MANIC TROUT: Swimming upstream

Fiona McCoss cuts to the chase with jewelry designer Sierra Bailey

Vintage has never been more modern. Twenty-first century fashion has been revamping the old and the dusty, bringing back the early, classic decades and the more vibrant retro era into the next season. This a temporal amalgamation of mixing the past in with the present has seen Sierra Bailey step up her game, from collecting memorabilia on childhood trips to staking her name in the jewelery world with her dramatic and inventive pieces.

Based in New York, Manic Trout, as her brand is named, took off after Bailey’s entrepreneurial skills in college set her up for marketing her own handmade creations. From selling to dorm mates to customising for clients, Manic Trout embodies what it is to be vintage and one-of-a-kind. Bailey works with unique finds, buttons, crystals, beads and chains – anything with quirkiness and individuality; she loves creating pieces with bold colours, which make her designs not for the standard, plain Jane.

Sierra Bailey’s passion does not end at jewerly design, however. She also is a dab hand with a paintbrush. Having gone through art school and having computer graphics as a platform upon which to launch her creativity, the founder of Manic Trout also sells her large abstract paintings on wood and canvas. For lovers of fashion and unique one-of-a-kind jewelry Manic Trout is making sure everything old is new again.

Zoe Twitt: International flavors, Urban style

Fiona McCoss talks all things exotic with women's wear designer Zoe Twitt.

Originally from Australia, this 26 year old designer has cracked the international fashion scene, finally settling in New York to make her assault. Having grown up around the world, she has been exposed to different, exotic cultures which unavoidably have inspired her creativity, setting her up for life to produce and market some of the most seamlessly, exclusively hand-made garments available in the industry.

Her Winter2010 collection features a quirky and inventive use of cut out shapes and zips, revealing subtle peaks of the female form beneath. Knits, sheers, and the ever New York friendly "black," embellished shoulders with natural gems and stones to offset the moody tone with a sparkly, natural feel–not too false or flashy, but in keeping with Twitt’s sophisticated, urban style densely incorporated into next season’s line. Velvet tunics, slashed leather leggings and Italian wool-silk jersey– this designer has combined every material into an amalgamation of perfection.
She took the time out of her busy schedule to answer some questions, revealing her dreams, inspirations and how her life and unquestionable talent has set her up for unending success.



You've had the privilege to travel around the world as a child, which country would you say was your favourite, or most inspirational?

I was very lucky to have been able to travel so extensively while I was young and still developing in so many facets. To be able to absorb the colors of the cultures and the textures of the exotic fabrics and the history of each culture's fashion is the best gift ever. There is such a wealth of art out in the world and so many worldly explorations both modern and historical that artists can draw from. I feel like that was the best gift my parents could have given me and I still feel like there is such an abundance of knowledge and inspiration I don’t use and haven't yet touched on.

I suppose I was mainly inspired by Asian culture and history, particularly the sense of ritual and tradition in wedding dress. I was also inspired by the colors in Jaipur. The silks are fantastic. When I was 15 I spent two weeks in Thailand and designed a few pieces to be made by a tailor there using their colorful Thai silks and some fashion magazines for inspiration. The textures were magnificent! When I was 14 I lived in southern India and became enamored with the jewelry of the region. I love anything ceremonial. I love Chinese antique pieces too. This is all a glimpse into what I'm working on for spring 2011...

I also notice the differing street clothing around the world and how the culture affects the trends. I think different things inspired me at different times and my style was ever-changing. I was constantly finding a different rhythm and sometimes I was trying to make a statement to people. Style doesn't need to be consistent. You can express almost anything just by what you wear. I studied the semiotics of theatre when I was at university and I think this is an overarching important inspiration, too.

At the tender age of 26, you are very young to have cracked the fashion industry. Would you say your age has played to your advantage or disadvantage?

I think the age thing is a double-edged sword. I look extremely young and there have definitely been times that people in the industry have looked at me and at first glance they have assumed I am fresh and know very little. I like surprising them.

The other edge of that blade is that if you do not start when you are young you are not considered fresh. It is like acting in that way, people want you when you're young and if you do not succeed young, like Alexander Wang or Zac Posen, then you really feel like you've failed. I hear this from designers all the time.

Having progressed from one side of the arts to another, what made you make the switch from acting to designing ultimately? Would you ever go back to acting?

I literally woke up one day and decided I wanted to design. It had always been in my mind but it never seemed like the right time. I think at some point you have to just dive in without looking down. If you look down you will get spooked; especially right now when things are a lot more of a gamble. A lot of labels are just in survival mode right now, so it definitely has been an interesting and challenging time to begin.

I would still work in acting again. I love it so much! To date, I have no time for that but if I have a free moment in the future, then I hope something presents itself.

Would you say you have a muse?

I love designing for the woman's body. I am a woman and I want to feel confident! When I design I think about what flatters the woman and how she wants to feel in the clothing. I think she wants to own her sexuality while not being constricted by anything physically. This is why I favour stretch. I use an Italian wool/silk blend jersey for the basic pieces and adorn them with zippers or other details.

So my muse would be the woman’s body. There are some people whose style I love but from them I take more of an inspiration of "mood." While creating "Dark Heart" I was listening to a lot of Bat For Lashes and Goldfrapp (her second album) so there are definitely nuances of the occult. That inspired the crystals which are sort of spiritual but have a sense of rock and roll to them.

Who would you say is your most influential designer?

That's hard! Today I want to go with Martin Margiela. I have been staring at his work above my desk all morning. His work is sculptural and sometimes he has a sense of humour but also a sense of darkness and of theatre. That is what fashion should be-it should really belong to the artist. Margiela is not afraid to create truthfully. I think his work is very wearable, though I know a lot of people don't agree

Where do you see yourself and your ever expanding brand in 5 years time?

We are launching a more complete line of accessories next season. Then I hope to create more outerwear. I think diffusion is the way of the future. You have the ability to reach more people in a diffusion label. Next season there is more of a disparity between what we are creating. One line is diffusion with a high fashion concept for less, while the other collection is smaller and definitely has a sense of a couture collection. That is where my fun comes from! I also anticipate having a full collection of knitwear and gowns and perhaps some lingerie. That would complete my vision.

Eyewear exhibit: Joseph Ungoco sees all

A long time ago, before Giuliani cleaned up New York City, my overprotective friends would advise me on how to “look like a New Yorker” – and not a mugging victim. One sage piece of advice that they gave me was to “walk with purpose.” Regardless of whether I was walking straight into a brick wall, I must always remember to stride confidently and purposefully.

Ten years later, I consider myself a “New Yorker” and nothing pleases me more than to stop dead in my tracks – exactly like the tourist I always feared I would appear to be – and admire what the city has to offer. On one recent afternoon, in Grand Central Station, arguably one of the busiest pedestrian venues in the city, I did just that. In Vanderbilt Hall, which to most people who use the station is just a blur on the way to the street and the never ending flood of humanity that is sidewalk traffic, I relished a few stolen moments away from being glued to my Blackberry.

What had caught my eye and captured my attention was a magnificent exhibit of eyewear. The Italian Trade Commission and the Italian Optical Goods Manufacturer’s Association had installed a brilliantly curated – by Alessandra Albarello - a selection of eyewear perfectly illustrating the title of the exhibit: “Eyewear from the Beginning to the Future: The History of Eyeglasses from the Invention in Italy to the Latest Trends.”

In just a few loops around the exhibit cases, I felt like I had taken a fantastic journey through the history of eyewear. The installation itself was designed by award-winning Italian Architect Giorgio Borruso and resembled the scaled down city models one might see in the Museum of New York.

Instead of building steel and glass cases to mimic our cities instantly recognizable skyline, Borruso created a design that acted “as a metaphor for the modern eyewear and the subways, roads, paths, and histories that fracture, connect and reveal the spaces we inhabit.” The overall effect was one of visiting a miniature village with the inhabitants being the chicest and most interesting examples of eyewear.

From the spectacles from the 18th century in horn, tortoise and precious metals to the finest examples of today’s designs in acetate and metallic alloys, the exhibit covered every important stage in the history of eyewear and while being respectful of the past, glorifies the present and the future.

Italy has played a major role in the development of eyewear and continues to be a driving force. By developing new technologies in manufacturing and introducing new and exciting materials, the Italian Optical Goods Manufacturer’s Association keeps Italy on the forefront of both design and manufacture and ensures an endless supply of high quality goods for an insatiable group of consumers. For more on the exhibit, see this AP-TV video.

There may not be many roses around for New Yorkers to “stop and smell,” but there are always interesting and educational experiences in which we can immerse ourselves, even if only for a few moments between Blackberry appointment reminders. The next time you find yourself rushing from place to place, “stop and see.” You never know what visual and interactive delights you will encounter.

NY Designer Profile: LORIS DIRAN

A designer’s creations should always tell a story, but it's not very often that you get to hear that story directly from the designer’s mouth. When assigned to meet an up-and-coming designer and write a profile on his work, I leaped at the opportunity to try on clothes that had not yet been walked down the runway and pick the designer’s brain to understand one’s creative process. The last thing I thought I would ever get out of an interview was a history lesson. Yet, while the clothes were fabulous and the creative process only further depicted the artistry, it was the education that was provided, not only about the designer, but about the city I so love, that made me realize that after 2 hours, I didn’t want to leave.

Loris Diran lives and works by a simple motto: “be true to yourself, and true to your line.” After immigrating to America in his early youth and growing up on the Upper West Side of New York City, Diran’s artistic experience came in many forms. Through his education at New York’s School of Performing Arts, combined with his work with Versace, Claude Montana and Chanel, as well as the development of his own label, Diran has come to understand and embrace a lifestyle of glamour and luxury that is subtle, yet just as rich as a gaudy diamond ring.

Diran truly designs for the people. One of the few designers to actually be in his showroom on the weekends, he actually listens to what a costumer has to say, and acknowledges and adapts to their needs. Diran is not only knowledgeable about the progress of design and style, he is also a wealth of information on the history of New York City, the building in which his boutique sits, and the neighborhood in which is business is continuing to grow.

Tucked away near the corner of 1st Street and Bowery, Loris Diran’s boutique tells his own unique story. Walking through the front door is like walking out of the city and right into the wood. The space, not only beautifully displays his garments, but also instantly brings you to a state of peaceful relaxation. “Shopping should be like aromatherapy,” says Diran. Indeed, in his boutique, it is. Finding inspiration in the natural elements, Diran has created a space where the clothes are at one with the environment that inspired them. The clothing racks are shaped like tree branches and the room is warmed by accents of deep wood, soft colors and beautiful natural accessories. Walking past rows of exquisitely tailored pieces – suits, cocktail dresses, dress shirts, slacks and cashmere galore – the buyer cannot help but touch, and once you do, you’re sold.

While I could write a whole other essay on my favorite Diran pieces, it's necessary to elaborate on two of what I would say are essentials. First is the cashmere suit jacket. This garment is so comfortable I want to go to work in it, go to drinks in it, and go to bed in it. While one might think cashmere would not provide the structure needed to command proper attention, or be appropriate for the office, Diran will show you otherwise. As he said to me, “I could create the suit for the every man, but I’m not Hugo Boss.”

The second garment, which is completely stunning on the body, is the corset dress. Like most of Diran’s garments, this dress seems as if it came from the ground to envelop the body, accentuating the best parts of a woman, and providing her security throughout the rest.

Ladies and gentleman, heed my advice – if you every pay Mr. Diran a visit, be careful what you try on, because you will be much more willing to put the clothes on than you will be to take them off. — SEAN KIELY