f i r s t v i e w ( 3 ) ; a ll o t h e r s c o u r t e s y
Morphew merch
Any other recent finds? Lyon: We just bought an Esteban Cortázar polyester dress and the average vintage market price for A Norma Kamali ’80s era it is $300, but the design is so leopard-print coat worn cool. It’s what we call a “straight by Madonna to factory” dress—a fast-fashion retailer will copy it, they’ll make a million bucks off of it. Morphew: Then they’re happy with us, and they get a bigger budget to spend on us. The accounting department didn’t mind our invoice quite as much. So we work with companies beyond the big high-end fashion houses as well. What are some of the rarest pieces in your collection? An iconic ’90s era Versace Lyon: We have a top from chain metal dress McQueen’s shipwreck collection that’s constructed from shredded chiffon. I love it as a piece of fashion history, because that collection is what brought shredded chiffon into the fashion dialogue. We have a lot of really early Issey Miyake, too. I have this Jean-Charles de Castelbajac coat that is made out of teddy bears— Alexander McQueen that’s not exactly fashion, that’s shredded chiffon top art. We have some Versace looks Rare finds (From left) Morphew’s original creations made from vintage Spring/Summer 2003 fabrics; a look from Alexander McQueen’s Spring/Summer 2003 collection; with the Andy Warhol prints. We Versace’s iconic chain metal dresses from Haute Couture 1997. have a leopard Norma Kamali coat that was worn by Madonna that’s how do we set ourselves apart?” I said, “Well, let’s Why is this season the right time for you to from 1987, or maybe earlier. We have a Versace chain go back to where we started and start remaking the launch at NYFW? metal dress from 1996 that still has the original price stuff again.” So we started reworking the vintage. Lyon: Numerous celebrities have been buying our tag on it. It was $56,000! If you factor in inflation, Jason is a self-taught couture designer. We sold his pieces left and right. We have done a few things that’s about $86,000 today. That’s why I think people first piece to Valentino. during Fashion Week in the past, but they were lost are loving the Gucci aesthetic right now, because Lyon: I wanted to create beautiful things that were in the noise, so we wanted to show people we are they really feel like they’re getting something for their one-of-a-kind. I like creating original designs and actually designers. We use antique textiles, but we money. It’s real design—not just something basic using antique textiles, because I like the poetry of the are creating original designs. We really want that that’s done in expensive fabric. handwork that cannot be replicated today. to differentiate ourselves in the world of reworked Which trends do you think we’ll be seeing this Morphew: I knew from our past what Jason could do, vintage. As Bridgette says, “We used to take season? so for two years, I was knocking on his door, saying, inspiration and sell it out. Now, we’re turning it on Lyon: More color, embellishment, and florals. Disco “What are you going to design?” within ourselves.” boho is a good way of putting it, thanks to the Lyon: We definitely sound off on each other with our Speaking of textiles, tell us about your selection metallic, ruffles, and lace. On the minimalist front, ideas. of vintage lace pieces. you’re going to see more architectural clothes and Morphew: I impulse-bought this really expensive Lyon: So much of what we’re doing revolves around oversize pieces. Comfort is still a big theme, too— fabric, and we had it for three years, just sitting in our the lace. We have beautiful vintage lace gowns, that whole tracksuit moment is going to be insane. storage. I said, “We need to get this fabric out and do and we rework many of them. The Victorian gowns They’re going to be so ubiquitously all over the place something with it.” are often too small for a modern body. Oftentimes, you’re going to hate them in six months. Because Lyon: The bodice is like an Eastern European Victorian the lace is really special. I was working with [Jeanthere’s so much political unrest in the world, people piece, and the hem came from a sari, and then the Paul] Gaultier and he bought a ’30s knit dress from want comfort and fantasy. Quilting is something we piece panel in the middle is from something like an me that was made of a nice old cotton net. I said, are loving right now. There are a lot of conversational Indian textile. The skirt is from the ’50s, but it was “Oh, I am so excited you’re getting this, because elements in print, like birds, critters, bugs, lizards, and obviously made with a luxury textile. So that’s a lot you’ll be able to reproduce this and do it justice.” He butterflies. Bias cuts and slip cuts are still going to of the inspiration for the collection that we’re going just looked me straight in the eyes and said, “No, I be happening. That’s what the models are buying and to be showing during New York Fashion Week— cannot ever get this kind of net.” I said, “But you’re wearing. John Galliano, Dolce & Gabbana, and Donna that Eastern European aesthetic of embellishment a French couturier!” He said, “This quality doesn’t Karan—all those ’90s minimal, slinky, ’30s-esque and enrichments and life and flowers, with a exist anymore.” He was buying it because he liked silhouettes. Also, right now you either wear one print gilded quality. Obviously, we’re greatly inspired by some of the design lines. Historically, lace was worn head-to-toe or you need to wear four. And even the Alessandro Michele and what he’s doing at Gucci. by wealthy men because it took hundreds of hours to designers who are edgier and contemporary are still He’s bringing back life, fun, and color. But this make and was therefore very expensive. It was like doing big Victoriana sleeves. Even if it’s in a washable collection was done with our own aesthetic. wearing a fancy watch. cotton, it’s all about that element of fantasy. ß FA S H I O N W E E K D A I L Y. C O M