Interview

Gender-neutral and ageproof, the leather jacket throws a wrench in the fashion cycle—which subsequently makes it a popular candidate for reinvention every season. Of this season's many new interpretations of the leather jacket, some of the most sophisticated come courtesy of John Murrough and Robbie Moray, designers for LA-based brand Illia.  Their jackets feel as good as they look: the washed and crinkled suedes compares with the urbane grungy glamour of Anita Pallenberg and Alison Mosshart, but are as comfortable to wear as LA's stress-free staple—jersey.  In earthy tones, "on trend" fringe, and asymmetrical zipper details, lllia's Fall 2009 statement jackets are a perfect fit for the downtown style mafia. As the nights grow crisper, what would look better paired with those artfully slashed acidwashed jeans and paper-thin tees?

Already a cult hit at Bergdorf Goodman, Illia promises to be a future favorite among Owens and Wang-wearing "off-duty model" types. Interview talked to John Murrough about why Illia does leather better.


COLLEEN NIKA: When, where, and how did you start Illia?

JOHN MURROUGH: We started Illia in 1997.  Since I started designing, my main interest and
forte has always been leather.  I am much more attracted to distressed, washed leather.  This gives the garments a matte crinkled finish that looks as if the clothing has been loved and worn in.

NIKA: Your designs are based in a very neutral, almost elemental palette. Is that
specific to the current collection or typical of your label? How does nature influence you?

MURROUGH: My designs are definitely based in neutral, elemental colors—which are typical of my collection. I am not such a fan of trend colors.  Nature has been influential throughout my life having grown up in South Africa where it's part of the culture.  It is a sensibility stemming from life in the bush, in Africa, starting at a very young age.  I think that comes through in the color palettes of my prints.

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Painting is a perennial Spring inspiration, but designer Matthew Ames's interpretation of the medium goes way beyond conjuring up splashy Impressionistic prints. For Spring 2010, the Ecco Domani winner presented a bold and disciplined womenswear collection that played out like an art lesson on color, shape, and restraint. Thanks to years of design training in Antwerp under Jurgi Persoons, Ames thinks strategically about the human form: a true aesthete, he approaches design through subtraction. With a few strokes of dramatic color–a royal blue on a sweeping one-armed sheath here, a firebolt orange underlayer on a black dress there–Ames abstracted the female figure, diffusing its silhouette into the surrounding negative space.  

Thoughtfully layered, those silhouettes often emanated a graphical sensibility. The way a painter distills his paints with oil or water, Ames tempers his color story with sheer neutrals, creating a beautiful tension between opacity and transparency. Under a half-black, half-white filmy open silk blouse, the combination a kelly green a-line skirt and rose colored bandeau top was transformed into something far more dynamic. That particular combination, and several other key Spring 2010 looks, served as fine examples of Ames' sophisticated take on colorblocking, recalling the gradation techniques and contrasting tonal washes of serene, minimalist field color compositions by Rothko.

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Hourani's metallic makeover was introduced with the collection's opening look, a black pod-shaped leather vest with steel fringe. The asymmetrical zippers that appeared on Hourani's trademark origami-like blazers were more directional than functional, while the metal piping that striped the sleeves created a visual hook that eliminated the need for accessories. Even when featured as hardware, Hourani presented metals in an innovative context. Daywear included stiff little tunics constructed entirely from aluminum and paired with insectoid leggings for the ultimate cyborg effect. Most impressive, though, were the caged titanium pants worn by both sexes, their legs resembling pin-thin slinkies.

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From the instant the National Anthem announced the start of his show, prompting an awkward negotiation of patriotic protocol, Yohji Yamamoto was in rare form at the Armory Sunday night, the scene of Y-3's Spring 2010 spectacle. From there on out, looks proceeded normally–for a little while. Men and women–and Jesus Luz!–stalked down the length of the Armory in sixty-odd versions of  sportswear in black, white, and safety orange. Of course, the traditional elements we've come to expect from Y-3–drop-crotches, roomy three-quarter length pants,  and full-skirted "jersey dresses"–were all present and accounted for, as were trendier additions, like slinky leggings, armbands, and  a few jaunty "team emblems" for good measure.

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