted the American dream” she tells me, “It was Sex and The City, New York. I didn’t know anyone here! I didn’t even know where New York was but I was going.” Figuring out a way to be able to see the world by becoming a flight attendant, another decision that has certainly changed Celeste's trajectory in life and sculpt who she is as a designer.

“When I was 15 years old I remember meeting this guy and he’s like, you’d make a cute air hostess. I said, ‘What’s that?’ And he said, 'You know those beautiful women who fly on the plane' and I said ‘no', I’d never even been on a plane."

“I didn’t know what I wanted to be as a child, but that stayed in my mind, and I remember, I was at an academic school and they only had one art class, and I was like the number one queen of art class. I knew I never wanted to be a doctor, I’m just not that kind of person. And so I just needed something to hold on to, so when the year book came around and I needed to write down what I wanted to be, I said, 'I’m going to be a flight attendant'. I started applying and I moved to New York.”

In 2020 a curve ball was thrown at Celeste. She was due to go to Paris for a year, “I was going to do a year of learning but then that blew up in my face so it was either going to ruin me, I was very hurt, or I was going to keep going and at the end of 2021 starting 2022, Celeste started getting serious and stepped out of her 'bubble', “It’s time.” She says with a steeliness.

But it wasn’t easy. “You’re talking about leaving my handmade stuff in a store for people to tear it apart. Eventually you have to let go, and you’ll grow and that’s what I did. And with Flying Solo, I saw it on IG and they got back to me and I thought, 'What? I’m going to Paris for fashion week?' It was my dream. And it was the right time."

Having travelled as much as Celeste has and lived the life she has, I am sure I know the answer, but I ask anyway, "What is your main inspiration when it comes to your collections?"

“Life! I need to experience, feel something. I need a reason. It could be something as small as, we’re standing here and looking out the window and someone walks by with an energy, or something that they’re wearing and it just tells a story and I’m just alive. But for me I need life. I need travel. Travel for me, is probably the biggest inspiration. Whenever I go somewhere and come back, I’m inspired.”

I ask Celeste one last question before we wrap up, so curious now about her grandmothers heritage, her story... "Your grandmother, do you know how she learnt to sew?”

Celeste pauses “I don’t…” she says with a look of surprise. “But you know what? I’m going to have to call her and ask her! I don’t know…I don’t even know what her mother’s name is now that we’re talking about that. I’m going to have to ask her about that. She is 92 years old. She’s still in Jamaica. I never thought that this would be my life. I had no idea. But I am so grateful, I am so grateful. I don’t know who I’d be if not this. This is just who I was meant to be.” Looking at Celeste's collection, the passion and fire in her eyes, I couldn't agree more.

I add, “She really has helped inform your future career, of who you’ve become. Seeing all this in front of me here, the talent, the skills she passed down and you carrying it on, she must be so proud of you..”

“She is, ugh, she is” Celeste says, clearly with a full heart, “I actually really need to go and see and that’s what I plan on doing immediately.”

Find Celeste Victoria at :
Flying Solo, the showroom
Online at https://www.celestevictoriany.com
IG: @celestevictoria_ny
Photo Credit: Jordan Tyler. IG: @jordantylerphotography

FLYING SOLO- 2025 : ELIZABETH SOLOMEINA

3/12/2025

Stacy Fan with jewellery designer and founder of Flying Solo's Elizabeth Solomeina

There’s no question, fashion is one of the hardest industries to break into. It’s cut throat and at least to start can feel like there is very little community. Huge funds need to be available up front, to make the collection, have a space to sell the collection, and a runway show? You’re talking $50,000-$100,000 USD.

So the solution? Flying Solo…

I first interviewed Elizabeth Solomeina, jewelry designer and founder of Flying Solo back in 2017. They had been open almost a year, and I found their concept completely inspiring.

Initially Solomeina had started the store with the idea of creating a space that serviced independent designer as a pop-up store. A place to create a customer base. As a jewelry designer, Solomeina had wanted clothes to sell along-side her pieces and also wanted a strong community feel. The idea soon grew from a three-day pop-up store idea to a full brick and mortar store. Designers loved the idea and as new designers came on board, Solomeina ended up eventually needing to move to a bigger space.

Their designers literally built the store. Designing it, home-depot runs, plumbing, literally putting it together themselves and in doing so, they created the absolute epitome of a community. Finally when it was set up, the designers would help with sales, curating the store and when their customers came in, give them the full history of their brand, and show their customers with passion how each piece was made and the inspiration behind the collection. Almost like a gallery of fashion if you will, but one where each piece is available to buy and customers had the honor of meeting the designer themselves.

In addition Flying Solo also pulled together with their designers to put on a fashion show and have done so every year since. And not just in NY but in Paris as well and just expanded to showing in Milan.

Just a few of the magazines, Flying Solo has been featured in. The space, downstairs in the Copper Showroom, where magazine shoots as well as other collaborations take place

They even opened up a Paris store in 2023. "It's been a long term dream for us, because it's Paris! We wanted to do it before covid but then a lot of things happened so we ended up opening in 2023. It's a gorgeous store, it is a little smaller than this one, but it is quite big for Paris. We have a two level store, we have close to 50 different brands there." Solomenia says.

"We continue to do Paris fashion week there. We also added Milan to our shows, so we’re going to Milan again this September. Over all, we just keep growing. We believe growing day by day, every time designers come to the stores they leave with this amazing feeling of they’ve arrived to a big stage. We want to make it all for them."

Flying Solo in New York

Having been there from the first store, Solomeina says, "You remember when all the designers had to do everything for themselves, the co-op (model)? Of course we changed it during that time. It wasn’t possible to have all the designers under one roof. Not everyone lives in New York. The majority of us don’t live in New York, but we’ve always wanted to create that sense of community, so they come to our shows. That’s the time we have the most number of designers in one place under the same roof."

The support and community feel that Flying Solo give is unmatched, "We do the majority of the work for them but the same rule applies. The show was always ‘By designers, and for designers’ And the majority of our crew are still designers. The original crowd that know how, maybe nervous or painful it is to do your first show or how hard it is to put your first collection out there, for people to judge, but we are there to support them. We are there to say to them that a lot of brands come back season after season. There are a lot of brands that stay in the store forever. And they do see a lot of value in us, and how we treat them. And we grow together, honestly. Everyone I saw at fashion week, there were people who had been with us since the Mulberry store (their first store). They, for instance only do shows now. For many reasons, they don’t want to be in the US market, they just want to do shows. But they all say how far we’ve come altogether. Starting from those small shows, to gigantic shows that are covered by a lot of press."

Elizabeth Solomeina after Paris Fashion Week

The tenacity that Solomenia has always shown has been so impressive, so although Covid was their "hardest test" I had no doubt that she would do everything to survive, I ask Solomenia how she got through that time, when so many others folded?"

“Honestly, the power of community was the most important thing, because reality, Flying Solo wasn’t just another store. Even though times were tough, designers stick together to make sure that we will still survive all of that, so 2021 was better than ever. It made us feel stronger as a group. Everyone was so ready to come back and we did everything that we could to open as early as possible. Funny story, the only way you can open earlier is if you were selling masks. We had a sewing machine downstairs and some fabric. so we actually started making masks. It was the only legal way for us to open. The smaller designers need to stick together to figure out a solution and because it was a shortage of masks it was quite a successful way for designers to make some money, so we did..."

Flying Solo were then able to open three weeks before everyone else could. And not only did they open, they continued doing NYFW.

"The Covid shows, in 2020, we did outdoor shows. September was fine because the weather was good, but then February came and everyone is going, ‘You’re going to skip the show right?’ And we said, 'There’s no way we’re skipping it..!' And everyone is saying, how are you going to do it, and on top of it, in NY they basically closed all the venues and said you can do stuff, but outdoors. So we’re like ok, so the only option is to do outdoors, so we’ll do outdoors. It was quite brave. At the beginning the designers were like, ‘Are you crazy? Are you actually going to do it?’ We’re like, what a lot of people do not see, is a lot of shows will not go live. It will actually be very few. By doing it, we’ll get a lot more attention to ourselves. And that year, it was only four shows that went live in that entire fashion week. Because it was so miserable everyone had to do it outdoors. So we did, and we got so much press. And people were just in awe that someone could pull it off. We just kind of said,

Fuck it..’ it’s us against the world anyway as a small designer, so it’s nothing new. It’s how we started.

And it's this kind of thinking that has made Flying Solo such a huge success. Fashion week was still officially on, but the amount of people that came even shocked Solomenia, "I didn’t expect so many people would come to support us. It was very cold that day, but our rooftop was full of people, they did not leave. We did four or five shows and they did not leave. And yes we were very cold by the end of it, I don’t even want to talk about the poor models, but even they were like, you know what, we need to do it, for the sake of everything. For the sake of designers, the industry, morale.. they all did it. And they said actually it was the funnest thing. Even the designers themselves, they didn’t even feel cold themselves, because they were just so excited that we were doing it. That we somehow against all odds that the show is happening and we’re here together. We kind of expected a few would show up, might as well but I said, no guys, we’re all going to do it, trust me. It’s going to happen. No matter how hard it’s going to be, our team will do it. And you should join and we had a really big show that time.. So we did it!"

A glimpse of a masked up, bundled up audience watching Flying Solo's show during Covid.

"I think what it taught us that no matter what, we’re going to survive. You can throw us the craziest thing and we’re still going to figure it out. We still do shows outside, only in sepetember, but when our designers ask us, what if it’s going to be bad weather? What if it rains? I say, we did it in snow, in cold, we did it outside in February. So trust us a little bit of rain, a lot of rain, it’s really not going to kill our show. We’ll figure it out."

It's amazing how Flying Solo, despite the growth has retained a community feel. Solomeina says, "Although they aren’t working in store anymore, we encourage them (designers) to come in, a lot of designers will do events here. We do a lot of community things, so we have what we call, The Flying Solo Club, so once a month or once every other month and we’ll get together and host a dinner here or we’ll go out altogether. And do a party in another place, or collaborate with another venue. So basically for the purpose of maintaining a community, because again not all of us live in NY anymore. This is the way we grow, we cannot possibly only choose designers from NY. That would be quite limiting, The essence should stay the same of Flying Solo, by designers for designer, designers supporting designers and we’re always collaborating instead of competing."

As for the shows? "The production becomes so much easier for them because you already know how everything needs to be done. So I think this show (NYFW 2025), was the best one yet. Definitely the smoothest one yet! And we’re very happy about it. We just keep growing."

As for Soloemeina's own brand, "I’m developing two lines. One which is this (the more ready to wear), and one is bespoke. Which is one of a kind with baroque pearls. There are only four left, the rest sold out. They’re for different clients. The RTW is more affordable price points, easier to wear everyday, the other are more for special occasions, although you can probably wear it for work!

Pearl ring by Elizabeth Solomeina, cuff by Flying Solo OG designer, Iza by Silvia Davila.

Flying Solo is located at :
419 Broome Street
Flying Solo IG: @Flyingsolonyc
Elizabeth Solomeina : Solomeinajewelry

With thanks to Bayr Ubushi

INTERVIEW: PAUL TAZEWELL - OSCAR NOMINATED COSTUME DESIGNER FOR WICKED DISCUSSES CREATING THE WORLD OF OZ. - #SKETCHTOSCREEN SERIES PART ONE

3/1/2025

Today's Sketch to screen Panel for 2024's movies (L to R) Oscar Nominated Costume designers Janty Yates and David Crossman for Gladiator II, Arianne Phillips for A Complete Unknown, Lisy Christl for Conclave, Linda Muir for Nosferatu and Paul Tazewell for Wicked.

Every year, the day before the Oscars, UCLA host a Sketch to Screen series moderated by Deborah Nadoolman Landis. It's a chance to hear the Oscar nominated costume designers speak to their experience of working on the movies nominated, a sneak into the world they created, the thought process behind it, and the time (or lack there of) that they had.

When a movie is created, one of the first things that brings it to life is the wardrobe the characters wear. The clothes they inhabit speak so much to who they are and the world in which they inhabit. It can express their aspirations, where they've come from, where they're going and just how they identify, before even a first word of the script is uttered.

This couldn't be more true than with Jon Chu's screen adaptation of Wicked. With its huge fan base and spectacular set, the costumes were designed to match.

Here Paul Tazewell talks about his experience working on Wicked. How he navigated bringing the world from stage to screen; what his worst moment on set was, as well as his biggest win.

Photo credit: Wicked Instagram

NAVIGATING WICKED FROM STAGE TO SCREEN.

When I was asked to design the costumes for Wicked, first, I was delighted and then I went to Susan (Hilferty, costume designer for Wicked's stage production) out of respect, to get her blessing. I knew there was going to be some element that needed to honour what she had created.

We sat down for dinner and we went through that whole process. If you think about Hamilton, to have someone else design that for screen it would be hard. And what I realized, it’s a different experience. And that’s what you know as a theatre designer.

When I was asked to design West Side Story for Steven Spielberg, it was similar. To have this beloved piece, from the 60s, that everyone loved. I loved it, it’s one of my favorite films. And one of my favorite designs, by Irene Sharrif and the way she uses color to underscore what is happening and I embraced that as I was designing my production of West Side Story but from a different brand.

I’m going to see design differently. We all see design in different ways. And I wanted to inspire the same feelings that I got from seeing the original film and then thinking about Wicked that’s the exact same thing. I am hopefully tapping into this huge fan base of Wicked from the experience of the Broadway show and acknowledging that, but replacing that with a different visual and it can feel nostalgic, but not a copy of it, and that’s manipulated how I was going to connect the world. And because it’s Jon Chu (director), he has his own point of view on how he sees the world of Wicked, it became easier to imagine a different world. If it was the same director it would be more difficult. But with someone who was tasking us with creating a brand and vision of what Oz could possibly be, it was much easier.

Photo credit: Wicked Instagram

In terms of shifting from stage to Broadway, from broad brush strokes to minute details, on shifting from stage to screen, how did he accomplish that?

Tazewell says, "As theatre designers, you’re always trying to manage scale. You design for Broadway, you’re always thinking of detail at a certain scale, versus how you design for a big opera, versus how you design for a Broadway show, so I think you’re always managing that in a different way than you do for film.

But for film I knew that, and this was from multiple meetings with Jon and the production designer, we wanted it to be very immersive, we wanted it to draw the audience in, to believe that this place could possibly exist. In order to do that we had to create rules than governed this whole world. That the design, and each of those rules if you design into the corners and into the themes of all the clothes, really understand what is the potential about the way, about how they design their clothing, how they identify themselves, how they identify themselves in different ways. And we had to decide that so that we could then move forward and design the actual production. But we needed to have a consistent feel the whole way through. So that the audience could launch into it and for the ride. And have that be as consistent as possible.

Asked what Tazewell's worst moment on set, then an "I did it!" moment?

The worst moment was being accused of holding up shooting because our leading lady, didn't...wasn’t feeling comfortable.

She didn’t show up on time?

Erm, she was on time..yea..

"OK was that the pink lady?"

"Who do you have?" Tazewell says, not answering the question.. with a smile.

"OK...and your 'I won!' moment?"

Oh gosh that was all the way through, but probably, it was the ‘pink lady’ coming out in the pink dress for the first time..

ANNA SUI RTW SPRING 2024

9/13/2023

It's been a strange NYFW. Despite being arguably a fairly volatile time, both politically as well as environmentally, it's quite surprising the lack of subliminal messages that designers have shown in their collections. Particularly given that historically, many designers have taken the opportunity in seasons past to show their own thoughts on pressing matters, or even try and evoke some sort of change, the messages thus far have been somewhat quiet.

However Anna Sui's collection took a different approach. Despite the fact that the designer isn't one to usually show layered political messages as the undertone of her shows, and by her own admission doesn't consider herself an activist, this collection, Sui felt compelled.

“One of the most gorgeous sights I’ve ever seen is the underwater coral reefs and sea-life when I visited Australia’s Gold Coast. The reality of this and all the coral reefs around the world disappearing has shocked me into realizing the fragility of everything.”

Sui continues “In 1903 and 1907, George Melies filmed The Kingdom of the Fairies and Under the Sea. My vision of underwater has always been this fantasy world of exotic fish, coral, and mermaids. Who hasn’t dreamt of going 20,000 Leagues Under the Sea or scuba diving like James Bond in the Caribbean, The Incredible Mr. Limpet, the undersea explorer Jacques Cousteau, and more recently, My Octopus Teacher.II”

Sui’s fabrics and prints throughout the collection are a celebration of the sea. Iridescent, fluttery, shimmery, and swirls of colors and tones emulate the dazzling effects of Mother of Pearl and shells. The jacquards are metallic or iridescent with prints on top.

Some of the more unusual pieces, a botanical warp print denim and an opalescent knit. Gingham is beautifully paired with embroidered organza with iridescent sequins. “I love the oversized fish sweaters in pastels layered over giant gingham and glitter print jersey. Giant eyelet in pink and cantaloupe. Mini arcadia blossom printed floral in a princess dress and a boudoir bed jacket. Riviera crochet bathing suits, metallic palm leaf jacquard, and terry cabana jacket and skort are perfect for an island paradise. Kaftans and princess dresses shimmer and shine when mixed with ocean color tie-dye denim, Pisces jacquard and waterfall sequins.”

The Accessories served to create a further cohesion of the collection with pieces including iridescent crochet hats and bags, airy fluttery kerchiefs, over-sized shoulder bags in sequins as well as print and velvet, and mini bags also in gingham, terry, and Mother of Pearl. The John Fluevog sandals are tie-dye leather and the mules in celestial sequins or metallic leather with a conch shell heel.

The jewelry by Erickson Beamon featured shells intricately decorated with iridescent beads and bubbles. Butterfly and rhinestone trim cat-eyeglasses are by Anna Sui Eyewear.

The collection was romantic aethereal and fluid, whilst expressing Sui’s love for the underwater world, and love letter to a world that could be lost. If you would like to learn more visit missionblue.com

Credits

Models:
Heather Diamond Strongarm
Diane Chiu
Sara Grace Wallerstedt
Avanti Nagrath
Dahan Phuong Oanh
Aubrey Hill
Danielle Zinaich
America Gonzalez
Lulu Wood
Yoon Young Bae
Evie Harris
Lyra Westecott
Heather Marks
Jordan Daniels
Enya Davis
Cristina Piccone
Amelia Gray

Photographer:
Raoul Gatchalian
Jonas Gustavson
Gerardo Somoza (@gerardosomozaphotography)

Makeup:
Pat McGrath Labs (@patmcgrathlabs_contact)

Hair:
GARREN for R+Co BLEU (@randcobleu)

DIAMONDS ARE FOREVER- KEVAN HALL FALL 2023

2/18/2023

1950’s glamour and Shirley Bassey’s “Diamonds Are Forever” served as the inspiration for Kevan Hall’s Fall 2023 collection, aptly named FACETED.

As a reworked upbeat version of Bassey's "Diamonds Are Forever", played out, Hall's latest collection made its way down the runway on February 15th, 2023 in New York's West 3rd Club in the Grand Ballroom.

The setting as well as the perfectly remixed music mirrored Hall’s inspiration of mixing iconic silhouettes with a unique twist. This collection capturing the sophistication and aspiration of 50s elegance with strikingly refined pieces, that are both timeless yet entirely current in their aesthetic. Something Hall is synonymous with.

Using a wide color palate of monochromatic black and white, all the way through to ruby red and emerald green, Hall’s gemstone palette was there to match, using everything from Emerald and sapphire, to Ruby and amethyst which he juxtaposed with the softest crepe as well as more luxe fabrics like velvet.

Hall created a unique prismatic effect on many of his pieces by using crystalline structured materials that were used to refract light, creating a stunning gleaming effect on the runway.

Hall’s use of tweed was a nod to Parisian wear. Whilst the high gloss metal on these pieces were used to update the look which resulted in classic pieces with a modern twist. The silhouette of his suit jackets, adorned with gems showcased the collar bone, creating a show stopping evening look that could be styled in a multitude of ways and worn for a beautiful dinner all the way through to a black tie event. A true hero piece in the collection.

Another stand out in the collection was the capri pant and off the shoulder blazer suit that once again balanced timeless elegance with modern sophistication.

The diamond inspiration ran throughout with the use Jeffrey Daniels Unique Designs of Gem Platinum as well as the high-style jewelry which was used with almost every look.

Evening classic glamour, meets Parisian sophistication and understated elegance. Another beautiful and timeless collection from Kevan Hall.

Photo credit: Arun Nevader

Credit : Connor Morgan / 18 Mile Media

14TH PRESENTATION OF THE ART OF COSTUME DESIGN IN TELEVISION

8/29/2022

It’s hard to believe that I’m sitting here in August 2022 still talking about the effects of the pandemic, the impact that it’s had on all of us and the way in which it has changed the world forever. We no longer see the world the same way and in turn aren’t doing things in the same way. Day to day, the way we even attend the office and certainly, events have now changed.

Through some of those darker days of the pandemic, as production came to a holt and theatres went dark, one thing so many of us could agree on, was that art in all its forms, is important. It provides an outlet for dreams, a light when there was so much darkness and uncertainty and sometimes just a place for pure escapism when we needed it. Even providing a means for us to make sense of what is going on around us.

Going back to a FIDM Museum event, this one being the always wonderful presentation of the Art of Costume Design in Television exhibition opening, the first one I’ve attended since the pandemic began, was a special moment. Seeing the genius creations of the costume designers, the collaborations with writers, and sometimes even the actors themselves, recreating eras of old Hollywood, reimagining moments of history, as well as sometimes creating an entire world, all from the beautiful minds of artists, gave us a chance to celebrate those who’ve brought light, joy and entertainment to us with their labors of love, hours of work and talented hands all under one roof at the FIDM Museum.

And Just Like That- Costume Designer: Molly Rogers

The event was a different kind of affair to years gone by, more intimate, a moment to truly celebrate the costume designers and their well-earned Emmy nominations. This year’s exhibition, the 14th of its kind, includes 13 shows that are Emmy nominated for Costume Design and held at the FIDM Museum at The Fashion Institute of Design and Merchandising, in Downtown Los Angeles.

Shows running on traditional as well as streaming platforms are on display, and with a variety of genres, including episodic series, limited series and variety programming.

Displaying a huge range of costumes including period, contemporary dramas, quirky comedy to Sci-fi fantasy, there really is something for everyone.

So if you’re in Los Angeles from now, until November 5th, run, don’t walk to this wonderful free exhibition. It’s your chance to see the work of costume designers from your favorite shows up close. You’ll gasp in amazement at the details and ornate work of these spectacular costume designers in a time where we are feeling even more grateful than ever to be able to go to exhibitions again and see some beautiful art through fashion up close and personal.

Below is just a small peak of what you'll see at the exhibition!

The Marvelous Mrs. Maisel - Costume Designer: Donna Zakowska

Emily in Paris- Costume Designer: Patricia Fields

Grace and Frankie- Costume Designer: Allyson B. Fanger

Black-ish - Costume Designer: Michelle R. Cole

Bridgerton Costume Designer: Sophie Canale

THE DETAILS:
FIDM Museum address: 919, Grand Ave, Los Angeles, CA, 90015.
Gallery Hours: Tuesday – Saturday. Closed Sunday
Event cost: Free
Dates: Now (August 23rd) until November 5th 2022.

KEVAN HALL : TRADING POST

2/17/2022

One of my last reviews of a collection, pre-pandemic was the incredible emerging designers, and the wonderful founders of The Black Design Collective. So it only seems fitting that the first collection review I do, as we begin to see light at the end of this arduous two-year stretch is to review Kevan Hall’s beautiful collection. One of the founders of The Black Design Collective and a career that spans over an incredible 38 years, Hall has dressed everyone from Jacqueline Kennedy, Michelle Obama to Charlize Theron.

Kevan Hall’s collection is what many of us have been dreaming about from the beginning of 2020, wondering whether PC (Post Covid) life and the way we dress would look the same as it did before? Would we still be dressing up? Or would athleisurewear be the way forward? Thankfully, Hall has given us all the best kind of hope with his Fall / Winter 2022 collection. Much like the fashion post prohibition we are ready and longing to dress us up and travel once more. And Hall has given us just what we need with his collection, Trading Post. Inspired by days gone by. Back to a time when travelers would trade their goods, mythology and handcrafted textiles from Morocco to Mali, to the fabled Tarshish.

Hall has used regional fabrics mixed with gold and copper metallics, and in doing so has given us a reconceptualized dazzling transportation back to the era of maritime trade and luxurious beauty.

Hall’s second collection back on the runway after a twenty-year hiatus from showing has done nothing to dim the light on his show nor collections. Always retaining a modern take on timeless pieces, he has once again excelled himself. Plentiful in luxe pieces with the use of rich jacquards, matelassé and brocades, Hall completes his storytelling of this historical yet modernized journey through these fabrics, bringing us to an extraordinary juncture and much longed-for unanimity from far and remote locations.

Setting the scene for our journey, both traditional and contemporary Moroccan as well as Middle Eastern furniture and antiques were used in a warehouse setting. Feminine day dresses with abstract and animal prints billowed their way through the exquisite backdrop as the show begins. Moving into the mid-section of Hall’s storytelling, gives us the rich tale of abundant beauty told through tailored pieces in luxe materials including brocade. Ending the mythical journey with spectacular eveningwear so synonymous with the designer.

With the use of metallic florals, and rich drapery the result was a stunning flow of graceful fluidity and movement. The final showstoppers of this transportive tale through time was created by Hall’s use of black and gold sequins on the gowns and suits, and the Arabesque influenced metallic and matelassé used on the outerwear. The suits were sexy but worn with such ease, a sign of tailoring to perfection. The jacquard mandarin cut blazer belted to cinch in the waist was another hero piece as it encapsulates his entire collection, luxe fabric, stunning tailoring, and modern yet timeless in its silhouette. Whilst the final dress with its cutout sides and matching gold embellished weighted coat was a complete showstopper.

This dream of a journey was what we have all needed after a two year pause on glamour, fantasy and event dressing, but Hall has certainly brought us back with a bang.

KEVAN HALL FALL/WINTER 2022 NYFW

Photo credit: Evan Hall.

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"fASHION IS A LANGUAGE OF ITS OWN... LET'S TALK" EURASIAN VOGUE

BRADELIS- THE COMFORTABLE UNDER COUTURE

A MOTHERS GIFT- BY LOLITA

NEED IS THE MOTHER OF INVENTION - KREYA BAGS

THE CINDERELLA EFFECT WITH CELESTE VICTORIA

CELESTE VICTORIA

FLYING SOLO- 2025 : ELIZABETH SOLOMEINA

INTERVIEW: PAUL TAZEWELL - OSCAR NOMINATED COSTUME DESIGNER FOR WICKED DISCUSSES CREATING THE WORLD OF OZ. - #SKETCHTOSCREEN SERIES PART ONE

NAVIGATING WICKED FROM STAGE TO SCREEN.

ANNA SUI RTW SPRING 2024

DIAMONDS ARE FOREVER- KEVAN HALL FALL 2023

14TH PRESENTATION OF THE ART OF COSTUME DESIGN IN TELEVISION

KEVAN HALL : TRADING POST

KEVAN HALL FALL/WINTER 2022 NYFW

By
STACY FAN

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