Millay Vintage

Millay Vintage

VISIT: 4390 MAIN ST, PHILADELPHIA, PA 19127

STORY AND PHOTOS BY JULIE O’BOYLE FOR THE STYLE LINE

“All things lovely.” Truer words could not be spoken of Millay Vintage –

located just outside of downtown Philadelphia in the picturesque neighborhood of Manayunk. Stepping over the threshold of the cheerful blue and white storefront, one is instantly given the feeling of having entered into the (crushingly beautiful and expertly curated) closet of a dear friend. And in many ways, you have. Behind the counter sits Mary Spears, owner and operator of the online and IRL outposts of Millay Vintage and the embodiment of what sets Millay apart from the vintage-modern crowd. Mary’s approach to her personal style is mirrored in that of her shop, “I don’t put anything on the racks or shelves of my shop that I myself wouldn’t wear or own,” she explains in our interview below, “I’ve trained myself to have a high standard of quality for what I allow on the racks of my storefront.”

With a background in American Literature – the name ‘Millay’ pays homage to American poet Edna St. Vincent Millay – Mary stocks her shelves with pieces both modern and vintage that reflect the muse of Millay, a woman who Mary describes as “smart, romantic, independent, and classic with a tiny dash of the avant-garde.” A description that could very easily be used to describe the shop owner herself. On a rainy Philadelphia morning, Mary welcomed me in to her world to discuss her love of vintage, her personal style ethos, and the story she aims to tell through the decades of classic pieces that line the racks and shelves of her store. Learn more about her in our interview below.

Hi! My name is Mary Spears

and I run the online vintage shop MILLAY Vintage,  which offers a curated selection of wardrobe and home goods for the modern romantic. I currently live in Philadelphia with my saucy Chihuahua, General Gazpacho, and handsome husband, Will. Just a few steps from my apartment sits my brick-and-mortar storefront, which doubles as a retail space and my photography studio for the webshop. Beyond that, I’m a shameless ‘90s-television addict, love a good mimosa at any hour, and have learned that there is no day bad enough that a good puppy Instagram account can’t fix (yea, I’m looking at you @dogsbeingbasic, @piggyandpolly, @harlowandsage — it’s my rabbit hole of happy).

JUST A FEW YEARS AGO YOU WERE LIVING IN BOSTON, ATTENDING BOSTON COLLEGE FOR YOUR MASTER’S IN AMERICAN LITERATURE BEFORE YOU MADE THE DECISION TO START SELLING VINTAGE FULL-TIME. WHAT MADE YOU DECIDE TO SHIFT YOUR FOCUS TO FASHION, VINTAGE IN PARTICULAR? WAS IT A TOUGH DECISION TO LEAVE ACADEMIA BEHIND?

You know, you work so hard to get into a good graduate school program, so it’s scary to decide that path is not the right fit for you — but it didn’t take long for me to realize academia wasn’t for me and wasn’t making me happy. I was specializing in American Literature and focusing on women writers and feminist theory — which I loved, but talking about issues in a vacuum and writing long papers about them wasn’t how I wanted to explore those ideas any more. And on the side, I was doing this totally separate thing as a creative release: finding and selling vintage goods to earn a little extra money while in school. Pretty quickly, I was much more enamored with this little side project of mine that was taking off, and it was just one of those intuition things – to jump and make it my career.

In retrospect, I see the connection between the two more clearly, what I was studying and what I’m doing now. Finding the beauty in forgotten objects and in the politics of clothing; how they expressed gendered freedoms and limitations and expectations of their time are a manifestation of what I liked studying in school, so there is definitely a thread there — a connection– that I appreciate. But truthfully, on a day-to-day level, I just like pretty things. I love fashion, I love interiors, I love playing with romantic ruffles, layers of chiffon. I love creating and styling and think that pretty for the sake of creating loveliness is enough! I sometimes feel tired of over-intellectualizing what I’m doing: In short, I love lovely things, I come alive in creating loveliness, and I love that it’s a contagious thing when you share it with others.

THERE ARE SOME EXCELLENT FASHION AND STYLE OUTPOSTS IN BOSTON, BUT I THINK THERE’S A GENERAL MISPERCEPTION OF WHAT NEW ENGLAND STYLE ENCOMPASSES (NAMELY VERY PREPPY AND/OR PRACTICAL).

DID YOU SEE A GAP THAT NEEDED TO BE FILLED IN THE FASHION AND VINTAGE LANDSCAPE OF THAT CITY? WERE YOU RESPONDING TO A SPECIFIC NEED?

Honestly, not really. My market was online, so I wasn’t really thinking too locally (versus now, where I’ve since added a brick-and-mortar and do take my local audience much more into account). I just put myself out there, first on Etsy, then on my own site that I built, and feel really fortunate that all across the US and around the world, people were finding my little e-shop, engaging with it, and appreciating what I was offering. Boston was and will always be such a special place for me – and the stereotypes of it being waspy and preppy are definitely misconceptions. There is a really vibrant and supportive creative community there, an open-mindedness to try new things, to experiment, to innovate, that I certainly saw reflected in fashion and interior design in my time there as well. It was a perfect city to fall in love with the mix of history and new, and I’m forever grateful for that cocktail it provided me with and the people I met there – the support that city gave me was so important to where I am now.

YOU MENTIONED THAT OPENING A BRICK AND MORTAR STOREFRONT MEANT RESPONDING TO YOUR CUSTOMERS ON A MORE LOCALIZED LEVEL – HOW DOES YOUR CONSUMER BASE DIFFER? WHAT THINGS TO YOU KEEP IN MIND NOW THAT YOU OPERATE A PHYSICAL STOREFRONT THAT YOU DIDN’T NECESSARILY NEED TO CONSIDER BEFORE?

Hands down, modern relevancy and persistently showing how each item I select fits into today’s wardrobe is the challenge at the storefront. Online, people who love my aesthetic or love vintage found me and found my webshop organically. But at the storefront, it is a lot of organic, random foot traffic that stumbles into my store, whether or not they have a predilection towards vintage. In fact, many times customers come in loving the store, loving the window display, and then being surprised because “they don’t usually like vintage or used clothing.” My work is at taking away those connotations from the clothing, and instead showcasing everything in a way that is about providing the best of the best from the past and present that I can find. In person, my focus has to go a lot more towards merchandising and personal styling where that seems to take less precedence online. I’m still navigating the intricacies of both worlds — the physical storefront and the webshop — they are both stimulating and creatively challenging but are most definitely two different animals.

IN A LOT OF WAYS I THINK YOUR PASSION FOR LITERATURE IS REFLECTED IN THE WAY YOU CURATE MILLAY VINTAGE – THERE’S A STORYLINE THERE, A THREAD THAT CONNECTS THE MULTITUDE OF DECADES REPRESENTED ON THE RACKS AND SHELVES. ARE THERE CERTAIN CRITERIA YOU KEEP IN MIND WHEN SELECTING PIECES FOR THE SHOP? IS THERE A ‘MILLAY WOMAN’? IF SO, WHO IS SHE?

Well thank you so much, those words mean a lot! The name of the store is actually somewhat inspired by one of my favorite authors: American poet Edna St. Vincent Millay. She was the first woman to win the Pulitzer Prize for poetry in 1923, a feminist activist, and was just strikingly beautiful. So she is definitely influential in the type of woman I consider as the muse of MILLAY: smart, romantic, independent, and classic with a tiny dash of the avant-garde. I really try to create an experience that simply celebrates beauty, because I truly believe that surrounding yourself and dressing yourself in the things you find lovely is empowering in how it brings you a sense of peace and pride in yourself and to confidently and authentically express yourself.

WHENEVER I’M BROWSING THE RACKS OR CLICKING THROUGH YOUR SITE, I’M ALWAYS IMPRESSED IN HOW YOU SO SEAMLESSLY BLEND ERAS – YOU MANAGE TO MAKE A 1990S DRESS LOOK PERFECTLY AT HOME NEXT TO AN EDWARDIAN BLOUSE AND ANTIQUE KIMONO, FOR EXAMPLE. THAT BEING SAID, ARE THERE CERTAIN PIECES OR SILHOUETTES YOU STEER AWAY FROM? ARE THERE DECADES THAT JUST DON’T MAKE SENSE IN THE STORY YOU’RE TELLING?

I genuinely believe that there is beauty in every era, every decade – even the often-avoided 1980s – and I make it a rule to not disregard anything due solely to its origin of date. On the flip side of that though, I work hard to not grab vintage just for vintage’s sake: not all vintage is good, and certainly not all vintage fits in the MILLAY story.  So instead, I focus on quality fabrics: silks, linens, cashmere. I focus on flattering silhouettes, quality construction, designer pieces that have stood the test of time, and on mixing and matching these pieces to make them feel unique and timeless. I mean, truly, what is more timeless than a 1910s top and 1960s skirt, and modern shoes? Mixing those elements not only takes the costume element out of vintage, but also proves that if it looked good in the 1910s, 1960s, and now, I can guarantee it will still look good in ten or twenty years. So go ahead, invest and treat yourself, because these pieces will be workhorses that can be continually reinvented in your wardrobe over the years.

IS THERE A PIECE YOU’VE PERSONALLY INVESTED IN RECENTLY THAT YOU’RE PARTICULARLY EXCITED TO HAVE ADDED TO YOUR WARDROBE?

I’ve been a bit shoe obsessed lately because I love how a good pair can add so much personality to your outfit, but I also need a pair that are comfortable enough to run around to appointments in, schlep around the city and then be on my feet all day at the storefront. My shearling-lined Rachel Comey boots got me through winter, and I just added a pair of J. Crew Collection pumps, DVF peep toe suede pumps, and some Emerson Fry flat mules to my spring repertoire. I also just treated myself to a colorful Schiaparelli vintage silk scarf, since I can wear it in my hair, on my arm, around my neck or on my bag, and pared-down Elizabeth Suzann silks have adding some nice layers to my more ornate and frilly vintage lace favorites. Essentially, I’ve created a little modern capsule to mix in with my constant rotation of vintage, and have been working at experimenting more with colors and layers in my own styling.

YOUR SELECTION HAS SUCH A GRACEFUL QUALITY TO IT, WHICH I THINK IS REFLECTED IN YOUR PERSONAL STYLE AS WELL. DO YOU FEEL YOUR PERSONAL STYLE IS INFLUENCED BY MV? AND VICE-VERSA, ARE THE PIECES YOU’RE CURATING FOR THE SHOP INFLUENCED BY WHAT YOU’RE GRAVITATING TOWARDS PERSONAL STYLE-WISE?

Absolutely! It’s a hard line that I’ve yet to find on what separates Millay V. from me, and me from Millay V. For instance, I don’t put anything on the racks or shelves of my shop that I myself wouldn’t wear or own. This brand is my baby, there is a lot of me in it, but I’m also constantly inspired by what the brand has become. Seeing how customers interact with and create their own stories with pieces from the shop constantly unveils new tricks and ways to play with my own wardrobe. It’s a totally beautiful back and forth that keeps me excited and loving my job day after day.

YOU’RE ORIGINALLY FROM ATLANTA, LIVED IN BOSTON, AND MOVED TO PHILLY A COUPLE OF YEARS AGO – HOW HAVE YOUR EXPERIENCES IN THESE VERY DIFFERENT CITIES IMPACTED THE DIRECTION OF YOUR STORE? HAVE YOU FACED ANY UNEXPECTED CHALLENGES CREATIVELY AS YOU’VE MOVED FROM CITY TO CITY?

While I’ve moved up and down the east coast a good bit now, the shop started as a webshop in Boston, and matured into a bigger webshop and storefront in Philly, and I’ve had such different experiences in each city. Boston and Philly have been interesting to be in – they are both such historical landmarks, and in that way offer a lot to be unearthed, but they are also incredibly different. The brick-and-mortar has been a new challenge. I jumped first and have been building my parachute on the way down as I go (to loosely quote Sophia Amoruso). The brand had built a name for itself online, it had a loving community, but offline, no one knew MILLAY. I had to start from scratch in a lot of ways, showing and explaining to people here in Philadelphia what we are all about. And it’s a skeptical group here, so I had to be super confidant and consistent in my offerings, in elevating vintage beyond its kitschy or costume-y reputation – and almost a year in now, its been a really rewarding experience. To see people understanding and connecting with the aesthetic at the storefront, experimenting with new pieces, falling in love with a tangible bit of history, has been so exciting and touching, so incredibly motivating!

YOU OPENED YOUR BRICK AND MORTAR SHOP JUST UNDER A YEAR AGO – HOW HAS CREATING A PHYSICAL SPACE FOR MILLAY VINTAGE HELPED IT TO EVOLVE? 

Opening the storefront has really pushed me to be more and more cohesive about what I’m offering and how everything item relates to each other: what story everything is telling. In short, it has pushed me to be even more intentional about what I pick and why. Frankly, having a physical retail space wasn’t something I was working towards, but the right space opened up at the right time and I trusted my gut and jumped, and I’m so glad I did. It has challenged me and made me ask new questions, and in doing so I’ve expanded my offerings to include modern makers (all U.S. based, women-owned brands, by the way!), and I love that women from the past and present assist me in creating a beautiful, modern look.

SINCE MAKING THE TRANSITION TO SELLING VINTAGE FULL TIME, HOW HAS OWNING YOUR OWN BUSINESS AFFECTED THE WAY YOU APPROACH YOUR PERSONAL STYLE? HOW DO YOU SEE YOUR STYLE EVOLVING IN THE COMING YEAR?

It’s made me analyze my own closet and my own investments for my wardrobe with a much more scrutinizing eye. I’ve trained myself to have a high standard of quality for what I allow on the racks of my storefront and what I offer online: longevity, quality, relevancy, and timelessness. Before, I would stock my own closet with things that I thought were good, because they were just for me. But now, I shop and curate things for customers that I only want to provide the very best for.

THE STYLE LINE WAS BUILT ON THE PREMISE OF DISCOVERY, EXPLORATION AND TRANSIT. WITH THIS IN MIND WHAT IS YOUR “THE STYLE LINE” IN YOUR WARDROBE?

When you open my closet, it’s a heady cocktail of special vintage relics of the past and modern pieces I’ve carefully been selecting and investing in – and my style line is that exploration of how to marry the two harmoniously in what I wear everyday. How to create new combinations, how to reinvent it all. How to make the modern pieces feel timeless and the vintage pieces feel relevant. That sense of discovery and exploration, experimentation, is the most exciting challenge because it truly feels like everyday I am putting on this powerful display of who I really am, what I really love… I am literally wearing the story I’m writing as I write it, if that makes any sense. And that sense of individuality, fashion as honoring the past and forging through the present, style as a statement of expression is why I do what I do: to empower myself and help other women feel excited and empowered by what they wear.

WHAT ARE YOU MOST EXCITED FOR IN THE MONTHS TO COME? ANY NEW OR EXCITING PLANS FOR THE STORE OR PERSONAL PROJECTS YOU’RE WORKING ON?

Until now, I’ve been doing everything myself: making logos, designing and building out the website, sourcing, cleaning, repairing, photographing products, writing copy for listings, etc. etc. I’ve been fortunate enough to be growing at a healthy pace and have been looking for ways to hand off some of my tasks this year – so I am currently working with a creative director on some new graphic designs and branding concepts for the store. I also just wrapped up a project I’m super proud of: our latest lookbook — the 2016 Pre-Spring Campaign — in which I got to assemble and work with a dream team. Whitney Hayes is a photographer who’s work I have followed and admired greatly for a while now, and getting to work with her while traipsing around NYC was a dream come true for me. I just have to pinch myself that MILLAY is letting me create with and work with other creatives that have inspired me along the way – and that I get to create and bring my own vision to life while I do that. I still feel like I’m dreaming sometimes… feel free to pinch me awake.

http://thestyleline.com/millay-vintage/

En Route: Field Plant & Supply

Field Plant & Supply

VISIT: 1325 FRANKFORD AVE, PHILADELPHIA

STORY AND PHOTOS BY JULIE O’BOYLE FOR THE STYLE LINE

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In the heart of Philadelphia’s thriving Fishtown neighborhood lays a desert oasis.

Stepping over the threshold of Field Plant & Supply, shoppers and curiosity-seekers alike leave the east coast behind, entering into a cactus-filled sanctuary dripping with handwoven textiles, intricate wall hangings, and every shade of green and thorny texture one could imagine. With the scent of eucalyptus hanging in the air (and maybe if you’re lucky one of the owner’s five rescue dogs snoozing in the corner) you can’t help but feel instantly at ease – big box store greenhouse this most certainly is not. Field Plant & Supply, helmed by Erin Doherty, is something truly unique, the kind of place that makes you exclaim, “See? This is what I want my house to look like!”

A former buyer for Urban Outfitters, Doherty arrived in Philadelphia roughly a decade ago. “I landed in Philly on a whim… just a U-Haul, a friend, and my dog. We literally did not know a single person here!” says Erin. Though she may not have known a soul at the time, over the past 10 years Doherty has forged connections and friendships and created a sanctuary for herself and others in the Fishtown neighborhood, “I can finally say that it feels like home.  My boyfriend and I share a home in Fishtown, and yes, we have 5 dogs and a cat, Plum.  Sometimes a pup or two can be found sunbathing at the shop…”

While Field commands much of her attention – read the incredible story of how it came to life in just a few short days below – when not up to her elbows in potting soil or otherwise tending to her storefront, Erin does her best to disconnect. “In what little spare time I do get away from the shop, I try to catch up on whatever book I’m currently reading, tend to my own plants and garden at home or explore the region surrounding Philly.  We also love to travel, so we try to steal away for a weekend trip here or there.” Read on to learn more about Erin and the gorgeous sanctuary she’s created with Field Plant & Supply.

FROM WHAT I UNDERSTAND, FIELD PLANT & SUPPLY CAME TO LIFE RATHER SUDDENLY; TELL US ABOUT THE PROCESS OF MAKING A DREAM YOUR REALITY IN SUCH A SHORT PERIOD OF TIME.

I knew that eventually I wanted to open a storefront, but made a reasonable goal of opening up next February; one year after the inception of Field. The space that I am currently in had been sitting vacant for nearly a year, so I called the landlord. I told him I had this great plan for a two month pop-up and he was receptive to the idea. I got the keys on a Wednesday and opened for business on Friday! I just kept extending the lease and now we are in negotiations for a permanent location!

IT’S EXCITING TO HEAR THAT WHAT WAS ORIGINALLY PLANNED AS A POP-UP WILL SOON BECOME A FIXTURE! HOW DO YOU HOPE TO SEE FIELD EVOLVE AS IT BECOMES MORE OF A MAINSTAY IN THE PHILADELPHIA/FISHTOWN COMMUNITY?

It’s been pretty unreal that what started as a weekend gig has turned into what Field is today. Instead of forcing things along, I have let everything happen organically…. I would love to be able to offer various workshops in-store as well as grow outside the shop working for clients.

HOW WOULD YOU DESCRIBE THE FIELD PLANT & SUPPLY CUSTOMER? WHAT ARE THEY LOOKING FOR? WHAT’S THEIR AESTHETIC?

People will come in not knowing that they wanted a 4-foot tall cactus or ceramic air plant cradle. Time and again, I get the highest compliment- “I wish I could live here- I didn’t know that I wanted my house to look like this!” I offer something slightly different than what has been done… Artisanal pottery with the perfect plant pairing. Fishtown is the most sought after neighborhood in all of Philadelphia, so I get A LOT of people coming in to explore the area. My favorite customers are the folks that have lived here their entire lives, and pop in, look around and leave with a plant. To me it feels like I have gotten the approval to stay and become a fixture in the neighborhood.“My favorite customers are the folks that have lived here their entire lives, and pop in, look around and leave with a plant. To me it feels like I have gotten the approval to stay and become a fixture in the neighborhood.”

BEFORE FIELD YOU WERE A BUYER FOR THE URBAN RENEWAL LINE AT URBAN OUTFITTERS. HOW HAS YOUR EXPERIENCE IN BUYING TRANSLATED TO WHAT YOU’RE DOING NOW?

As a buyer in such a large capacity you learn to own and manage your business. While opening a shop is a little different, the logistics are all the same, it’s just my own money.

WHAT IS ONE QUESTION YOU WISH PEOPLE ASKED YOU MORE OFTEN?

Do you work privately with clients to teach them about maintaining plants in home? The answer would be yes! I get a lot of people who admit they have a black thumb and end up buying plastic plants, and it doesn’t have to be that way. I promise!

TELL US ABOUT THE PROCESS OF CREATING A PHYSICAL SPACE FOR FIELD. WHAT WAS YOUR INSPIRATION? WHAT ROLE DID YOUR BACKGROUND IN FASHION PLAY IN CREATING AN INSPIRED SPACE FOR LIVING PLANTS AND DÉCOR ITEMS?

Field started as a pop-up, and I think the hardest part for me was doing what I could with the space. It was a former cafe, so having to utilize the permanent fixtures with their wacky colors (lime green, silver, and hot pink!) was initially pretty challenging. I wanted to transform the space into something clean and modern. So, I thought about my favorite shops out in L.A. and in Texas and drew most of my inspiration from there. Luckily plants have a really great way of transforming the space they’re in so all you see is the plant.

“My favorite customers are the folks that have lived here their entire lives, and pop in, look around and leave with a plant. To me it feels like I have gotten the approval to stay and become a fixture in the neighborhood.”

I’D EXPECT THAT MOVING AWAY FROM FASHION TO A MORE PHYSICALLY DEMANDING JOB – ONE THAT MIGHT FIND ARMS DEEP IN POTTING SOIL — WOULD PRESENT IT’S CHALLENGES WHEN IT COMES TO PERSONAL STYLE. HOW HAS YOUR PERSONAL STYLE SHIFTED SINCE LAUNCHING FIELD? HOW DO YOU CELEBRATE YOUR PERSONAL STYLE WHILE REMAINING FUNCTIONAL?

I definitely don’t wear as many clogs! I find it to be rather difficult to balance dressing as a shop girl vs. a planter. I do all of my regular planting in off-hours, but inevitably a customer will need some planting done and I wind up covered in dirt. I still try to maintain an appearance, but usually wind up dressing down to my favorite Birks and a good pair of jeans.

WHAT RESOURCES OR TOOLS WOULD YOU RECOMMEND TO OTHERS ASPIRING TO BRANCH OUT ON THEIR OWN?

For me, I started this based off of an idea that a friend tossed my way. And then I lept feet first into the deep end. If I could go back to the beginning, I think I would reach out to our local neighborhood development center for a helpful, guiding hand. I would also recommend a great accountant!

THE STYLE LINE WAS BUILT ON THE PREMISE OF DISCOVERY, EXPLORATION, AND TRANSIT. WITH THIS IN MIND, WHAT IS ‘THE STYLE LINE’ IN YOUR WARDROBE? 

Wearable basics that will stand the test of time, and a great hat.

http://thestyleline.com/field-plant-supply/

Studio Visit: Lital Gold

“Henri Matisse, Frida Kahlo, Celia Birtwell, Sonya Delaunay, Gustav Klimpt, and most recently, Erté…

they all tell stories, stories that make me want to go and work in my studio forever.” Ensconced in the hazy light of a Philadelphia afternoon, illustrator and print designer Lital Gold sits in the space where she spends so much of her time, surrounded by the tools of her trade: pens, pencils and oil pastels, fashion magazines and fabric (to name a small percentage of the mediums that line the walls and across every surface). It’s an inspiring space, one that any artist would be drawn to, even without the added support of Klimpt and Kahlo and Erté.

As light bounces off the aqua-hued walls and dances across the magazine tears, artwork and mementos that offer inspiration and encouragement from their assigned posts — vintage tarot cards, fabric, a skateboard emblazoned with the artists’ work — Gold adds the finishing touches to a piece while sharing how she made her way to Philadelphia. “I came to the U.S. from Israel five years ago for an “almost internship” with DVF,” she explains, “it ended up turning into a full-time position with Free People on the print and color team!” The unexpected turn of events worked out well for Gold, who refined her craft and gained recognition during her time with the Philadelphia-based brand. But after several years with Free People, she decided it was time to strike out on her own and make the leap to freelance, a decision that has proven to be a fruitful one, “I’ve been freelancing for the past three years, creating work for the fashion, home, interior, accessories, bedding, and paper industries. These days, I work independently and split my time between working in my studio in South Philly and New York City, where I work for Tory Burch and Roberta Freymann.”

When she’s not hopping between her various desks in NYC and her studio in Philadelphia, Gold fills her days with travel, music (her husband, Dan, is a musician), and gathering with friends, passions that are at once relaxing and inspirational for the artist, who is always on the hunt for fresh perspective to add to her work. “I love traveling to new places and meeting new friends from different cultures. I think it’s a great gift and also a great source of inspiration.”

Read more about Lital below, and be sure to keep an eye out for her signature splash of color and line the next time you’re out and about. Considering she’s leant her hand to everything from stellar fashion week presentations to skateboard decks to custom-designed wedding invitations, her work is never far away…

I never really thought about being an artist –

or a designer when I grew up.  It was always kind of an obvious path and no matter what I did or where I looked, it was there and it was very clear to me.

I’ve always been attracted to color and was interested in art from a young age. As a kid, I used to play around in my father’s studio and watch him work with colors and different materials. He’s a graphic designer and the way he worked with visual images — digitally and artistically — was magical to me. Now, I know that a big part of what I loved about it was his aesthetic. Watching my father inspired me to work on my own and further define my own artistic style. 

I started off painting and experimenting with different techniques and a variety of media: I moved from pastels, to oil, to colored pencils, to inks, and loved all of them. To this day, I’ve never had a preferred media, I always go back and forth. 

I wanted to do something that would give me the opportunity to combine the worlds of visual art and design, just how I was initially inspired by my father’s work, which led me to study textile design in college. Now, I get to do what I really love – which is everything all together at once!

YOUR PIECES ARE SO VIBRANT AND FULL OF LIFE! HOW HAS YOUR EXPERIENCE GROWING UP IN TEL AVIV INFORMED YOUR WORK?

I could use the exact same words to describe the experience of growing up in Tel Aviv (and in Israel in general) – it is vibrant and full of life! I’m originally from a small town right next to Tel Aviv but spent most of my childhood and adult life in city proper. I lived there for 5 years, right next to the beach. Tel Aviv is full of inspiration; different colors, different cultures, people from all over the world. You can really find any kind of mentality and personality there and there’s always something or someone to relate to. Everyone seems to connect to each other and work together with a kind of unity, no matter how disparate the individual elements seem to be. To the same degree that a tapestry is made up of many small rhythms of line and color that form a unanimous image or concept, my Israeli experience has informed my art similarly. To be able to take some abstract elements that don’t always or immediately agree with each and find a way to make them work together, this is a  fundamental part of the Israeli mentality: how to take what you are given, no matter how small or insignificant and construct a masterpiece.

YOU ORIGINALLY MOVED TO THE U.S. IN 2010 TO JOIN THE PRINT AND COLOR TEAM AT FREE PEOPLE, HOW DID THAT SHIFT IN LOCATION AND CULTURE IMPACT YOUR APPROACH TO YOUR ARTWORK?

Moving to the U.S. was, and will always be, the most amazing journey and the best opportunity that’s come my way — at least so far! Coming to the U.S. was not only a life-changing experience, it was also a very big lesson. The cultural change opened my mind completely and changed me emotionally: This affected my work, and my approach to my work, immediately. In the first couple of months, I felt as though working at my tiny desk at home every day after work was the only thing that kept me sane and prevented me from running back home to my family! It really made me appreciate what I have and the fact that I even have it. I think my work has more structure now, it is more clear and confident. Just as I moved to a bigger place — so did my work.

THE WORK YOU DO IN PRINT AND PATTERN CURRENTLY HAS YOU HOPPING BETWEEN PHILLY AND NYC, WORKING FOR THE LIKES OF TORY BURCH, ROBERTA FREYMANN, URBAN OUTFITTERS, DAKINE AND TANYA TAYLOR — ALL VERY DIFFERENT AESTHETICS! WHAT HAS THIS TAUGHT YOU ABOUT YOUR STYLE? ARE THERE WAYS IN WHICH YOU’VE HAD TO ADJUST YOUR PROCESS OR APPROACH TO YOUR ART?

It’s a big challenge and takes a lot of effort, especially when I find myself commuting to NYC from Philadelphia 4-5 days a week and working for brands in the UK and Hong Kong over the weekend. It’s worth it, though, and I can’t really complain. Working like this has taught me so much about myself as a designer and also as a person, it added such a big value to my work. First, it taught me that my work can be many things and exist in different forms — not just on a canvas. It can be a dress, it can be wallpaper or luggage. It can be different surfaces or different materials. That’s the wonderful thing about being a surface designer. It taught me how to have and keep one aesthetic that really defines my work and is recognizable, but also to be flexible and able to customize it for different clients with different needs. I think mostly it taught me how to develop myself and grow beyond what I know.

YOUR WORK IS MULTI-FACETED, RANGING FROM FINE ART TO ILLUSTRATION TO GRAPHIC DESIGN TO PRINT AND PATTERN, WHAT CAME FIRST? HOW HAS YOUR WORK — OR APPROACH TO YOUR WORK — EVOLVED OVER THE YEARS?

First came the passion for art. I was attracted to the thing itself without knowing what it was or why. I just enjoyed looking at it as a kid and wanted to be a part of it, or even better – I wanted to create something very colorful. I started drawing when I was young, my work always had a lot of details and patterns. I remember that in school we used to draw from a live model and I would always pay more attention to the curtain or the fabric that was on the floor underneath the model, and draw that. I guess the love for pattern and shape has always been there but it always stayed very framed and two-dimensional. I think somewhere in college, as I was studying textile design, my approach changed with the use of different materials and surfaces. I started really “designing” after college, as soon as got my first job. This is when my style of work became more clearly defined.

IS THERE A FAVORITE PROJECT TO-DATE YOU’VE WORKED ON? 

A recent favorite project I’ve worked on and that I’m really proud of was a creative collaboration with NYC designer Tanya Taylor. Tanya is incredibly talented and I love her feminine and emotional approach to fashion. I had the opportunity to collaborate with her and design the prints for her AW‘16 collection. All of the prints were hand painted and printed on different fabrics and materials. Some of the patterns were made using Swarovski crystals, which added another layer to the collection. The creative process was truly amazing and challenging. It taught me a lot as a designer. For me, this project really stands out from the others because it allowed me to work independently and really explore and even challenge my abilities as a print designer. I think the result was great, the prints worked perfectly with the feminine silhouettes and created a very romantic and artistic collection. The collection got some amazing press and great reviews from fashion magazines, which was incredible feedback for me. I also had a great time working with Tanya and the rest of the talented team members. 

HOW DO YOU THINK CREATIVITY CONTRIBUTES TO SOME OF THE WORLD’S BIGGER CONVERSATIONS AND WHAT ROLE IS YOUR WORK PLAYING IN THIS SHIFT IN THINKING?

Creativity can turn nothing into something. It can turn an idea into something substantial or turn a defect to an effect. Also, and especially these days, creativity doesn’t necessarily have to stay in the frame of art or design. It’s really everywhere out there, everything has potential – you just need to reach out, recognize it and use it. I think a big part of that is how open your mind is and how wide your perspective is. I always try to balance between the two –  in the way I think and in my work. Also, these days, technology in art and textile design (and every other part of life) has been progressing so rapidly that every new quarter shows a dramatic shift in aesthetic and production. I try to keep on top of it by reading fashion and industry magazines as much as I can and leaving myself open to new techniques and aesthetics. Also, communicating through social media (Linkdin, Instagram and, to a lesser extent, Facebook) is my primary means of engaging and staying connected to clients, art fans and new potential customers.

WHAT IS ONE QUESTION YOU WISH PEOPLE ASKED YOU MORE OFTEN?

How to pronounce my name correctly! Even though it’s spelled with an ‘i’, my name is pronounced Lee-tal. I don’t think it’s fair that names like Liann or Mila are pronounced correctly but somehow my name confuses people. I’ve heard so many funny versions of my name here, it’s hilarious! There’s ‘Little’, ‘Lie-del’, ‘Leighthal’ and many more. Some people hear Kate for some reason, which I don’t really mind. Most of them look at my name and after couple of seconds of confusion, they go for Miss Gold. Easy.

THE STYLE LINE WAS BUILT ON THE PREMISE OF DISCOVERY, EXPLORATION, AND TRANSIT. WITH THIS IN MIND, WHAT IS “THE STYLE LINE” IN YOUR WARDROBE?

I like to choose clothes that are simple and comfortable. Feeling comfortable in what you are wearing or in a certain color is probably the most important thing. I like pieces that are colorful, fun, and have an interesting detail and that can be mixed and matched with different textures. My style really changes a lot depending on my mood, my schedule, or the weather. There aren’t any specific rules, otherwise I get bored easily. As my forever-idol, Iris Apfel, says, “Fashion you can buy, but style you possess.”

“First came the passion for art. I was attracted to the thing itself without knowing what it was or why. I just enjoyed looking at it as a kid and wanted to be a part of it, or even better – I wanted to create something…”

http://thestyleline.com/studio-visit-lital-gold/

Studio Visit: Llani

STORY BY JULIE O’BOYLE AND RACHEL SCHWARTZMANN – SHOP LLANI SHOES– PHOTOS BY JULIE O’BOYLE FOR THE STYLE LINE

In a neighborhood just outside of Philadelphia,

tucked away on a sunny, tree-lined street you’ll find the headquarters of Llani, the recently launched shoe line helmed by Pennsylvania native Alana Oates. Perhaps not the first place you’d expect to discover a quickly growing brand taking shape, but it’s here, in the picturesque home she shares with her husband, Fred, and their eight-year-old English bull terrier, Sophie, that Oates’ vision comes to life – slides and slippers dripping with embellishment, shoes made for the independent woman who at once craves style and the feeling of home. Shoes made for a woman much like Oates herself, “I live and breathe my work, but outside of that, I’m a social butterfly, a foodie, interior design junkie, and beach baby.”

Launched in October of last year, it didn’t take long for Oates’ beautifully constructed and undeniably unique designs to get noticed. Featuring sparkling trims sourced directly from India, leather tassels, and deeply-hued jacquard fabrics, the range of cozy slippers, slides, and babouche-inspired flats quickly gained Oates a cult following and miles-long waitlist. It’s no surprise that Llani launched with high praise and increasing demand, an alum of Anthropologie and Old Navy’s shoe design teams, Oates’ flexed her creativity designing shoes for a variety of customers before branching out on her own, “I know people say that you not are defined by your career, but being a shoe designer shapes so much of who I am.”

Stepping over the threshold of Oates’ home, it’s clear that the original Llani woman is immersed in her work, with prints, patterns, and plush textiles offering respite and drawing a clear connection to the vision of the designer. Warm and inviting, just like Oates herself, Llani’s headquarters offered inspiration in every corner. In our conversation, Oates shared a bit about her process, her background in design, and why the Philadelphia-area is the ideal place to cultivate creativity. Discover the full conversation and photo tour below.

BEFORE FOUNDING LLANI IN 2016, YOU SPENT TIME DESIGNING FOR ANTHROPOLOGIE AND OLD NAVY, TWO BRANDS THAT COULD ARGUABLY BE ON OPPOSITE ENDS OF THE DESIGN SPECTRUM. HOW DID THIS DISPARITY PREPARE YOU FOR STARTING YOUR OWN LINE?

It was so important that I had these two very opposite experiences. Anthropologie taught me to color outside the lines, how to surprise and delight a customer. To design with my heart, and inspire whimsy. At Old Navy, I learned how to be more disciplined and organized (which I desperately needed), how to fine tune my designs. Our collection had to be on trend but democratic, it was fashion for the people. It was like retail boot-camp. If I would have only had one of these experiences and not both, I would have been ill-prepared for what starting my own line has thrown at me.

HOW WOULD YOU DESCRIBE THE LLANI WOMAN – WHO IS SHE?

My inspiration comes from the women around me, those who are carving out a path for themselves in the working world. The Llani woman is creative, bold, independent, nurturing and self-aware. She is home-centric, eclectic, feminine. She shops with her heart.

YOU RECENTLY RETURNED TO THE PHILADELPHIA-AREA AFTER SPENDING SOME TIME ON THE WEST COAST. WHAT MADE PHILADELPHIA THE IDEAL PLACE TO BUILD YOUR LINE?

I loved my experience on the west coast and I think everyone should live in California at some point in their life. I personally just feel much more grounded in Philly. I love that this city doesn’t have an ego. It’s very down to earth and creativity is embraced. I feel there isn’t any pressure to fit into a certain mold. In LA, SF, and NY there is a sense of an inner circle of ‘cool’- places to eat, shop, what you wear is all defined by this and it influences everything. Here, I don’t feel that. The creative network in Philly is all about support and collaboration.

THERE SEEMS TO BE A RENAISSANCE TAKING PLACE IN FASHION, WITH A FOCUS ON SUSTAINABILITY AND MINDFULLY MADE GOODS. HOW DOES LLANI CONTRIBUTE TO THIS LANDSCAPE?

I think customers are being more conscious themselves, so the demand for more ethically sourced or mindfully made products is on the rise. We all want to know the story behind our clothing. There was so much invisibility just a few years ago in fashion and I think when light was shed on the dangers of the industry (like the fact that fashion is the second most polluting industry after big oil) people really felt personally responsible. Llani is a collaboration with our partners in India and we have clarity as to who is making the products. We try to produce with small, family owned, and female-founded factories. India inspires everything I design for Llani.

I LOVE THAT YOUR LINE FOCUSES ON COMFORT AS MUCH AS STYLE. WHY WAS THIS IMPORTANT FOR YOU?

There is a versatility in fashion now. I love a good heel, but the trend is shifting. Women are choosing to start their own businesses so that their schedules can belong to them to spend time with family, travel more, or be at home. I think that is setting the trend for our workforce of the future. Why shouldn’t we feel just as glamorous and empowered at home as we do in an office?

HOW DO YOU CELEBRATE PERSONAL STYLE?

I really make a ritual of getting dressed in the morning or for an event. One of my favorite places to be is in my closet, mixing pieces and trying on new outfit combinations. I love playing with proportions and wearing pieces unexpectedly (like a robe as a jacket or a dress as a vest). I don’t have any rules and I shop everywhere, from Goodwill to Moda Operandi. I invest in emotional pieces, vintage, and independent designers. I bargain for basics and denim.

HOW DO YOU THINK CREATIVITY CONTRIBUTES TO SOME OF THE WORLD’S BIGGER CONVERSATIONS AND WHAT ROLE IS LLANI PLAYING IN THIS?

I grew up in a very creative environment and I think it’s important to have a creative approach to any conversation or issue. Producing in India gives me insight into another culture and it’s always interesting to be immersed in it. Constructs of how business is done there vs. here leads to complicated conversations where compromise can only be reached through creative negotiations.  

WHAT IS ONE QUESTION YOU WISH PEOPLE ASKED YOU MORE OFTEN?

When we were chatting in my studio, you asked about my process. It’s not the easiest question to answer since now working for myself, I’m letting it change and evolve so that I can figure out the best fit for each project. But usually, it starts the same way each time. I collect hundreds of images from Pinterest, magazines, and design books. Then, the story starts to build itself, centered around a muse. Who is she, where is she from, what is she doing. Her surroundings, her colors, her materials… these decisions and visuals always inspire what the collection will look like.

HOW WOULD YOU ADVISE THE NEXT GENERATION OF DESIGNERS TO LEAVE AN IMPRINT IN THE WORLD SIMPLY BY DOING WHAT THEY LOVE?

Cultivate a powerful network. Be a positive force. Look to others for inspiration, not competition. Put out good energy and be supportive of your peers. A high tide floats all boats.

http://thestyleline.com/studio-visit-llani-shoes/