| |
You
were honored in 2003 at the club with the President’s
Gold Medal. Tell me a little about that.
Yes,
it was a real honor, but it felt very natural and comfortable
for me. I give so much of myself to the club because
I get so much back. Honestly, I have to say also that
if it wasn’t for Aldon being the president in
the way that he leads us, I don’t think I would
be able to do what I do, to give as much as I give.
What percentage of your life would you say you devote
to the NAC?
I don’t quantify or qualify the experience, which
is what I feel makes me so vital there. It’s because
I don’t weigh anything on a balance, because I
get so much from it. It’s willingly. I remember,
a long time ago I watched Lena Horne and she was in
this one-woman show and I finally understood what a
performer gets back. She was saying to the audience—and
she was totally alive and wired--she said that she gets
the energy from the audience and she takes it all in
and then she puts it right back out there. And that’s
pretty much how I feel, in a way.
It’s like a natural reciprocation, you know, without
weighing it. Because I think that when you start to
weigh things, that’s when it’s not natural.
It’s also very different; the atmosphere of the
club is very different. It’s got this bohemian-ness,
a downtown thing, it has a quirkiness. While it’s
the gorgeous Tilden Mansion, it’s got all these
characters walking around that make it interesting to
me.
But also I am very interested in the coat-and-tie dress
code, because I think that needs to be preserved because
of the surroundings and the tradition.
Can
you tell me about the formation of the Fashion Committee?
Well, let me say first that forming the Fashion Committee
was wonderful, because finally there was this recognition
that “Fashion is Art.” Really, so much of
fashion is not truly art. Not that you have to always
look at the past, but if you look at the NAC, and they
have honored excellence in every different artistic
venue—acting, painting, graphic arts, what have
you—finally fashion, when it’s done well,
with love and skill—could be honored.
There’s a great story that I’ll never forget
from when we had first formed the fashion committee.
On a very snowy day we rented a bus to go to the Philadelphia
Museum of Art, where there was a Schiaparelli exhibit.
All of us ventured out on this cold, snowy Sunday, and
when we arrived at the museum, the first thing we saw
was this enormous banner on display that proclaimed
in shocking pink and red: “Fashion is Art.”
We said, “Okay, we’re definitely doing the
right thing.” It was like a sign from the divine.
Who
are some of the designers that have been recognized
by the Fashion Committee?
We have honored some of the most prestigious names in
fashion. Geoffrey Beene was our first recipient of the
Fashion Gold Medal in 2003. It was amazing because he’s
like an aspiration. A lot of people don’t realize
that what they see in the stores—clothing that
is licensed under his name—is not exactly his
“art form.” When you go to his studio, then
you see the art. In 2004 we honored Carolina Herrera,
and that was for a whole other reason, because she totally
captured the aspiration of a woman who embodies her
own fashion. In other words, she is her clothes, and
that’s what we honored. On October 6, 2005 we
will honor Oleg Cassini.
Can
you describe some of the more recent events hosted by
the Fashion Committee?
Last year was the first NAC fashion show—“Legendary
Ladies”—which was a showing of historic
clothing from my archives that had been worn by such
legendary icons as Elizabeth Taylor, Audrey Hepburn,
and Lena Horne, women who defined the art of living
well. What was wonderful is that we showed the clothes
on real women, on club members. And what was even more
incredible was that we had these members who were able
to wear these beautiful clothes.
In all the events that the Fashion Committee promotes,
I think it’s wonderful to let people express themselves
through what they wear.
The
upcoming Fashion Show will show all your own designs.
How would you describe your collection?
What’s interesting is that while it’s inspired
by the vintage, by historic clothing, all the things
I love, I would say it’s very contemporary. Sometimes,
when I watch other designers being interviewed, what
happens is that there always seems to be a theme. And
the theme will be, “Oh, I just got back from Japan
and I fell in love with obis.” So their whole
collection is about obis. Okay, but from my point-of-view,
the clothes should really be about clothes that women
love. It’s as if you went into a woman’s
closet, or many women’s closets, and found the
clothes, so they won’t just have one theme. The
clothes won’t have just one look or one character,
because that’s what I believe in.
Would
you say that your collection transcends different eras
in fashion?
What I feel is—it’s classic. You know, most
designers show 4 collections a year. So you buy something
from one collection, but by the following collection
it’s out already. So what does that really mean?
I think my clothing is an evolvement, the styles are
an enhancement. Every time I redo the dress, whether
it’s made-to-order or for a small order, I enhance
it, I celebrate it, bring it forward. It’s a progression,
a classic. It doesn’t go out of style. And I think
that that’s what’s important.
It’s funny, people say couture is absolutely made
for the client, for the person. Actually what people
don’t realize is that they’re getting value
because they can wear those clothes for decades, and
they will always look good. It’s a classic, it’s
well-made, it fits them. The other things are solely
based on the moment or the hype or the trend. And you
can go to Saks, the 3rd floor, mix all the labels up,
and it won’t matter because everyone has a slip
dress. So it’s a very different thing that I’m
envisioning and doing. I don’t even think of it
as a collection, but more as a progression.
So
I gather that you’re a little disenchanted with
the current climate of fashion?
There is a power of style. And you either have it or
you don’t. You can walk in a store and you can
buy things, but it’s all about attitude and how
you wear something. It’s very interesting, but
we have Jackie Kennedy’s suit here, a perfect
size 8. If you look at it, you’d say “Nice!”
but it took Jackie to wear it, and that’s an attitude,
a presence. It’s not just that Valentino made
it.
Today it’s very unfortunate. It’s that the
name makes it. Look at the Oscars. The star doesn’t
really walk in, the designer walks in.
I think way back in my career, I could’ve been
the darling of Seventh Avenue, doing air kisses on the
catwalk and all. But then, guess what—you make
the cover of Women’s Wear, but then next season
you’re out. And then the backers tell you that
the next season, orange is no good. So how are you loyal
to your customer? So I thought to myself, I had to do
it my way. But you can only really do that if you have
the support of wonderful people around you to propel
it forward.
Are
there any designers that you’d say directly inspired
your collection, or to whom you perhaps subconsciously
pay homage?
I think for me there definitely are designers like Balenciaga
or early Christian Dior who obviously were architects
of fashion, so they are undeniable inspirations and
influences.
How
many pieces are in your collection?
There probably are 100 pieces and 22 models. Now, the
100 pieces will encompass ensembles, not just separate
pieces, as well as accessories. The clothes are all
accessorized from here in the studio. We actually tried
to bring in all the stuff from other NAC members, but
it just didn’t happen, so now it’s basically
going to be our vision.
What’s incredible is that without all the people
who work here with us at the studio, it’s not
only myself, but it’s this family of artisans,
supportive people, friends, you know, that are able
to really want to help with the vision, to propel it,
it wouldn’t be possible. I mean that very honestly.
I don’t think it’s just me, it’s everyone
who might believe in what we’re doing. It takes
a whole network of people, and actually—guess
what—there’s people who come out of the
blue. (He gestures to the other side of the room where
a woman is seated on the floor, sewing.) Look, I just
met her, and she’s on her knees already. (He laughs)
Do you know what happened in the Renaissance? All these
people, and I’m not saying I’m DaVinci or
Michelangelo, although I would like to think so, a Renaissance
workshop was all the people who made it possible, and
sometimes they all filled in the painting. So it’s
not possible without all the efforts of all the people
who help. And then there are also the makeup artists,
hairdressers, lighting people, models, you know, all
the runway contributors.
What
are you proudest of in terms of finishing this particular
collection?
I am extremely proud of it, and I would even call it
“Bryant Park Comes to Gramercy Park.” Let
me tell you why. We are on the Fashion Calendar. This
is the Bible of what everyone is looking at and who’s
allowed to show it and at what time. We are scheduled
in between Vera Wang and Banana Republic, so you have
to say we’ve made it, right? The show is in the
Fashion Calendar, it’s a fact.
What
would you hope that people—fashion editors and
customers—would take away from your collection?
Now, honestly, there could maybe be an editor who’s
going to look at it and who’s not going to get
it. That editor will say, “Oh my god, this thing
is all over the place.” Well, that’s a valid
opinion. It’s fine, it doesn’t matter. What
matters is the expression we’re trying to put
forth. It’s a fact that we’ll probably get
both good and bad press.
Art is subjective. When you look at something, it’s
such a personal thing. I mean, you are the critic. Some
people look at Picasso or another artist, and they don’t
really understand it, but it is personal because the
artist is the soul. And when you’re present and
you recognize it, it’s what you’re taking
away from it.
As John Ruskin said of all art, “When love and
skill work together, expect a masterpiece.” And
that’s how I truly feel about my designs, because
when you love something, it’s quite different
from when it’s a job.”
If
you would hope that the fashion editors would all “get
it,” what is that you’d want them to get?
I would like them to get that—without dictating
a theme—that there is a lot of room for expression
of the clothing and one’s own person and character.
I think that’s what’s important, because
you can dictate something, but what does that mean?
How
can potential customers find out about acquiring your
designs?
What they should do is visit us here at the studio so
that it becomes a personalized experience, and then
we can show them what we’re selling, both one-of-a-kind
and made-to-order or something that we’re making
in multiples. There is also our website: www.jeanclaudenewyork.com,
which we’re currently restructuring.
I also want people to know that in addition to designing
my own clothing and accessories, I am also a designer’s
designer. I do a lot of work for other designers, well-known
designers like Oscar de la Renta and the Gap. I enjoy
doing that kind of work because I get to see my creations
out there and people wearing them.
Regarding
the whole relationship between fashion and art, do you
have personal favorites in terms of painters or other
visual artists who perhaps inspire your work?
I love so many painters’ works. I like Leonardo
da Vinci’s sketches and drawings, the movement
and thought. When you look at his notebooks, you really
see the person, so I think they are very moving. I also
like Caravaggio and religious art, because I think a
lot of the artists were inspired, and it comes across
in the icons and madonnas. They’re all really
beautiful.
What
are some future projects you are planning to pursue?
I’ve been working in film a lot. Film is very
interesting to me, because it’s such a vision.
And I’m a very visual, detailed person, so it’s
not just the costuming, it’s the set, the lighting,
and also I must say I have my own ideas about how something
could be directed.
Currently I am doing costume, set design and lighting
for an Austrian historical movie that takes place at
the turn of the century. It’s a BBC production
which will be shown in England and Europe and, eventually,
in the U.S.
Is
there anything else you’d like club members to
know about you that they might not know?
I would say about myself, “What you see is what
you get.” I think I’m a provocative and
emotional person. I’m very spontaneous and enthusiastic,
a Taurus.
Oh,
a Taurus! That means you’re highly intelligent
and very stubborn.
And stubborn. (He laughs, then turns to his assistant,
a tall, handsome fellow.) Alvin—you hear that?
Am I stubborn? Yes, but I’m also loyal, fiercely
loyal.
And, I have to add, no matter what, I wake up in the
morning and I’m happy. I feel very blessed in
many ways.
Jean
Claude Mastroianni—The Studio
218 W. 29th Street
Open weekdays, 11 a.m. to 8:30 p.m.
(212) 947-9347
www.jeanclaudenewyork.com
|
|
