September 1 2014

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4 posts tagged "Tom Scott"

Gym Dandy


Designer Tom Scott is not shy about his eBay addiction. “I’m on eBay all the time—it’s very inspiring,” he admitted at his Spring 2011 presentation. A recent find was the 1915 Iowa State University yearbook. “The Bomb,” as it is titled, not only gave Scott a trove of classic Americana and sports uniforms to play with in his new collection of knits, it even gave him the collection’s title.

Staged in the gym-slash-theater of a West Village parochial school, models stood in circles tossing basketballs back and forth. Playing on the concept of sporty pieces—T-shirts, leggings, jumpsuits, and windbreakers—Scott tweaked both proportion and material: The sportswear here was oversized and had Lurex woven through the organic cotton and nylon mesh. Instead of the usual track shorts, here was a slouchy sequined pair. Among the usual athletic neutrals, there were pops of safety orange, spearmint, and coral. What was old became new again—and in the case of the T Shirt T Shirt, literally so. It was woven together from strips of vintage cotton tees.

Photo: Courtesy of Tom Scott

Knitwear’s Hair Apparent


Knitwear designer Tom Scott always finds an entertaining location to showcase his collections—past venues have included an abandoned dry cleaners in the Garment District and a suite at the Chelsea Hotel—so it wasn’t a stretch to find him hosting a presentation at the East Village’s Beauty Bar, filled with vintage beauty parlor castoffs. That fit the theme of the presentation nicely: Scott was thinking about “hair culture,” inspired by a how-to hairstyling guide from the twenties that he snapped up on eBay.

Hair and knitwear go hand in hand—all of the fibers start as hair, after all—but Scott took it a step further, crafting alpaca and mohair into coats and sweaters that resembled loopy locks, twisted buns, and thick, cabled braids in peach and cocoa hues (“salon colors”) along with soft grays, taupe, and black. But despite the eccentric theme, the clothes were, to a piece, totally functional. “I just want people to be able to wear them,” the designer said. There’s a concept that’s easy to get your head around.

Photo: Stephen Rose

Tom Scott’s House Party


What is it with nesting for Spring? First up was Agent Provocateur’s indoors-only couture line. Today came Tom Scott’s collection, inspired by curtains and bed ruffles of the kind you’d find in your grandmother’s home. He set up house in suite 710 at the Chelsea Hotel, rumored to be Ethan Hawke’s old pad. Models lounged around in different stages of domestic bliss—having breakfast in bed, ironing the laundry, nursing a hangover—you get the idea. “I wanted to do something with a house, and then we saw the space and to me this is the quintessential New York home.” The props were from a bygone era—clothespins, maraschino cherries, and newspapers—but the clothes were true to Scott’s vision for modern, knit silhouettes. For Spring he’s stepping out of his comfort zone and experimenting with more woven fabrics, such as silk chiffon, cotton muslin, and manmade sheer nylon.

Tom Scott Faces His Fears


2007 Ecco Domani winner Tom Scott challenged himself to step out of his comfort zone for Fall and work with elements he’s, well, just not that into. Titled “Things I Don’t Like,” Scott’s presentation featured plenty of embellishments, and color, plus stand-ins for fur, something he’s definitely not a fan of; the result was a tight, well-conceived collection with inevitable elements of kitsch. Chic kitsch. Scott also drew inspiration from ’70s textile arts, and for the first time ever, he introduced home items. “It’s always important to challenge yourself and take a new path. It makes it much more interesting,” he pointed out. “I thought making it a bit kitschy and camp would be a strong balance for the clothes.” That said, the vintage fifties mannequins Scott corralled from Queens for the presentation—with monikers like Shirley, Priscilla, and Cecily, to name a few—were posed throughout the space. Patient, glazed expressions on their faces led us to believe they weren’t quite sure why they were there, but just as happy to be. And so were we.