![]() ![]() The goal would be to seamlessly unify the worlds of the consumer and aesthete.īode (the wear-ability and the fabrics used) allows the consumer to reflect, and interpret those historical notions and unexpected masculinity, and construct his own intentional style he is moved to create. I want my brand to provide this sense of unity, that how you build your wardrobe reflects what you read, discuss, and how you make your bed. To strive for an aesthetic understanding through the practice of dressing and the ritual of choosing how you present yourself to others and build your lifestyle. I aim to assist in consumer authenticity. Nothing leaves the studio until everything is archived and photographed individually.ĭo you think your brand could help the wearer maybe gain some collective conscious of culture and aesthetics? From there, I mark out the placement of the pattern on each fabric piece, and work with my tailor to create each garment. After I perfect my silhouettes and patterns, I organize fabrics in bundles of what they will be made into. Apart from my friends, I would say archived photographs of Hermann Hesse and his friends, Alain Delon in Purple Noon, and quick snapshots of underground 1980s bands have always been at the top of my list. The styles and silhouettes are very much taken from the men who inspire me to dress other men. I am primarily inspired by the fabric itself each found antique quilt or yardage of dead stock upholstery inspires a particular piece. Where do you draw inspiration from? What is your process like? The elegance comes from the clean lines of the silhouette, the hand-tailored aspect of the garment, and the intrinsic exclusivity. With history embedded in the garments, the passion naturally comes from that reflection of past experience and memories. I enjoy my customer's excitement about owning and wearing a pair of quilted pants when he has his grandmother's quilt at the end of his bed. Bode allows men to be passionate and dress with elegance because of the nature of the company. People are responsive and passionate about my clothing not only because the shapes are wearable, but because the fabrication is innately recognizable. But I do have a very pragmatic approach to making menswear, and would never veer from my philosophy of making clothes that people will actually wear and wear again. Because my silhouettes are quite traditional, I have yet to see limitations. For instance, I use quilts made of floral scraps, and tablecloths with floral embroideries. ![]() Many of my fabrics incorporate female historical practices and craft making. This would most certainly be a duty of mine as a designer of clothes and curator of a men's wardrobe. I definitely try to talk about menswear in a way that is not necessarily the dominant culture of masculinity. ![]() I also collect to re-make that lost utility, to make that something from nothing, worthy of reflecting upon as useful and beautiful at the same time.ĭo you think there are limitations in menswear, and there is some duty to combat the uniformity, perhaps bring some passion and elegance into wearing men’s clothes? I don't want to be a collector in that I am defined as only curating a collection for myself. I want to make the beautiful useful again – what were both labors of love - practical in the home and in creation, and what was solely for decoration – have a new function. I am a collector of many things, but try to accumulate textiles and produce clothing at a balanced rate. You use some very special textiles, are you a collector? ![]()
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