Aneeth Arora and Péro have
delivered one of the most stunning collections yet: Fall / Winter 2019.
The rich blues and browns speak to Pero’s unique use of color, which is constantly evolving. The wools, silks and cotton silks offer Aneeth Arora an opportunity for her to change and create lasting, luxurious clothing.
This season is unique thanks to its restrained use of color and modest detailing, that far from being negative, actually add to the collection’s appeal. There is a handsomeness to Péro this season. The wear is charming, bold and intellectual.
Great pieces from Péro’s pre-fall 2019 collection are now on our website. This collection feature colors radiating from cobalt to navy blue, and sandy brown as well as beige. Shop our new Péro!
Since 1957, opera lovers have been captivated by productions painted in front of northern New Mexico mountains. The Santa Fe Opera is one of the world’s most spectacular summer opera festivals. It is here that the adobe theater showcases performances that compliment the desert landscape. With more than half of those in attendance visiting from out of state, and audiences reaching numbers of up to 85,000, it is easy to say that New Mexico is every bit as enchanting as its name suggests.
There have been more than 2,000 performances of almost 164 operas at the Santa Fe Opera. This includes 15 world premieres and around 45 American premieres. This year, the calendar lists five operas, which are scheduled to begin as early as Friday, June 28th, with the showing of La Bohème. Until then, the Santa Fe Opera’s calendar lists “Backstage” as well as “Opera Insiders” tours to tide over all of those interested.
The Santa Fe Opera has been a source of inspiration for years, which has resulted in multiple Opera Lookbooks. The Santa Fe Opera 2018 Season inspired creative shoots for Ariadne Auf Naxos, Candide, Madame Butterfly, Dr. Atomic, and The Italian Girl in Algiers. This year, the Santa Fe Opera boasts performances of La Bohème, The Peral Fishers, Così Fan Tutte, Jenufa, and The Thirteenth Child. Our mission: create a new lookbook for the Santa Fe Opera 2019 Season. We will release the lookbook in the weeks leading up to the premiere, so stay tuned!
Sapphires are known as a stone of wisdom and royalty. They have been prized since 800 B.C., when rulers of Ancient Persia believed the sky was painted blue by their reflection. These blue colored gemstones once signified the height of celestial hope and faith to many religions, in part because it was thought the vibrant blue represented heaven.
The birthstone of September, Sapphires get their name from the Greek ‘sapherios’ meaning blue. In ancient Greece and Rome, royalty was convinced that Sapphires protected their owners from envy and harm. During the Middle Ages, the clergy wore Sapphires to symbolize heaven, while the common folk believed that the gemstone attracted good fortune, order and prosperity. Similarly, some also believe that the name comes from its association with Saturn.
Although many think of deep blue tones when Sapphires are mentioned, they come in a spectrum of colors from white, to orange and yellow. Scientifically, Sapphires and Rubies are essentially the same stone. Both gems originate from the mineral corundum, with the same chemical composition and the same mineral structure, which is why we’ve chosen to include them in this list.
New Trippen shoes arrive today! This shipment will include some styles that we have had in the past mixed with fresh styles. Shop our latest Trippen collection by clicking the link below.
More pieces from Avant Toi’s pre-fall collection has arrived in-store today! This shipment includes lightweight v-neck sweaters in colors of magenta, blue and purple. Shop what we have so far from Avant Toi’s pre-fall collection!
Avant Toi launched its first exclusive home goods collection in 2017. Hand painting, an iconic feature of the brand, decorated numerous blankets, covers, pillows and carpets. Beyond that, there were many elements of design that transformed the house into a magical haven. Avant Toi experimented with their passion to match and blend materials to create unique hand-made pieces. Over the course of a year, Avant Toi’s home goods gained great attention. This led to the creation of an Avant Toi Home Boutique in Milan during April of 2018.
This year, Avant Toi showcased its newest line of home goods during Milan Design Week, with the help of Yuri Catania. Yuri is a modern storyteller, art director, photographer and videographer. He has been working in fashion for over thirteen years and collaborated with Avant Toi on multiple occasions. This time, Yuri acted as the art director for Avant Toi’s Eden Jungle event.
The Avant Toi House was framed in a lush forest, with virtual waterfalls, and Victorian-era furnishings. Tropical birds perched along monstera plants and hanging vines, full of joy and artistic liveliness. The presentation encompassed furnishing accessories from blankets to pillows and carpets, as well as cashmere and linen tablecloths. With a journey that began in a paradisiacal jungle, guests were traipsing through bathrooms and bedrooms, with a path ending in the dining room. All of those in attendance felt like the protagonists of a dreamlike setting, captivated by the natural surroundings and floral arrangements of flower artist Giò Ratti.Along the way, there were live performances by Matteo Bittante and his dancers. Because each of these performers engaged guests, it was easy to discover the beauty and authenticity of elements from the newest Avant Toi Home 2019 Collection.
By synthesizing luxury with nature, Avant Toi and Yuri Catania perfectly captured their appreciation for marvelous creations without boundaries.
Avant Toi is notorious for creating the cutting edge of luxury knitwear. Their avant-garde work has gained popularity due to the innovative production techniques that are unique to Avant Toi and their process. The artistic director Mirko Ghignone, is unafraid of bending or breaking the rules. He continues to push the boundaries of dyeing and fabric manipulation, in every material from the finest cashmere, to silk and linen. The juxtaposition of these materials and the manner in which they are patterned and dyed is part of what makes Avant Toi so intriguing. It is also what has kept many waiting for Avant Toi Pre-Fall 2019.
Spring and Fall collections remain the primary focus throughout many brands’ release schedules. However, a number of other collections are also being released throughout the year, such as Resort, Pre-Spring, and Pre-Fall. All of this depends on the brand, as they all operate differently. Many brands produce Resort collections in summer styles for those who want a new wardrobe to vacation in. Meanwhile, Pre-Fall and Pre-Spring serve as a taste of the colors and textures used in the major seasons that follow. Avant Toi has organized their Pre-Fall collection to communicate their core styles, colors, and textures for Fall 2019.
The Avant Toi Pre-Fall 2019 collection, gives many a glimpse at a color palette that ranges from soft blues to coral, magenta, as well as brown and black tones. There are snippets of textural elements that can be seen in the patterns that have been hand painted on each sweater and felted scarf. Though the scarves are plush cashmere, the fringed edges and patterning showcase edgy textural elements. These tactile details will make an appearance later during the release of Avant Toi’s Fall 2019 collection, and pair perfectly with these functional Pre-Fall pieces.
Continue below for a look at the latest pieces from Pre-Fall, and the striking summer landscapes that mirror each piece in tone.
SUMMER IN THE VOLCANIC MOUNTAINS OF LANDMANNALAUGER IN ICELAND
EXPLORING THE BRONZE AGE HOMES CARVED INTO THE VALLEY WALLS OF CAPPADOCIA IN CENTRAL TURKEY
GO EAST FROM GRANADA, SPAIN TO VISIT THE HOY DE GUADIX
THE UNEXPECTED RURAL AND MOUNTAINOUS REGION OF GRAN CANARIA
THE BLUE MESA TRAIL IN THE PETRIFIED FOREST NATIONAL PARK
In 2016, Cosmic Wonder moved their studio to a traditional house and workshop in Miyama, a remote village in the mountains of north Kyoto that is a national preservation for historic buildings. Dedicated to sustainability, this transition from an urban setting has enhanced their work, as their garments are designed with natural materials while using traditional Japanese techniques. There is a natural beauty embedded within these methods, and Cosmic Wonder hopes to foster an opportunity to transform the wearer through conscious efforts toward sustainable methods of producing clothing.
In the new spring collection, Uma proves she has no problem incorporating bold colors into her typically muted palette, easily integrating more cheer. Uma’s references are characteristically vast, as the spring collection incorporates influences from Morocco, France, England, India, China and Italy.
Considered one of China’s first global labels, Uma Wang has taken the world by storm. Always exhibiting undeniable skill, she trained at the Chinese Textile University in Shanghai and Central St. Martins in London. She designed for numerous labels for years before creating her own, launching her first line in 2009. Since then she has been on an upward rise, amassing success and astounding the public without fail every year. She has showcased catwalk collections in London, Shanghai and Milan fashion weeks, with critical acclaim from industry insiders. In 2012, she received the honor of being chosen by the Council of Fashion Designers of America for its inaugural China exchange.
When she was younger, she would read esoteric books with her father, and found that her imagination was boundless, as she easily worked through problems without standard answers. Her creativity is translated directly into her work, along with different aspects of her personality, from her upbringing to her experiences in adulthood. Rules and secular traditions have never been able to stint her ingenuity.
Creating her own knits and textiles has become Uma Wang’s specialty. She later fuses these elements together within the garments, producing unexpected and unique compositions. Because she intimately knows her fabrics, their weight, and the way they move, Wang masterfully drapes silhouettes that have refined ease and simplicity. This allows the exquisite and unique textiles to shine as the focal point.
Her color sensibility is unique as well, as each collection is extremely cohesive in spite of the various patterns in use. From gold and fuschia florals to black and yellow stripes, Uma has created work that leaves many breathless. Uma is no stranger to color, with vibrant emeralds appearing amidst more subdued and earthy tones in her previous collection for Spring 2018. However, the fuschia featured this spring is a surprise delight, whether worn in large portions through tailored jackets or color blocked on maxi dresses. Asymmetric elements can also be found throughout Uma’s work in dresses and blouses patterned with florals. Meanwhile, tie details are strategically placed on everything from scarves to button up shirts, and even blazers. This makes it easy to transform many of her garments to one’s liking, while simultaneously making the wearer feel like they’re on a constant journey of discovery with her pieces.
Uma travels between her two studios in Italy and Shanghai, and she constantly implements aesthetic statements from numerous cultures. Her work consistently balances femininity and lightness accompanied by an avant-garde undertone. Textural, romantic, experimental, and contemporary, Uma Wang is a designer to watch for years to come.
In the new spring collection, Uma proves she has no problem incorporating bold colors into her typically muted palette, easily integrating more cheer. Uma’s references are characteristically vast, as the spring collection incorporates influences from Morocco, France, England, India, China and Italy.
We are excited to introduce a new designer to our store! Founded in 1953 and named after a village at the foot of Monte Rosa, Agnona began their journey as a supplier of the finest fabrics. Within seven years of opening their business, they became the go-to supplier for many of the leading international designers like Balenciaga, Dior, and Givenchy. In many ways, Agnona wrote a noteworthy chapter in the book of fashion by actively contributing to the prestige of haute couture in its golden age. Since then, they have honed their craft to establish a luxury brand with extensive knowledge in textiles, that produces the pinnacle of modern luxury daily wear. All of their pieces are distinguished by understated elegance and their extreme attention to detail.
We are excited to introduce a new designer to our store! Ticca is produced entirely in Japan, with a focus on traditional, individual and comfortable style. They believe that fashion can showcase your true identity and the clothing you wear should enhance your lifestyle. What you wear can change your perspective and mood. Through their “new-basic” approach to fashion, Ticca hopes to provide style and confidence that lasts a lifetime. Shop their newest collection which is available online and in-store at Workshop in Santa Fe, New Mexico.
Casey Casey is designed by Gareth Casey, and manufactured by hand in Paris, France. They strive to revive the idea of ateliers and reignite appreciation for handmade craftsmanship. Originally, ateliers were a private workshop or studio, and standard vocational practice for European artists in the middle ages. Until the 19th century, they housed artisans and painters, many of whom would train apprentices. Nowadays, ateliers are most closely associated with haute couture. This may not be too removed from the original use, considering fashion in itself is an art form.
Sensible, wearable and pragmatic clothes are what Casey Casey is best known for. Unconcerned with trends, they focus on creating work that can best be described as what they want to wear, or what they’d like to see be created. Becoming so removed from the system that creates the latest craze in your line of work may sound like a mistake, but this may be the very thing that has attained such success for Casey Casey.
Being aware of the trends while remaining impervious to their influence is a difficult feat. Being able to produce clothes that are unique is equally as challenging, but somehow Casey Casey has managed to do both. Their recipe to success is very similar to following the principles of good design, as they simply wish to create functional work that never goes out of style.
From the fabric in use to the shape of the garments, every aspect has been highly considered. There are a variety of textures at work in this collection, from sleek silk textiles to rough linen. The color palette is constrained to blue and yellow tones, with the occasional pop of orange. There are numerous patterns with variations in scale. Airy stripes sit among tightly laced liberty print, and mingle with textured and frayed orange and baby blue polka dots. Although the fact that there have been some French workwear inspirations within Casey Casey’s work over time, this does not mean their work is typical. For every collared top, there are an equal amount of surprises that come in the form of drop crotch pants in silken textiles, button-ups with extreme drop shoulders, and flowing dresses in rough, yet wearable linen.
According to interviews with those who work at Casey Casey, their customers are often “filmmakers, architects or artists…people who understand well-made objects and want to be original,” or those who “buy their clothes for decades, not seasons.” Although there is no way to stereotype an entire client base, there is no denying that those who become enchanted with Casey Casey are people who appreciate thoughtful design that is as dependable as it is unique.
Jan-Jan Van Essche was born in Antwerp, Belgium where his design studio is currently located. A 2003 graduate of the Antwerp Royal Academy of Fine Arts, he is an alumnus along with many other designers like Dries Van Noten. However, it wasn’t until 2010 that he launched his eponymous label as an annual ‘wardrobe’. His first collection “Yukkuri”, Japanese for ‘take it easy’ or ‘slowly’, established the conceptual approach he follows when creating contemporary ensembles.
Collection 9, “One in All and All in One” Photos via: Jan-Jan Van Essche
Van Essche creates a single collection each year, rather than producing specific collections for each season, for a number of reasons. Of the simplest to explain, is the fact that he doesn’t want his work to be dictated by the fashion industry. He also wants to have the freedom to take time out of the year to work on collaborations or projects with others, instead of focusing on separate lines year-round. His other intentions lie in creating garments with multiple purposes. Each piece can be layered up or down to serve its function through the entire year because he doesn’t believe in the idea that people need separate wardrobes for every season.
Collection 9, “One in All and All in One” Photos via: Jan-Jan Van Essche
As far as design is concerned, Van Essche’s work remains simplistic because he believes clothing should be freeing. This is why every garment is created in such a way that minimizes the number of seams needed, and they are also constructed with effortless silhouettes. While the Western approach to fashion dictates that garments confine and shape the body, through his cautious studies for every season, Van Essche has found that many clothes from different countries depend on the wearer’s body to define how they look. He wants his clothing to take a humble roll in helping those who wear it find connection and acceptance, so it makes sense why his clothes are so forgiving. At his core, Van Essche designs clothing that is open to interpretation and can be worn however one desires. The only limitation is one’s creativity or personality. By extension, much of his work maintains a genderless elegance, allowing women and men to explore new clothes they may not have otherwise, in hopes of opening their mind and liberating them all at once. His newest collection titled, “One in All and All in One”, exemplifies everything he stands for perfectly.
Rather than his label becoming something that defines a person, he wishes for the people who wear it to characterize his work. It isn’t uncommon for people to use fashion as a shield. But Van Essche doesn’t want his work to function in that way, and he prefers to give others a base to build on, or a way to interpret his work and let their own personality shine through. This is why in spite of the fact he often takes inspiration from other cultures, the influences are not obvious but conveyed through the simple details in each piece. When looking at his previous collection, titled 無 or “mu”, even without the styled photo shoot it is easy to see the Japanese and Korean influences from the cut of each jacket to the fit of a pant. His work isn’t blatant about its inspiration. Instead, Van Essche takes the essence and transforms it through his unique lens. And astonishingly enough, his work manages to remain minimal without feeling cold.
It’s interesting how often influences — especially when it comes to cultural influences — carry the potential of becoming too obvious. What begins as inspiration can become closer to treating the culture as a costume, when designers choose elements simply based on their aesthetic or ‘exotic’ qualities. The most interesting thing about Van Essche’s work is how he effortlessly takes characteristics of garments and transforms them into something else entirely while keeping the soul intact. Qualities from traditional pieces are simplified and reconstructed with modern ease and the highest amount of respect.
It was during Paris’ fashion week in 2015, that Vita Kin was originally featured in Vogue and Harper’s Bazaar for introducing vyshyvankas to modern fashion design. Until then and even now, she has primarily advertised her designs through her Instagram account, where she showcases her take on traditional Ukrainian design painted in a contemporary context. Although Vita has the opportunity based on the amount of interest in her work to expand and outsource other factories, she insists that she isn’t interested in chasing after quick results and would never sacrifice the quality of her work. She would rather invest her time in creating pieces that she feels are the best she can offer, even if it is labor intensive.
1923 Traditional Vyshyvanka Design Image via: Wikipedia
Vyshyvankas are essentially a traditional Ukrainian shirt or garment that is embroidered, and throughout history have been used as a ‘talisman’ to protect the person wearing it. The embroidery was first implemented in vulnerable places on the garment where evil spirits could potentially enter the body, which is why the neckline, cuffs, shoulders, and back are areas that have been prominently decorated in history. There are also some Slavic traditions that state the intricate blouses were passed through generations and only worn on special occasions.
1923 Traditional Vyshyvanka Design Image via: Wikipedia
There is a definitive grace that comes from each of Vita Kin’s designs, and this is partially due to the heritage of the brand’s roots, as well as the production methods they employ. Each garment is essentially created by hand with the help of equipment that Vita herself retrofitted to aid her unique approach to embroidery. Although some may say the embroidery is created by the machine, there are enormous amounts of manual effort that go into each piece. Items are created over the course of three weeks, often using over 100 meters of thread, with expert precision from those operating the machines. Each pattern is programmed by an experienced operator and adjusted over time to produce embroidery designs that are as authentic as possible. The assembly of each garment from the sleeves to the collars and cuffs are done by hand, according to age-old methods used by their Ukrainian ancestors.
Vita Kin operates differently from most fashion designers. While most produce work designed specifically for Spring / Summer and Fall / Winter seasons, they operate based on their current inspirations and produce work according to the stores they have chosen to partner with. In addition, they take inquiries about past designs and will often replicate those if asked. Interestingly enough, this means that no two stores that offer Vita Kin will have a selection that is entirely the same. This also creates a journey of constant discovery when looking at Vita Kin’s designs.
From design to production, Vita Kin is laser-focused on creating work with embroidery and appliqué that is extremely artistic and personal. Although her designs are based in her Ukrainian ancestry, she also takes inspiration from other sources like Aztec embroidery and the Guatemalan’s use of color, all of which culminates in clothing that conveys a deeper connection.
Lauren Manoogian is a Brooklyn based designer whose career began with a jewelry line she created in 2010 from sourced scrap metal and surplus materials. Her work has matured over the years to involve ready-to-wear pieces that are meant to develop with the wearer through all of their lifestyle changes. It is interesting to see that jewelry is what began her journey into fashion, as Lauren originally focused on studying textiles in college and until that point was unfamiliar with jewelry design.
A sense of honest simplicity is visible in each of her pieces, as she often lets the material speak for itself. Her work features a variety of knits with sculptural cuts that often remain loose in order to place an emphasis entirely on the textiles and how they feel. The materials she works with are the driving force behind each of her designs, as she creates new items by pushing the limitations inherent in each garment’s production process. Originally, Lauren had no training with pattern making, which is astonishing considering her work appears very calculated now. When asked, she has stated that her designs have originated from producing numerous “ugly” items, and it is through this experimentation that she manages to find the ideas that are successful.
As a whole, every piece Lauren creates is part of a larger textural narrative. Resilience, patina, and layered gestures are just a few words to describe her most recent release, as she continues to experiment with the ideas that revolve around knitwear and the way each material manifests itself. The common thread between her first jewelry collection and what has evolved into her successful clothing brand is her conscious focus on the idea of creating with sustainable materials and fair trade employment. Lauren Manoogian adheres to sincere handcrafted production practices, by incorporating the use of antiquated handlooms and ethically sourced materials, to create humble knitwear that has been reimagined.
Labo.art is a thoughtful, fresh and playful clothing label—bringing a sophisticated Italian take to Nordic Minimalism. Through color blocking, volume, and geometric awareness, the line comes to life with an uncomplicated aesthetic, embodying clean and simple elegance with a playful quirk.
The shapes of Nature are an endless source of inspiration, that express themselves in a multitude of forms, each original and unmistakable, for us to capture in portraits of unique beauty. On the canvas of these multicolored paintings, form meets matter, color meets light, surface meets volume. New pieces from the Spring / Summer 2019 collection is online and in-store.
WEHVE’s rich selection of eclectic and classic ponchos, shawls, scarves, and cover-ups are designed in Belgium by Marine Halna du Fretay, who worked with Hermès for over twenty years. The goods are then handwoven by collectives of women who are traditional weavers in Peru and Uruguay. Determined to respect the traditional craft, WEHVE translates the skills of these weavers into a modern and luxurious collection with a European sensibility. The textures, feel, and colors are sensational. New pieces are online and in-store!
Created by International Fair Trade board member and social entrepreneur, Gesine Holschuh, WEHVE is a brand dedicated to women. She was inspired to begin her adventure into the world of fashion during her visit to South America, when she encountered weaving collectives spread throughout her travels. Because of their dedication and talent, Gesine was inspired to found WEHVE by employing skilled artisans in Uruguay, and partnering with designer Marine Halna du Fretay. To Gesine and Marine, this company isn’t just about fashion, but rather a chance to connect others through the threads of their relationships. WEHVE essentially strives to create a cross-pollination through the distribution and design of these garments, with grace, style and intention.
The Maker Magazine recently released a short post stating that WEHVE’s Spring / Summer 2019 collection is inspired by the work of an artist named Shiela Hicks. Upon further investigation into Sheila and her path, it is easy to understand why they came to this conclusion. Both Gesine and Sheila share similar stories as to how they started their careers. In 1957, Sheila received a Fulbright scholarship to study painting in Chile, and during her stay in South America she gained an interest in working with fibers. In the years since, she has become an artist involved in both solo and group exhibitions, and is most widely known for her invigorating use of color and unique material.
There are also similarities in the message behind their work. For years Sheila has been creating ‘minimes’ (a french word for minimal), which are a creative way of journaling the places she goes and the people she meets. Travelling with only necessary items in a carry on and her small loom, she creates these minimes to tell the stories of others. She mixes items within her woven materials to help convey a greater sense of the story behind the piece. Much of her artwork from the Minimes collection were on display as part of a show called “Material Voices”, which was a retrospective of her work at Toronto’s Textile museum.
Although their use of color is extraordinary for their own reasons, WEHVE and Sheila are most similar in their motivations. They both have created work that is imbued with the journey of the very people who inspire them. While Sheila interprets other peoples’ histories, Gesine and Marine are passing their story forward in a different way. Every piece at WEHVE is handmade, and it is as though their stories are being handed down through these uniquely made items. There’s a sense of heritage and tradition stitched into every textile, with each shawl or cape being rooted in the places where these artisans learned their craft.
