46 posts tagged "Peter Pilotto"
London-based label Peter Pilotto, made up of Pilotto and best friend Christopher De Vos, is known for its kaleidoscopic, futuristic, printed looks. The pair’s work is intensely intricate and, quite often, computer engineered. On February 9, they’ll follow in the footsteps of designers like Phillip Lim and Prabal Gurung when they bring their neon-hued, digi-printed womenswear to the masses via a hotly anticipated collaboration with Target. The beachy seventy-piece capsule comprises trapezoidal-cut swimwear; some very boardwalk-to-street Vans-style trainers; lots of feminine, floral-layered hoop skirts; and some rash-guard-inspired separates. The range, which is priced between $14.99 and $79.99, will be the first of Target’s designer collaborations to be sold on Net-a-Porter—a testament to the quality of the work. Also a testament to the collection? Its campaign cast—not just anybody can get Jessica Stam and Jourdan Dunn to strike a pose. The latter’s ad (above), as well as a behind-the-scenes video (below), debut exclusively here.
We sat down with Pilotto and De Vos to discuss the origins of the Target project; how they translated their detailed, techy designs within the constraints of a mass price-point; and why, at the end of the day, it’s all about the color.
How did Target approach you?
Peter Pilotto: Somebody set up the meeting, and we were like, ‘Oh, that’s great.’ We always knew about Target, obviously. We didn’t have to think much. When they asked us if we really wanted to do it, we were like, “Yeah, sure!” And the whole process was extremely pleasant. They gave us the freedom to do what we liked.
Christopher De Vos: We’re excited that, with this collaboration, we can reach a whole new audience.
PP: And we hope to reach a big audience age-wise, too—from the 15-year-old girl to the 75-year-old woman.
What was the concept behind the collection? And did you find it difficult to translate your vision to fit within the Target price point?
PP: The swimwear was the starting point. We wanted something very signature to our brand but translated in a different way—something very energetic, joyful, summery, and vibrant. We liked the idea so much that you could have a swimwear look and a skirt, and you could build up your look from beach to street.
CDV: We made almost like a rash guard, and you can wear it with a swimsuit and take off your skirt and wear it to the beach. That was the whole idea. We also analyzed our color combinations and how we could translate those. Obviously, there were limitations because of price point, but I think those limitations pushed us to do new things. And while we had to rethink our usual fabrications, we feel it’s very us.
PP: And it was exciting to work in a different way within the systems that were right for Target. We couldn’t do the engineered print that we’re used to doing, so instead, we used seams and worked on layered versions of all of our prints. I guess the collaboration was the highest amount of prints they ever did. I think often, it’s especially stimulating when you have constraints.
The palette is very in tune with what you usually send down the runway.
CDV: I think if we weren’t based in London, we’d do everything in black. But because the weather’s so gray, we’re longing for something colorful.
There is so much color coming out of London, despite all the fog.
PP: It’s very inspiring. And East London, where all the designers are based, all the artists, everybody—it’s a really good spot because of the interesting, the mix of people.
CDV: We feel like we live in a village.
Can you tell us what you have planned for Fall ’14?
PP: I think with our Spring ’14 collection, we wanted to translate our signature ideas in new ways, so we did a lot of lace and embroidery. While we’re known for the print, there is actually so much more now that we’re busy with besides the print that we love to do. It’s all about the desire for color that we try to express in different ways. Last season, we worked with lace that was engineered like the print was in the past—there were color layouts that were made in the lace, layered with print underneath. We want to explore that further, and push those techniques for Fall.
When you’re conceptualizing a collection, where do you normally begin? With this Target collaboration, you were talking about the swimwear. But is it color? Is it silhouette?
CDV: It always starts with colors. Then it’s a constant dialogue. We work together. We make every decision together. And it’s a journey through the seasons.
Fashion folk are a curious bunch, and we’ve found that they tend to collect equally curious things. In our “Take Five” feature, we get the lowdown on our favorite industry personalities’ most treasured trinkets.
There won’t be enough sun-filled English days in this lifetime for Tracy Sedino to wear each pair of vintage shades in the Linda Farrow archive. “Oh, my god, I must have thousands,” she said last week at a dinner in New York. Sedino was behind the revival of the Linda Farrow brand, whose namesake designer worked with houses such as Yves Saint Laurent and Emilio Pucci to create glasses in the seventies and eighties. Farrow closed her business to start a family in the late eighties, and her crates of luxurious lenses were stored away in a London warehouse.
Over a decade later, Sedino—then a student at the London College of Fashion—began dating (and has since married) Farrow’s son, Simon Jablon. “His father had some warehouses,” Sedino recalled. “And he asked Simon to get rid of all the stock, because they were getting turned into residential properties. So I went with him, and we found original Pucci and YSL sunglasses piled three-floors high.” Obviously, their discovery couldn’t go to waste, so she and Jablon used it as a jumping-off point and rebooted the house of Linda Farrow. They sold some of the vintage styles but, more notably, began partnering with young talents to turn out glamorous—and often outrageous—designs. (Remember those Jeremy Scott Minnie Mouse shades? That was their doing). Today, the husband-and-wife team continues the company in Farrow’s spirit and makes glasses for everyone from Dries Van Noten, 3.1 Phillip Lim, and Suno to Alexander Wang, Peter Pilotto, and The Row. “We thought there was a massive gap in the market,” said Sedino of her and Jablon’s decision to relaunch Linda Farrow. “You have these big luxury houses that sign licensing deals, but other designers, like Dries, will never do that, because they value their brands too much. We wanted to reinforce what Simon’s mother did in the seventies by working with designers to create eyewear as a fashion accessory, rather than a licensed product.”
Sedino and Jablon celebrated their company’s (and their relationship’s) tenth anniversary this year. And to mark the milestone, the duo have not only offered up a ten-year capsule collection but also opened a pop-up shop in collaboration with BOFFO, right here in NYC. The store, which is located at the Chelsea SuperPier, and open through December 24, boasts a bevy of Linda Farrow’s most covetable products. As for that archive of vintage sunnies, Sedino told us that it’s a constant point of reference. “We don’t want our collections to be too vintage, so we take inspiration from the vintage styles, and incorporate new technology and materials,” she said. Here, Sedino talks us through her five favorite pairs of old-school Linda Farrow frames.
1. “These are acetate Linda Farrow glasses from the eighties. They’re my holiday pair. I love them because the idea and design are fun, and they’re quite comfortable on my face. Ironically, it’s hard for me to find sunglasses that fit—for Asians, it’s difficult to find pairs that sit on the nose bridge. I’ve been wearing these for the last two years, and I’m particularly inspired their shape, because they’re almost like a big chunky Wayfarer. You can really wear them whenever.”
2. “These are Yves Saint Laurent glasses from the early seventies. They’re kind of a round Jackie O style. They’re handmade in acetate, with metal arms. This pair is a one-off, so we don’t have stock anymore. They’re one of my favorite styles, because they’re the perfect size. But I don’t really wear them, because I’m afraid of losing them.”
3. “These are Linda Farrow glasses from the eighties, and they were kind of inspired by Lolita. Whenever stylists call in for Lolita-style frames, we send them these. I wear them all the time in the summer.”
4. “These are amazing. This is another YSL pair from the seventies. They’re not one-of-a-kind—we still have a few—but not many. The lenses are polarized, and because of the orange, they’re my autumn glasses.”
5. “This is the most iconic Linda Farrow style. I love how the sides are beveled. We’ve actually launched a fine-jewelry collection of 18-karat-gold-and-diamond sunglasses, and this is one of the styles we used.”
Brazilian born, London-based designer Barbara Casasola has been chosen as Pitti W’s Fall ’14 guest designer. The 29-year old talent, who showed on the official London Fashion Week calendar for the first time in September, will present her collection in Florence at the Italian fair this coming January. Previous guest designers have included Damir Doma, Maison Kitsuné, and Peter Pilotto.
Hot on the heels of releasing its much-touted collaboration with Phillip Lim, Target has announced today that it’s crossing the pond for its next team-up, tapping print-meisters Peter Pilotto and Christopher De Vos (the designers behind British label Peter Pilotto) to design a limited-edition Spring ’14 range. The label, which sent its main Spring ’14 collection down the catwalk at London fashion week today (left), will turn out Target wares that ring in under $60. This collaboration also marks the first time Target has partnered with Net-a-porter, who will sell a selection of the Peter Pilotto x Target pieces on its website. Will this lineup—set to hit stores in February—inspire the same frenzy as Lim’s Fall offering? Stay tuned…