Classiq - An online journal that celebrates cinema, culture, style and storytelling.

20 March 2017

Interview: Ocean + Main

You know when you discover a brand for the very first time and you immediately want to not only wear the clothes, but meet the owner, too, and also find out the whole story behind it? That’s the feeling I got when I spotted Ocean + Main online less than a fortnight ago. A brand that does things like turning ethical clothing on its head. Like sourcing the fabrics that the fashion industry tosses away and re-purposes them by turning them into luxurious caftans and tunics. Like using zero water in production. Like making everything locally, in Los Angeles. Like being a small company, making limited edition garments in order to make a small difference in our big world. Like not sacrificing style and quality in order to do things mindfully. Like being born out of the desire and courage to follow your dream.

As soon as I discovered Ocean + Main, I reached out to the founder and creative director, Mary Price, to learn all about her journey to create the perfect caftan and to carve out a lifestyle dictated by her own rules and passions.

“I think my woman is a bit of a free spirit, and age is inconsequential. She loves travel and is mindful of the planet and the people in it.”

Mary, why tunics and caftans? Why not something else?
Caftans and tunics have an enduring appeal to me. They conjure up visions of exotic holidays, bohemian villas and air perfumed with jasmine. Their effortless ease speaks to relaxed, artistic life unencumbered by convention. Maybe by making them, I’m hoping to achieve that lifestyle! There is a bit of nostalgia in my choice. As a child growing up in Hawaii, my Mother and her friends left a lasting impression, floating effortlessly across the lanai; exotic, free, and happy in their flowing caftans. I also find the universality of the caftan incredibly appealing. Every period in history, every climate and every culture has their take and I love scouring thrift stores and flea markets across the globe in search of each society’s version – kurta’s, banda’s, muumuu’s, kimono’s, yukata’s, abaya’s, dashiki – the list for inspiration is endless.

What are the core tenets on which the idea behind ocean + main is based? And what does the name ocean + main stand for?
The name ocean + main is both figurative and literal. First, living near the ocean is a huge inspiration. I love being in it, around it, near it and, most importantly, saving it. As we use no water in production, we aren’t further polluting the oceans waters by dying, treating and manufacturing more fabric. Second, the collection can be worn both at the ocean and on main street. And third, all our garments are made in downtown Los Angeles on Main Street. So, the collection is actually inspired by the ocean, and literally made on main street.

Who do you design for?
I think my woman is a bit of a free spirit, and age is inconsequential. She loves travel and is mindful of the planet and the people in it. She wants clothes that suit her lifestyle and makes choices that are on-trend, not trendy. At the beach, she wants to look chic and have a bit of sun coverage. On the street, she is comfortable in her own skin and dresses with her own perspective on life and style.

A philosophy that translates well into the values of ocean + main. What are the perks and challenges of a socially conscious brand?
One of the great perks of being a socially conscious brand is it hones your strategy and informs every decision you make. If an action doesn’t serve your overall mission, you can let it go. The down side is there is still a perception that being socially conscious comes at the expense of quality, luxury and style. I think that is changing, however. It feels like a moral imperative today for any business to have a socially conscious pillar to their strategy. It’s not only the right thing to do, the customer today expects it. We have reached a saturation point of consumerism and availability of options that buying one more thing doesn’t provide the retail therapy it once did. Many consumers are looking for an experience more than they are looking for things today and when those customers can buy into a brand’s philosophy, they are buying into the experience. When we can “buy good” and “do good” for ourselves, others and the planet, it feels like a win-win.

Who and what inspires you?
I’m inspired by anyone who is living a truly authentic life, regardless of their vocation. You know when you meet someone who is just in their lane? They are doing exactly what they were called to do and they are completely genuine about it? That inspires me. As far as what inspires me, I feel like I’m inspired by something new everyday. It may sound like a cop out, but I’m inspired by nature, art, photography, travel, a conversation with a friend. Just about anything can spark a new thought or idea.

What are the pros and cons of starting a fashion company in Los Angeles, away from the fashion capital of New York? And how does living in Los Angeles influence you creatively?
I think there is no better place to start a business than LA. Los Angeles is so alive with creativity, collaboration and support. The barrier to entry is much lower than NY, from the cost of living to the accessibility of raw materials, manufacturers, and other entrepreneurs and experts. Everyone’s door is literally open and the attitude is always “you can totally do that!” I once read, “NY is a place for making it. LA is a place for making things.” Truer words have never been spoken and I wish I knew who said it so I could give them proper credit.

What’s in store for ocean + main? Are you planning to extend your range of products?
We will definitely expand into other apparel categories that remain true to the ocean + main ethos. Look for new dress options and even possibly the ‘man tunic’.

What drove you to the fashion business in the first place?
I’m a bit of a numbers nerd and I’ve always leaned towards the creative. It may sound surprising, but fashion is a great place to blend the two.

How exactly is fashion a great place to blend the two?
Many people think of a career in fashion as simply ‘glamour, travel, play with clothes’. In actuality, that is only about 10% of your job on the merchandising, designing and buying side. A good merchant and designer has to employ many different skills, and a strong sense of analytics is invaluable. Number skills are important in everything, from calculating the amount of fabric you need to buy to projecting and managing your inventory. It is always helpful to understand the cost of running your business and how to analyze it. Without those skills, or a strong partner who has them, it makes success in the industry an uphill battle.

You spent years as a designer and buyer for luxury brands like Neiman Marcus and Jigsaw London, and eventually grew weary of the fashion system and your place in it, the tremendous waste in the industry being one of the factors that prompted you to start your own company. How do you see the future of fashion? Because so many of the people I admire and who I come in contact with prefer mindful shopping and meaningful brands, such like yours.
Sadly, I don’t think mass consumption is going away anytime soon, but I do see a huge shift in the industry. People are shopping differently and customers are truly democratizing fashion. They are starting to dictate, as they should, when and how fashion is delivered and they are forcing every fashion house to take a hard look at their established practices. For commodities, consumers shop for price. For something unique, they want an experience or a compelling story, and that’s where ethical brands can make a difference. I think it is a hugely exciting time for anyone who is ready to embrace the change.

How much talent, how much hard work and how much luck would you say that is involved in a successful fashion brand?
Hard work is certainly number one. Like in anything, luck and timing play a massive part. Did I mention hard work?

What advice would you give someone with their own idea or dream?
Be still and listen to your heart. It knows best. Always.

Mary Price, founder and creative director of Ocean + Main

What does style mean to you?
True style is both timeless and effortless.

You’ve been working in fashion for many years. How has that influenced your personal wardrobe?
By fashion-girl standards, I am a huge disappointment! Having the latest and greatest used to be important and I did accumulate a nice collection from designers I respect and admire. Today, I’m practically an ascetic monk. Traveling so much forces you to simplify and I’ve pared down my wardrobe to a few key pieces. If it doesn’t fit in a carry-on, it doesn’t go, so I only buy pieces I know I will really wear. I also find a simple wardrobe frees up my creative energy to channel into my passions like ocean + main.

You love to travel, and travel is also an important part of your work. Which is your wardrobe item with the most beautiful story attached to it?
Years ago, I was in Milan during an unusually chilly March. I went into the venerable 10 Corso Como and bought an amazing jacket from a young upstart label, Helmut Lang. It was one of his first collections and I wore that simple, one button single breasted jacket all over Europe that Spring. It is still in my wardrobe today and remains in heavy rotation. It inspires me every time I wear it not only because it reminds me of an incredible time in my life, but also reminds me that well made, great design never goes out of style.

You feel your best dressed in:
When I’m not in a tunic or a caftan, you can find me in boyfriend jeans and tee.

“I love the feeling when you spend an entire day outside in beautiful weather doing something active, and you fall into bed completely spent, like you used every minute of the day and just breathed it all in.”

What is your one favourite thing to do in Los Angeles and which you would miss if you lived anywhere else in the world?
That’s easy. The ocean.

One thing you can not start the day without: One cup of coffee and at least 10 minutes of quiet time to reflect on my day or meditate.

Where would we find you when not working?
Paddle boarding, an art museum, a yoga class, the beach, on a hike, or dinner with friends and family.

Latest book you’ve read, latest film you’ve watched:
The Underground Railroad by Colson Whitehead. Moonlight.

What makes you happy at the end of the day?
I love the feeling when you spend an entire day outside in beautiful weather doing something active, like paddle boarding or a long hike, and you fall into bed completely spent, like you used every minute of the day and just breathed it all in.

photos: Ocean + Main

Posted by classiq in Fashion, Interviews | | 3 Comments

13 March 2017

The Poster Art of Hans Hillmann

Hans Hillmann poster for Shadows (John Cassavetes, 1959)

One of the pieces of film memorabilia in our home that I cherish the most is the Metropolis poster designed by Schulz-Neudamm, which is unequivocally included on every possible list of the best movie posters in the history of cinema. I pay great attention to film posters and I love, for example, spotting them hanging on the walls in movies (used as a way to pay homage to influencing films or filmmakers or for whatever other reason), like in the case of Vittorio de Sica’s 1948 Ladri di biciclette (Bicycle Thieves) – not necessarily the Rita Hayworth poster that is center-state at the beginning of the film, but the office Antonio Ricci (Lamberto Maggiorani) works for, with its walls covered in movie posters.

Unfortunately, it does not happen very often these days that a current movie poster catches my eye and makes me want to watch the film – with an arresting image and pithy tag line – without my knowing absolutely nothing about it beforehand. The kind of great movie poster that adds something to the experience of the movie – accompanying it rather than simply attempting to sell it. Poster art is a medium designed to speak to the public before the film does. The window to the world or story waiting for you to discover.

Hans Hillmann posters for (left) The Fire Within (La feu follet, Louis Malle, 1963) and (right) Los olvidados (Luis Buñuel, 1950)

But I did come across one such poster last year and that was the one for The Lobster, directed by Yorgos Lanthimos. I was not surprised to find out that the inspiration behind it was the stark and striking work of the great German graphic artist Hans Hillmann, whose talent was immeasurable. He created more than 130 film posters in his career, including designs for landmark films such as Akira Kurosawa’s The Seven Samurai, Robert Bresson’s Pickpocket and Andrzej Wajda’s Ashes and Diamonds.

The number of iconic film posters that bear his name is astonishing, and Hans Hillmann’s style was as much a signature as that of the directors he often collaborated with, such as Luis Buñuel, Ingmar Bergman, Jean-Luc Godard, Jean Cocteau and Federico Fellini.

I have gathered here some of the work I wasn’t familiar with until recently, like that incredible poster for John Cassavetes’ Shadows.

Hans Hillmann posters for (left) Storm over Asia (Svevolod Pudovkin, 1928) and (right) Rashōmon (Akira Kurosawa, 1950)

photos via The Criterion Collection | Museum Folkwang/Deutsches Plakat Museum and Hans Hillmann estate

Posted by classiq in Film | | Comments Off

9 March 2017

Play It Again, Sam

Spring. Sun. Trench. Style reloaded. Repeat. It happens every single year. When March arrives, one of the first things that spring into my mind is: “Trench weather, finally!”. And you have to be quick to enjoy it while it lasts, because summer will catch you by surprise before you start to feel like yourself again wearing proper clothes after a long and cold winter (and before the blazing temperatures of summer hit and make you forget about style again).

So I am committed to make the most of it and wear my trench coat everywhere. “Never leave the house without it”, says designer Jesse Kamm (the piece in the image is from her spring collection). I rarely do in spring. I wear it to the park, to the film, to a meeting, to the plane, on a road trip, to a tennis match, on a countryside dirt road. You name it, I’ve done it. Too dressed up does not exist when it comes to this versatile and timeless item. There are so many ways to play it down. And you can count on the trench to always play the right card for you.

About Jesse Kamm, I have previously written about her, and, in the meantime, I have come to appreciate her and her work even more than before (for example, the only social network she’s on is Instagram, and that counts for a lot in my book). Not only does she live by her own rules and strong values, but she runs a sincerely admirable company from start to finish – and she does it all by herself (from sales, to delivery, to PR) from her home studio in California, refusing to collaborate with fast fashion chains. Made in California, supporting local manufacturing, using high-quality, well-constructed textiles like modal, American-grown cotton or deadstock fabric whenever she can. Jesse’s philosophy is that business should be of a specific size and scale — bigger isn’t better. But when it comes to style, the scale goes considerably up for the brand Jesse Kamm.

photo: Jesse Kamm

Posted by classiq in Fashion, Style | | Comments Off

6 March 2017

Ryan Gosling and His Otherworldly “Drive” Jacket

That’s Ryan Gosling at the wheel. After all the singing and dancing in La La Land, here is a little reminder that he can do tough, too (but then again, he can take on any role). Gosling is Driver in Drive, Nicolas Winding Refn’s 2011 American debut film. With uncanny skill, in league with cameraman Newton Thomas Sigel and composer Cliff Martinez, Refn blends tough and tender, violence and beauty. Drive is wild and damn good.

Driver drives for hire. He is a part-time mechanic and Hollywood stunt racer who moonlights as a getaway wheel man. Gosling is silent, stoic, mysterious, a loner, referencing Alain Delon’s disciplined isolation in Jean-Pierre Melville’s Le Samouraï (he kills for hire). Both characters abide by a certain code of conduct, leading a solitary existence. They both even gamble with their own lives. But unlike Delon’s Jef Costello, who won’t let anything distract him from his own path, Gosling’s Driver gambles with love, too.

That’s Ryan Gosling’s jacket in Drive. Why “otherworldly”? Because, unlike many other film costumes that are meant to be copied for decades to come and even become the voice of a generation, this one is meant only to be noticed and rememebered. Because Driver is that unique. On him, a character of no place, no family, no history, no name, it has a place and purpose. On anyone else, mere mortals in real life, it wouldn’t. It is what it is because it belonged in the movie, and on Ryan Gosling’s character in the movie. The ever-present satin bomber jacket becomes his armour, part of a ritual he alone has established for himself.

Film costume, once again, helped shape the character and the image of the movie. The jacket itself was a custom design made specially for the film, and which took months for Los Angeles based tailor Richard Lim and costume designer Erin Benach (who also worked for Half Nelson, Blue Valentine and The Place Beyond the Pines, all starring Gosling) to perfect.

Nicolas Refn wanted Gosling to wear a white satin jacket that would illuminate him at night, inspired by “listening to Kiss’s ‘I Was Made For Loving You’ like 1,000 times over and over again in a car,” said Refn in an NPR interview. “Good actors find their own costumes, so Ryan found a type of jacket that he really liked,” the director told IFC. The idea for this particular type of jacket apparently originated in 1950s Korean souvenir jackets. “[Gosling] had bought one on his own and was wearing it around”, said Erin Benach. “So we started to think, wow, that might be really cool. But the style and shape of them was definitely very fifties and slouchy. We felt like Driver was really buttoned-up, clean and streamlined. So we built it piece by piece. We knew the collar had to be able to pop up, we wanted the knit around the wrists and waist to be 100 percent wool as opposed to stretchy nylon. We wanted every element to be perfect. We went through 15 or 20 iterations until we got it right. Which was down to the wire — about an hour before shooting!”

The director and his lead actor both had their say in choosing the scorpion logo, too, which is a reference to one of the first music videos ever made by Kenneth Anger called Scorpio Rising. A tribute to a time of avant garde filmmaking. Drive is indeed a film that, in every aspect of its making, shows respect to craft.

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photos: stills from the movie | Production Co: FilmDistrict, Bold Films, OddLot Entertainment

sources: interview with costume designer Erin Benach, Grantland / interview with director Nucolas Winding Refn, IFC

Posted by classiq in Film, Film costume | | 2 Comments

1 March 2017

Team Spirit

I am one of those persons who has never had that kind of fascination with French style. The kind of fascination that implies that possessing an innate sense of style comes with the territory just because you are French. I have equally been drawing inspiration from anywhere, be it of French, American or Scandinavian origins.

But watching Isabelle Huppert on the Oscars’ red carpet (wearing Armani Privé), looking like a glamorous star from the 1940s and overshadowing, once again, in beauty, elegance and class, every other actress present there, young and old, made my admiration for her skyrocket once again and it made me want to shout “America, take notice!” in the dead of night (it was past 2 a.m. our time) (I think I may have let out a few pretty loud ‘wow’s). And that was about the only exciting moment of the night. Oh, right, I didn’t catch that very last monumental bit that turned into a for-the-ages Oscars fiasco, “the greatest heist Bonnie and Clyde ever pulled”, as The Rolling Stone magazine put it. You might say that I went to bed knowing that La La Land had won (I called it a night too early apparently; nothing exciting had happened all night long, after all, and what was there to happen after they announced the winner?) and woke up to Moonlight winner of best picture (the unpredicted did happen, after all). But I digress.

A day after, I happened to come across the image above of the Vogue Paris team, my two favourite French fashion editors (personal style related), Jennifer Neyt and Emmanuelle Alt (it’s them in the second image, too), and Aleksandra Woroniecka. Do they all have style in spades or what? Rarely do I see such a cool looking bunch. Remember the Sartorialist’s Lunch for 25? I want someone to organise something similar for women, too, and invite these three, among others, Isabelle included, bien sûr (all just as natural and effortlessly looking, without forgoing individuality), who would make me speak about them in the kind of high terms I usually keep for men’s style. And men could take notice for a change.

photos: 1-Alexandra Chalaud / 2-Sandra Semburg

Posted by classiq in Style | | Comments Off