Counter Couture

Q: You were the first designer to collaborate with CounterCouture. What attracted you to begin working with this new venture?

I was attracted to CounterCouture because of the newness of the concept and the complete sense that it made. The majority of my career as a designer, and even for my personal wardrobe, I have placed a strong emphasis on sustainability, in particular, creating original designs with second hand fabrics, restructuring existing garments, and wearing fine vintage clothing. I love the idea that a dress that is taking up space in a person’s closet can be revitalized and used as a high-fashion cocktail-length evening dress.

Q: You have some inspirational images on the website, what are a few of them and how do they specifically influence your design aesthetic?

I am fascinated with global cultures (see marketplace, dancing geishas images) – parts of the world with strong elements of mystery and intrigue that may not have been totally explored or influenced by Western culture. Also, I am inspired by how people manage their own appearances (see punk street fashion image) and assemble structures around themselves to design their living and working spaces (see asymmetrical building image). Fine art has been essential in my life, and I have been painting, journaling, and designing clothing for more than 10 years (see Floating Heads, Multicolor Swirls paintings by the designer). All of these sources of inspiration are evident in my design aesthetic, whether it be an exposed zipper, studded embellishment, or chain closures inspired by punk style, or an abstract streak of red that mimics Chinese calligraphy.

Q: How do you think CounterCouture will lift designers like you to a higher level as far as exposure and expertise?

Designers will receive the recognition they deserve by working under the CounterCouture brand. The nice part about CounterCouture is that the fabric and materials are primarily supplied by the company, so there is little expense to the designer outside investing the time to complete a project. CounterCouture frees up a designer to focus on an innovative design and high-quality construction execution, while the brand takes care of promotional and marketing functions. Consistently working with difficult materials found on bridesmaid dresses, such as taffeta, satin, silk, and chiffon, quickly develops and grows a designer’s overall skills.

Q: What is the most gratifying part of the work process? And reversely, what is the biggest challenge of the process?

To me, the most gratifying part of the process is finishing a project, trying it on a model or form, assessing all the potential strengths and weaknesses, and concluding that it is a solid design. It is also satisfying when other people appreciate and admire the new resulting dress, even those who are not fashion enthusiasts, such as my husband. The biggest challenge of the process is solving unexpected problems. For example, there have been times when I have started working on a dress, but didn’t realize the fabric would behave a certain way, so then I had to somewhat course correct.

Q: In what ways are you environmentally conscious in your design process?

I am environmentally conscious in my design process by using existing materials whenever possible. For example, the summer 2009 Je Ne Regrette Rien line of swim cover-ups and beach bags consisted mostly of 100% cotton textiles made in the 1970s in Cameroon. When I use new fabrics or materials, I carefully calculate the amount of fabric I need for a project in order to use most of it up, leaving little to waste. For CounterCouture, the main fabric is always from former bridesmaid dresses, with minimal components from new sources.