FW25 CONCORDIANS MEN’S
THURSDAY 23 JANUARY 2025
PALAIS DE TOKYO, 13 AVENUE DU PRÉSIDENT WILSON, 75116 PARIS

NAMING THIS COLLECTION CONCORDIANS, I WAS THINKING ABOUT MY 22 YEARS OF TRAVELING TO OUR FACTORY IN THIS SMALL INDUSTRIAL ITALIAN TOWN, CONCORDIA. AND NOT JUST ALONE BUT WITH MY TEAM, ALL TRAVELING FROM THEIR RESPECTIVE GLITTERING CITIES – TO LIVE HERE IN A KIND OF STUDIOUS ISOLATION. ALMOST BLEAKNESS. THIS CLOISTERED LIFE SEEMS TO BE WHAT IT TAKES TO BE ABLE TO FOCUS ON REACHING FOR SOMETHING WEIRD AND WONDERFUL…

THE 1ST YEAR, I STAYED IN A GRAND SUITE IN THE BAGLIONI HOTEL IN BOLOGNA THAT MY LICENSE AGREEMENT AT THE TIME PAID FOR.

FOR THE NEXT 5 YEARS, I SLEPT ON A COUCH IN MY OFFICE IN THE FACTORY TO IMMERSE MYSELF IN THE RHYTHM OF AN INDUSTRIAL PRODUCTION SCHEDULE THAT WAS NEW TO ME AND THAT I NEEDED TO LEARN TO SURVIVE.

THE NEXT 10 YEARS, I STAYED AT THE CONCORDIA HOTEL THAT HAD JUST BEEN BUILT OVERLOOKING A GAS STATION, IN A NO FRILLS SERIAL KILLER ROOM.

7 YEARS AGO, AN APARTMENT BUILDING WAS CONSTRUCTED ACROSS THE STREET FROM THE FACTORY AND THAT’S WHERE I HAVE MY CURRENT APARTMENT.

AFTER 20 YEARS OF TRAVELING HERE, I HAVE UPGRADED MY CARRY ON WITH A NEW RIMOWA COLLABORATION CUSTOMIZED WITH A BRONZED EXTERIOR AND FULLY-LINED IN BLACK LEATHER. I ASKED RIMOWA TO GIVE ME THE BRONZE OF A RICHARD SERRA WALL AND, BLESSTHEIR HEARTS, THEY DID.

MODELS FOR THIS SHOW WEAR NECKLACES MADE WITH COW FUR LUGGAGE TAGS INCLUDED WITH EACH CASE.

MOST LOOKS ARE UNDERPINNED WITH THERMAL LONG JOHNS IN A COMPACT FSC CERTIFIED WOOL/VISCOSE BLEND JERSEY. THERMALS CHANGED MY WHOLE ATTITUDE ABOUT WINTER WHEN I MOVED TO EUROPE FROM CALIFORNIA…

HEAVYWEIGHT GROPPONE COW LEATHER IS LASER CUT AND WOVEN TOGETHER BY HAND TO CREATE CHAIN-LINKED SKIRTS AND BOOTS IN A COLLABORATION WITH PARISIAN DESIGNER VICTOR CLAVELLY, WHO SPECIALIZES IN EXAGGERATING THE BODY IN A WAY I’M ALWAYS ON THE LOOKOUT FOR.I HAVE ALSO COLLABED WITH PARISIAN RUBBER MISTRESS MATISSE DI MAGGIO AGAIN, WHO PROVIDED THE TOPS AND HOODIES WITH ALL OVER FRILLING IN NATURAL RUBBER.

SOME TROUSERS AND SHIRTS ARE MADE IN A HEAVY CROSTA SUEDE WHICH IS DYED BY HAND WITH NATURAL INDIGO AND WASHED TO ACHIEVE IRREGULAR COLORATION. THIS IS MADE FOR US BY A TUSCAN TANNERY WITH A LWG GOLD RATING.

DRACUCOLLARED JACKETS AND COATS ARE MADE IN HEAVYWEIGHT VEG TANNED CALF LEATHER, WHICH IS DRUMMED WITH WAX AND THEN WASHED. ONLY VEGETAL AND NATURAL TANNINS ARE USED IN THE PROCESS OF TANNING AND PRESERVING THIS LEATHER.

PANTS, SHIRTS, AND BAGS ARE CUT FROM BLEACHED LARGE-SCALED ALLIGATOR RESPONSIBLY SOURCED IN THE U.S.A.

LOOSELY FLARED JEANS ARE EXECUTED IN BRONZE MEGACRUST – LAYERS OF BRONZE FOIL AND WAX ARE PRESSED ONTO 13OZ DENIM AND WASHED TO CREATE A CRUSTY SURFACE TEXTURE. ALL OUR DENIM IS TREATED IN AN ITALIAN WASH-HOUSE BASED IN THE VENETO AREA OF ITALY THAT PRODUCES IN SMALLER TREATMENT BATHS TO REDUCE WATER WASTE AND UTILIZES A WATER PURIFYING PROCESS THAT ENABLES THEM TO RECYCLE A PORTION OF THE WATER USED. ALL OF OUR DENIM WASHES ARE ZDHC CERTIFIED.

SHREDDED AND COLLAGED JEANS ARE MADE IN 14OZ ORGANIC JAPANESE INDIGO SLUB DENIM

WOVEN IN THE FUKUYAMA PREFECTURE BY A MILL FOUNDED IN 1893. THESE ARE STONEWASHED WITH MINERAL DYES TO CREATE OUR SIGNATURE HUSTLER WASH. WE CONTINUE OUR BONOTTO COLLABORATION WITH CAPES AND COATS ZIPPED AND HARNESSED IN HOMAGE TO BLIXA BARGELD, THE FRONTMAN OF EINSTÜRZENDE NEUBAUTEN. HEAVYWEIGHT WOOL MELTON IS MADE USING RWS CERTIFIED VIRGIN WOOL WHICH ENSURES A HIGH STANDARD IN ANIMAL WELFARE, ENVIRONMENTAL SUSTAINABILITY, AND SOCIAL RESPONSIBILITY. EACH BALE OF WOOL IS TRACEABLE BACK TO ITS SOURCE.

JACKETS AND COATS ARE CUT IN A BRITISH MÉLANGE WOOL FELT BLENDED WITH KEMP, ALSO KNOWN AS DEAD HAIR. KEMP FIBERS ARE NATURAL TO SOME SHEEP BREEDS AND DO NOT TAKE DYE WHICH CREATES THE NATURAL MÉLANGE COLORATION ONCE DYED.

FACTORY BOOTS RECREATE THE HEIGHT AND INCLINATION OF OUR KISS BOOTS BUT WITH AN EXTRA STABLE INDUSTRIAL SOLE FOR STEADY FOOTING ON FACTORY STAIRS.

THE SOUNDTRACK IS BOWIE’S HEROES – THE FRENCH, GERMAN, AND ENGLISH VERSIONS, WHICH WE WON’T LEGALLY BE ABLE TO USE ON YOUTUBE BUT IS THE CONSTANT SUBLIMINAL SOUNDTRACK TO A LOT OF OUR LIVES. WHAT YOU LISTEN TO ON YOUR EARBUDS IN AN EMPTY VILLAGE TRAIN STATION ON A COLD FOGGY NIGHT ON YOUR WAY SOMEWHERE TO WORK ON A WEIRD AND WONDERFUL FUTURE.

AND GIVE ME A WEEK OR A MONTH, I CAN FIT EVERYTHING I NEED IN A CARRY ON… I CAN NEED LESS BUT MAKE CHOICES COUNT MORE. I WANT TO DEPEND ON LESS THINGS BUT MAKE THEM AS SUPERNATURAL AS POSSIBLE.

CASTING: ANGUS MUNRO (CLM)
STYLING: TYRONE DYLAN SUSMAN
HAIR: DUFFY (STREETERS)
MAKEUP: DANIEL SALLSTROM (MA WORLD GROUP)
PRODUCTION: LA MODE EN IMAGES
MUSIC: ‘HEROES’ BY DAVID BOWIE MIXED BY JEFF JUDD

“I DON’T KNOW THAT THE LOYALTY WE ALL HAVE TOWARDS EACH OTHER IS RARE…MAYBE IF WE’RE ONLY THINKING IN THE CONTEXT OF THE FASHION INDUSTRY THAT CAN BE SO BRUTALLY RUTHLESS…BUT THERE ARE SOME COMPANIES OUT THERE WITH SOME VERY KIND PEOPLE…I HAVE A FEELING THAT AT THE COFFEE SHOP ON THE GILMORE GIRLS, THEY HAVE THE SAME ATTITUDE WE DO! AS A GENERAL RULE, I BET PEOPLE HELP EACH OTHER OUT A LOT MORE THAN THE RUTHLESS EXAMPLES WE SEE ELSEWHERE.

IN THE WORLD OF SOCIAL MEDIA WE ARE SO USED TO SEEING SHRILL PEOPLE JUDGING AND YELLING AT EACH OTHER, BUT I THINK THERE’S A REALLY QUIET WORLD OUT THERE THAT’S FUNCTIONAL
WHERE PEOPLE ARE KIND TO EACH OTHER.”  -RICK OWENS

FW25 CONCORDIANS WOMEN’S
THURSDAY 06 MARCH 2025
PALAIS DE TOKYO, 13 AVENUE DU PRÉSIDENT WILSON, 75116 PARIS

FOR OUR MEN’S COLLECTION, SHOWN 6 WEEKS AGO, I WROTE THE FOLLOWING:

“NAMING THIS COLLECTION CONCORDIANS, I WAS THINKING ABOUT MY 22 YEARS OF TRAVELING TO OUR FACTORY IN THIS SMALL INDUSTRIAL ITALIAN TOWN, CONCORDIA. AND NOT JUST ALONE BUT WITH MY TEAM, ALL TRAVELING FROM THEIR RESPECTIVE GLITTERING CITIES – TO LIVE HERE IN A KIND OF STUDIOUS ISOLATION. ALMOST BLEAKNESS. THIS CLOISTERED LIFE SEEMS TO BE WHAT IT TAKES TO BE ABLE TO FOCUS ON REACHING FOR SOMETHING WEIRD AND WONDERFUL…

THE 1ST YEAR, I STAYED IN A GRAND SUITE IN THE BAGLIONI HOTEL IN BOLOGNA THAT MY LICENSE AGREEMENT AT THE TIME PAID FOR.

FOR THE NEXT 5 YEARS, I SLEPT ON A COUCH IN MY OFFICE IN THE FACTORY TO IMMERSE MYSELF IN THE RHYTHM OF AN INDUSTRIAL PRODUCTION SCHEDULE THAT WAS NEW TO ME AND THAT I NEEDED TO LEARN TO SURVIVE.

THE NEXT 10 YEARS, I STAYED AT THE CONCORDIA HOTEL THAT HAD JUST BEEN BUILT OVERLOOKING A GAS STATION, IN A NO FRILLS SERIAL KILLER ROOM.

7 YEARS AGO, AN APARTMENT BUILDING WAS CONSTRUCTED ACROSS THE STREET FROM THE FACTORY AND THAT’S WHERE I HAVE MY CURRENT APARTMENT.

AFTER 20 YEARS OF TRAVELING HERE, I HAVE UPGRADED MY CARRY ON WITH A NEW RIMOWA COLLABORATION CUSTOMIZED WITH A BRONZED EXTERIOR AND FULLY-LINED IN BLACK LEATHER.

I ASKED RIMOWA TO GIVE ME THE BRONZE OF A RICHARD SERRA WALL AND, BLESS THEIR HEARTS, THEY DID.”

WELL, THE RIMOWAS ARE SOLD OUT NOW, BUT WE ARE STILL OFFERING THE LEATHER BEAUTY CASES MADE TO MATCH THE LEATHER INTERIORS OF THE CARRY-ONS.

THE RIMOWA COLLAB INSPIRED ME TO OFFER LEATHER FLIGHT JACKETS, ALSO LINED IN LEATHER – SOMETHING THAT HAD SURPRISINGLY NEVER OCCURRED TO ME BEFORE.

I’VE CONTINUED MY COLLABORATION FROM LAST FALL WITH LEO PROTHMANN, A LONDON DESIGNER WHO PROPOSED LEATHER CHAPS, WHICH WE HAVE ALSO LINED IN LEATHER.

LEATHER LININGS HAVE A DELICIOUSLY FETISHISTIC QUALITY, BUT ALSO A DISCREET OPULENCE THAT HAS ALWAYS APPEALED TO ME IN THE WORK OF 1930S INTERIOR DESIGNER JEAN-MICHEL FRANK, WHO FIND A NEVER-ENDING WELL OF AESTHETIC FUEL.

HEAVYWEIGHT GROPPONE COW LEATHER IS LASER CUT AND WOVEN TOGETHER BY HAND TO CREATE CHAIN-LINKED SKIRTS AND DRESSES IN A COLLABORATION WITH PARISIAN DESIGNER VICTOR CLAVELLY, WHO SPECIALIZES IN EXAGGERATING THE BODY IN A WAY I’M ALWAYS ON THE LOOKOUT FOR.

I HAVE ALSO COLLABED WITH PARISIAN RUBBER MISTRESS MATISSE DIMAGGIO AGAIN, WHO PROVIDED

THE TOPS AND HOODIES WITH ALL-OVER FRILLING IN NATURAL RUBBER.

TANJA VIDIC ALSO PROVIDES HER INTRICATELY CONSTRUCTED KNITS THAT MAKE ME THINK OF THE WEIRD NATURALISM OF THE WIENER WERKSTÄTTE.

OUR STRICT-SHOULDERED JACKETS ARE NOW WORN UNDER WRAPPED AND TIED SLEEVELESS COATS

IN EITHER SHEARLING OR COARSE AND RIGID WOOL DRILL WOVEN FROM RWS CERTIFIED WOOL IN THE GIFU PREFECTURE OF JAPAN.

DRACUCOLLARED JACKETS AND COATS ARE MADE IN HEAVYWEIGHT VEG TANNED CALF LEATHER, WHICH IS DRUMMED WITH WAX AND WASHED. ONLY VEGETAL AND NATURAL TANNINS WERE USED IN THE PROCESS OF TANNING AND PRESERVING THE LEATHER.

SCULPTED COATS ARE MADE IN HEAVY FELTS IN NATURAL MILK WHITE OR DARK BROWN MADE FROM BRITISH WOOL BOARD-LICENSED, NON-MULESED BRITISH WOOL SOURCED EXCLUSIVELY FROM FARMS IN THE UK. THE NATURAL COLORED WOOL IS CLEANED THROUGH A GENTLE AND ACID FREE PROCESS THAT RETAINS 95% OF THE WATER IN A CLOSED-LOOP SYSTEM. THIS PROCESS ALLOWS FOR FLECKS AND FIELD MATERIAL TO REMAIN IN THE NATURAL FIBER.

JACKETS AND COATS ARE ALSO CUT IN A BRITISH MÉLANGE WOOL FELT BLENDED WITH KEMP, ALSO KNOWN AS DEAD HAIR. KEMP FIBERS ARE NATURAL TO SOME SHEEP BREEDS AND DO NOT TAKE DYE, WHICH CREATES THE NATURAL MÉLANGE COLORATION ONCE DYED.

LONG SKIRTS WITH HIGH CENTER FRONT AND CENTER BACK SLITS ARE MADE IN WOOL DRILL, LACQUERED DENIM, OR PIRARUCU – A DINOSAUR-LOOKING SKIN I RETURN TO AGAIN AND AGAIN FOR ITS DRAMA AND ETHICAL SOURCING.

CROPPED JACKETS AND BAGS ARE CUT FROM BLEACHED, LARGE SCALED ALLIGATOR SKINS RESPONSIBLY SOURCED IN THE U.S.A.

WE CONTINUE OUR BONOTTO COLLABORATION WITH CAPES AND COATS ZIPPED AND HARNESSED IN

HOMAGE TO BLIXA BARGELD, THE FRONTMAN OF EINSTÜRZENDE NEUBAUTEN. HEAVYWEIGHT WOOL MELTON IS MADE USING RWS CERTIFIED VIRGIN WOOL, WHICH ENSURES A HIGH STANDARD IN ANIMAL WELFARE, ENVIRONMENTAL SUSTAINABILITY, AND SOCIAL RESPONSIBILITY. EACH BALE OF WOOL IS TRACEABLE BACK TO ITS SOURCE.

DENIM COLLAGE DRESSES AND SKIRTS ARE EXECUTED IN BLACK OR BRONZE MEGACRUST – LAYERS OF BRONZE FOIL AND WAX ARE PRESSED ONTO DENIM AND WASHED TO CREATE A CRUSTY SURFACE TEXTURE. ALL OUR DENIM IS TREATED IN AN ITALIAN WASH-HOUSE BASED IN THE VENETO AREA OF ITALY THAT PRODUCES IN SMALLER TREATMENT BATHS TO REDUCE WATER WASTE AND UTILIZES A WATER PURIFYING PROCESS THAT ENABLES THEM TO RECYCLE A PORTION OF THE WATER USED. ALL OF OUR DENIM WASHES ARE ZDHC CERTIFIED.

OTHER SHREDDED AND COLLAGED SKIRTS ARE MADE IN 14OZ ORGANIC JAPANESE INDIGO SLUB DENIM WOVEN IN THE FUKUYAMA PREFECTURE BY A MILL FOUNDED IN 1893. THESE ARE STONEWASHED WITH MINERAL DYES TO CREATE OUR SIGNATURE HUSTLER WASH.

THE SOUNDTRACK IS IGGY POP’S ‘MASS PRODUCTION’, THE SONG I USED FOR MY FIRST NY RUNWAY SHOW 23 YEARS AGO, WHICH WE WON’T LEGALLY BE ABLE TO USE ON YOUTUBE, BUT IT’S A SONG THAT YEARNS FOR THE WEIRD AND WONDERFUL, AS MUCH TO ME NOW AS IT DID BACK THEN.

CASTING: ANGUS MUNRO (CLM)
STYLING: TYRONE DYLAN SUSMAN
HAIR: DUFFY (STREETERS)
MAKEUP: MAC COSMETICS AND DANIEL SALLSTROM (MA WORLD GROUP)
PRODUCTION: LA MODE EN IMAGES
MUSIC: ‘MASS PRODUCTION’ BY IGGY POP MIXED BY JEFF JUDD

“I’M A LOS ANGELES CLICHÉ. I HAD A CONSERVATIVE, CONTROLLED CHILDHOOD, THEN BECAME AS UNCONTROLLED AS I COULD, THEN REALISED THAT I LIKED CONTROL AFTER ALL. THIS IS THE STORY OF MY GENERATION: KIDS THAT WERE TOO CONTROLLED AND THEN BECAME DRUG ADDICTS AND ALCOHOLICS BEFORE FINDING SPIRITUALITY AND ZEN. IT’S SO COMMON. I’M TOTALLY COMMON.

I WAS PRETTY EFFEMINATE AND SENSITIVE AS A BOY. IT’S THAT SAME OLD STORY: SENSITIVE BOY IN A SMALL TOWN, TRYING TO FIT IN. I FELT THREATENED PRETTY MUCH ALL THE TIME.
GROWING UP, THERE WAS A CERTAIN SET OF RULES OR EXPECTATIONS ABOUT HOW TO BEHAVE. THAT ANGERED ME, AND LATER ON I FELT VENGEFUL. I TRIED TO CONFORM, BUT I NEVER MANAGED TO DO IT VERY SUCCESSFULLY. I WAS FORCED TO BEND, TO ACT IN A WAY THAT I WAS UNCOMFORTABLE WITH. THEIR RULES DIDN’T SEEM FAIR. THEY WERE LIMITING AND UPTIGHT AND DIDN’T MAKE SENSE. I HAD TO BECOME MORE MASCULINE. I COULDN’T BE FLAMBOYANT; I HAD TO BUTCH IT UP. IT WAS HUMILIATING. IN A WAY I SUPPOSE IT HELPED ME FORM A SENSE OF DEFIANCE AND REBELLION AND WHEN I LEFT TO GO TO ART SCHOOL IN THE BIG CITY, I BECAME AS FLAMBOYANT AS I POSSIBLY COULD.

I LIVED IN A WAREHOUSE BY THE RAILROAD TRACKS IN LA. YOU HAD TO CLIMB IN FROM A SET OF STAIRS. I HAD THIS GREAT CAR WITH FINS ON IT. I WORE PLATFORM BOOTS AND CAPES
AND FULL MAKEUP. I WORE GLOVES TO BED. BUT WHEN I WENT BACK HOME TO PORTERVILLE TO SEE MY PARENTS, I’D TAKE OFF ALL THE MAKEUP AND NAIL POLISH AND PUT ON NORMAL CLOTHES. WHAT WOULD BE THE POINT OF GOING TO THEIR HOUSE AND PROVOKING THEM? IF I WANTED TO HAVE A RELATIONSHIP WITH THEM, I HAD TO COMPROMISE. THAT ISN’T A BAD THING. AND IN THE LATER YEARS, WHEN I WAS COMPLETELY HONEST WITH THEM AND ALLOWED THEM INTO MY LIFE, THEY HAD TO MAKE SOME COMPROMISES TOO. THAT WAS LOVELY. IN A WAY, IT WAS THE MONEY THAT MADE THEM CHANGE THEIR MINDS ABOUT ME. (LAUGHS.) MY PARENTS FIGURED, WELL AS LONG AS HE’S SUCCESSFUL HE MUST BE OKAY. IT WAS KIND OF BITTERSWEET BECAUSE OBVIOUSLY IT WAS A FALSE CONTEXT, BUT THEN LIFE ISN’T PERFECT.”
– RICK OWENS
EXCERPT FROM VESTOJ, ISSUE 7 – “RICK OWENS ON WHAT MAKES A MAN” BY ANJA ARONOWSKY CRONBERG.
TO CONTINUE READING, CLICK HERE.
(HTTPS://WWW.RICKOWENS.EU/EN/US/INTERVIEWS/RICKOWENS-MAKES-MAN)

BASED IN CHIAMPO, IN THE VENETO REGION, THIS ITALIAN LEATHER TANNERY AND PROCESSOR HAS DEVELOPED THE “HUMMUS” PROJECT — A SUSTAINABLE LEATHER PROCESSING INITIATIVE UTILIZING CHROME-FREE AND ALDEHYDE-FREE TANNING METHODS. BY REPLACING TRADITIONAL HEAVY METALS WITH ZEOLITE-BASED TANNING PROCESSES IN LINE WITH ZEOLOGY STANDARDS, THE RESULTING MATERIALS ARE BIODEGRADABLE AND COMPOSTABLE.

THE PRODUCTION CYCLE OPERATES ENTIRELY ON RENEWABLE ENERGY SOURCED FROM CERTIFIED GREEN SUPPLIERS. IT ALSO PARTICIPATES IN THE ZDHC (ZERO DISCHARGE OF HAZARDOUS CHEMICALS) FRAMEWORK AND UNDERGOES LWG (LEATHER WORKING GROUP) ENVIRONMENTAL STEWARDSHIP AUDITS, WHICH ASSESS SEVENTEEN AREAS OF MANUFACTURING, INCLUDING MATERIAL TRACEABILITY, CHEMICAL MANAGEMENT, AND THE MONITORING OF ENERGY, WATER, AND EMISSIONS.

THIS HEAVYWEIGHT LEATHER IS A HAIR-ON COWHIDE WITH NATURAL LENGTH COARSE HAIR.

THIS LEATHER IS TANNED IN THE VENETO AREA OF ITALY BY A TANNERY SPECIALIZED IN HAIR-ON COW LEATHER. BECAUSE THE HAIR IS NATURAL THERE CAN BE INCONSISTENCY IN THE LENGTH DIRECTION, TEXTURE AND COLOR.

LOCATED IN GIAVERA DEL MONTELLO, IN THE VENETO REGION OF ITALY, THIS SPECIALIZED ATELIER OVERSEES ALL DENIM WASHES AND TREATMENTS FOR RICK OWENS AND DRKSHDW LINES, OPERATING AT THE INTERSECTION OF TEXTILE FINISHING AND ADVANCED INDUSTRIAL PROCESSING.

THE FACILITY EMBODIES A CONTEMPORARY MODEL OF PRODUCTION; HARNESSING WIND ENERGY SOURCED FROM THE LUCERA WIND FARM TO POWER ITS OPERATIONS.

THIS ENERGY CYCLE IS FORMALLY CERTIFIED BY TÜV SÜD, PROVIDING INTERNATIONAL VALIDATION OF ITS STATUS AS AN ENERGETICALLY RESPONSIBLE ENTITY—AN ALIGNMENT OF TECHNICAL PRECISION AND ENVIRONMENTAL ACCOUNTABILITY.

THIS LIGHTWEIGHT WASHED FOIL DENIM IS MADE ON A 10OZ BLACK AND NATURAL STRETCH DENIM. THE READY GARMENT IS BLEACHED INTO A DIRTY PEARL COLOR, A BLACK FOIL OVERLAY IS THEN APPLIED AND FINALLY THE GARMENT IS WASHED TO ACHIEVE THE IRREGULAR LOOK.

THE NATURAL ASPECTS OF THIS TREATMENT MEANS THE FOIL. APPLICATION IS IRREGULAR AND HAS PEELED OFF IN CERTAIN AREAS AND WILL CONTINUE TO DO SO WITH WEAR AND ABRASION. THIS IS AN INHERENT CHARACTERISTIC OF THIS TYPE OF TREATMENT AND IS A DESIRED VISUAL ASPECT WHICH ADDS TO THE UNIQUENESS OF EACH PIECE.

THIS PROCESS INVOLVES THE MANUAL APPLICATION OF A NATURAL WAX-BASED COMPOUND ONTO DENIM, CREATING THE SIGNATURE “MEGACRUST” TEXTURE. THE MATERIAL IS TREATED BY HAND, ALLOWING IRREGULAR LAYERS TO BUILD UP AND INTERACT WITH THE FABRIC’S SURFACE, ENHANCING DEPTH AND TACTILITY.
ALL SUBSTANCES USED IN THIS TREATMENT ARE DERIVED FROM NATURAL SOURCES, ENSURING A REDUCED ENVIRONMENTAL IMPACT WHILE PRESERVING THE RAW, ORGANIC CHARACTER OF THE FINISH.

ALL TEXTILE TREATMENTS ADHERE TO OEKO-TEX STANDARDS, ENSURING THAT CHEMICAL INPUTS MEET THE HIGHEST LEVEL OF ZDHC MRSL REQUIREMENTS. THIS APPROACH REFLECTS A COMMITMENT TO SAFER CHEMISTRY AND THE PROTECTION OF NATURAL RESOURCES, ACHIEVING ZERO DISCHARGE OF HAZARDOUS CHEMICALS THROUGHOUT THE PRODUCTION CYCLE.

OUR LABELS HAVE BEEN HAND-STAMPED IN OUR VILLAGE FOR THE LAST 20 YEARS BY GIORGIA MALAVASI, WHO RECENTLY RETIRED AFTER TRAINING A NEW TEAM TO TAKE HER PLACE.

HAND STAMPED LABELS WERE ONE OF THE THINGS I DIDN’T WANT TO CHANGE WHEN I STARTED PRODUCING MY FIRST COLLECTIONS INDUSTRIALLY IN ITALY AND I WILL CONTINUE THIS TRADITION AS LONG AS THIS LABEL EXISTS.

STARTING THIS SEASON, WE HAVE STOPPED STAMPING THE NAME OF THE SEASONAL COLLECTIONS IN OUR LABELS IN AN EFFORT TO AVOID CONTRIBUTING TO THE CYCLE OF FASHION DISPOSABILITY. NO EXPIRATION DATE. AS A COMPANY WE WILL CONTINUE TO WORK TOWARDS FURTHER SUSTAINABLE PRACTICES EACH SEASON - WE STILL HAVE A WAYS TO GO, BUT WE CAN ALL START SOMEWHERE AND AIM HIGHER.

SUPPLYING HAND-DYED INDIGO SUEDE LEATHER, THIS FAMILY-OWNED TANNERY BASED IN TUSCANY OPERATES WITH A GOLD RATING FROM THE LEATHER WORKING GROUP (LWG).
THIS CERTIFICATION VERIFIES COMPLIANCE WITH ENVIRONMENTAL PERFORMANCE STANDARDS, INCLUDING CHEMICAL MANAGEMENT, WASTEWATER TREATMENT, AND ENERGY CONSUMPTION ACROSS ALL PRODUCTION PHASES.

THE TANNING CYCLE IMPLEMENTS THE RISHIRI METHOD, AN INNOVATIVE PROCESS DEVELOPED FROM THE GEOLOGICAL CONDITIONS OF RISHIRI ISLAND. ACCORDING TO CERTIFIED LIFE CYCLE ASSESSMENT (LCA) DATA, THIS METHOD ACHIEVES A 27% REDUCTION IN CO₂ EMISSIONS COMPARED TO STANDARD INDUSTRIAL PRODUCTION CYCLES.
THE APPROACH FOCUSES ON EMISSION REDUCTION AND THE SYSTEMATIC MANAGEMENT OF NATURAL RESOURCES.

THIS MEDIUMWEIGHT CROSTA COW SUEDE LEATHER IS MATTE WITH A HAIRY SURFACE TEXTURE.
IT IS DYED USING NATURAL INDIGO AND WASHED SEVERAL TIMES TO ACHIEVE ITS FINAL LOOK. IT HAS A NATURAL AND WAXY HAND FEEL ACHIEVED BY DRUMMING THE SKINS WITH WAX.

IN THE BEGINNING…

I WAS REALLY DESPERATE – REALLY, REALLY DESPERATE  - AND I HAD ALREADY SIGNED WITH ONE OF THOSE BIG SHOWROOMS...LUCA CAME TO ME AS A REPRESENTATIVE OF EO BOCCI ASSOCIATES AND OFFERED TO BUY MY CONTRACT FROM WHERE I WAS. WE MET AT MUSSO & FRANK – IT’S A REALLY GREAT, REALLY OLD 1920S HOLLYWOOD RESTAURANT– IT’S A LITTLE BIT LIKE BEMELMANS BAR IN THE CARLISLE...MIRRORS AND DARK WOOD AND DARK LEATHER SEATING.

EO BOCCI WAS KIND OF LEGENDARY FOR HAVING A NOSE...HE WAS THIS PASSIONATE ITALIAN GUY WHO DISCOVERED SOME REALLY IMPORTANT PEOPLE – HE WAS MCQUEEN’S FIRST SALES AGENT. WHEN I SHOWED UP, BOCCI WAS SHOWING ANN DEMEULEMEESTER AND OLIVIER THEYSKENS. ENO BOCCI WAS THE ONE WHO DROVE ME AROUND ITALY INTRODUCING ME TO MANUFACTURERS...EVERYONE SAID NO UNTIL WE GOT TO CONCORDIA.

ELSA AND LUCA WERE WORKING WITH ANN AND OLIVIER – IN THE FIRST FEW YEARS I WAS JUST A PART OF THE GROUP...AFTER A WHILE, ELSA AND LUCA DECIDED TO GO OFF ON THEIR OWN WITH ME. IT ALL HAPPENED ORGANICALLY.

AT THAT TIME I WAS SORT OF EXCLUSIVE TO CHARLES GALLAY BECAUSE HIS WAS THE ONLY STORE I WAS SELLING TO... I HAD GONE TO HIS STORE ON MELROSE – I ASKED TO SEE THE MANAGER SO I COULD SHOW HER MY STUFF...I SHOWED HER SOME CORSET BELTS I HAD MADE IN LEATHER...THEY WERE REALLY BEAUTIFUL – SHE SENT ME TO A WAREHOUSE IN CULVER CITY TO MEET WITH CHARLES...IT WAS FULL OF RACKS WITH METAL PLAQUES WITH THE NAMES OF EACH DESIGNER COLLECTION, IT WAS REALLY SCI-FI AND GLAMOROUS. I HAD A LITTLE COLLECTION WITH ME AND HIS ASSISTANT WAS REALLY SWEET AND TRIED ALL OF THE PIECES ON – THAT’S HOW HE DECIDED TO BUY THE COLLECTION. EVENTUALLY CHARLES ENCOURAGED ME TO SELL TO OTHER STORES SO I WASN’T COMPLETELY DEPENDENT ON HIM - IT WAS ALSO IN HIS BEST INTEREST IF I WAS IN GOOD STORES IN THE WORLD.

CHARLES TOLD ME I SHOULD GO TO PARIS – THAT HE’D BRING PEOPLE BY MY PLACE SO HE COULD INTRODUCE ME – I GOT A ROOM AT THE REGINA...IT WAS ALL RED, SO I TURNED THE BEDCOVERS OVER SO THEY WERE WHITE AND I TURNED THE CURTAINS AROUND SO IT WAS THE WHITE LINING SHOWING INSTEAD. CHARLES BROUGHT THE BUYERS FROM HENRI BENDEL, AN EDITOR FROM THE NEW YORK TIMES, HE BROUGHT LINDA DRESSNER...THAT’S HOW I GOT MY FIRST BASE OF BUYERS. I DID THAT FOR A COUPLE OF YEARS BEFORE ANDRÉ LEON TALLEY SAW MY CLOTHES IN THE WINDOW.

WE TOOK A VINTAGE ARMY DUFFEL BAG TO ANNA WINTOUR’S SUITE AT THE RITZ AT 7 IN THE MORNING TO SHOW HER THE COLLECTION AFTER ANDRÉ LEON TALLEY HAD SEEN MY CLOTHES IN THE WINDOW AT HENRI BENDEL. EVERYONE WAS REALLY FRIENDLY AS I DUMPED EVERYTHING IN THE DUFFEL ON THE FLOOR AND MY ASSISTANT DAPHNE JUST PUT THINGS ON AND I EXPLAINED THEM THAT WAS OUR WHOLE MEETING...I GUESS ANNA WAS FINE WITH IT BECAUSE AFTER THAT THEY PROPOSED OUR FIRST RUNWAY SHOW.