Style Points is a weekly column about how fashion intersects with the wider world.
Before it took her to the runways of Tom Ford-era Gucci and Karl Lagerfeld-era Chanel, Carolyn Murphy’s romance with fashion began with a humble pair of Care Bears jeans. Growing up in small-town Florida, she says, “I wasn’t really exposed [to fashion] outside the local mall. But she started making clothes again at a young age, taking those ursine mascots and re-sewing them into a new pair when she was longer than the first one. “Or I’ll try to re-brand Polo with embroidery” — long before she set foot on the Ralph Lauren runway. She also reaches out to her grandmother, who will hand sew her home clothes complete with the label “Made with love by Nana”.
“By modeling, I have a sense of fashion,” she says now.
“Working very closely with the designers, doing shows where we are in these long accessories, but also seeing their tailors at work, especially in high fashion. grant. It was always right there, and I noticed. I listened and learned a lot,” she said. However, “I really have no intention of entering the design world myself.”
But lately, she just did. After teaming up with LA-based Mother line on an upgraded product line last year, Murphy has another design breakthrough coming up. And this is quite personal. She worked with ADEAM designer Hanako Maeda on the brand’s 10th anniversary collection, inspired by Murphy’s early modeling days in Japan. With both projects, “Of course I jumped at the chance, especially since they were more dedicated people,” she says. The collection will be available on the brand’s website and in a Madison Avenue pop-up store open through July.
Murphy sent Maeda an inspirational board of things she loves, including art and pottery made by Japanese female artisans. She also painted on clothes that she wore during her early modeling career in Japan. “In the early 90s, it was like a Paris or bust,” she explains. “I tried my senior year of high school and it wasn’t really for me. I just said, ‘Well, if this were modeling, I wouldn’t be hanging around in miniskirts and going to clubs all night.’ “When she moved to Japan to further her modeling career, she found the terrain to be “more of my own pace. It’s a great work ethic. I know what to expect. I worked six days a week, sometimes two or three jobs a day, but that’s where I thrived.”
The relocation was the beginning of a lifelong love of the country, its history and the diversity of its natural landscape. Not to mention its fashion. Murphy, happy to ditch her slouchy miniskirts, has created a style all her own: “reduced vintage pieces, neutral colors. Things that you can depend on and that you can always have in your wardrobe.” She loves simple, functional pieces from “unknown stores”, which she has continued to reinterpret for the ADEAM collection, from folding shorts to a sleeveless inspired dress. from a pair of trousers she owned back then.
With Murphy in LA and Maeda in Tokyo, the design process was done remotely. “It was an eye-opening experience to see the pieces in her wardrobe have stood the test of time,” says Maeda. “Carolyn has worked with a lot of designers and experienced different trends, so she has a very discerning eye for timeless pieces.” Maeda added that the two wanted to celebrate the way “Japanese people respect and live in harmony with nature”, using sustainable fabrics and fibers for the collection, including cashmere cotton and organic cotton denim. . Many materials are locally sourced. “I loved that part of it, getting samples and saying, ‘Okay, it comes from this farm and this family in Japan, it’s been three generations, dying and stained.’ Storytelling is an important part of this collection, which, again, makes it all the more sentimental. ”
Murphy, who was recently honored at the Sustainable Style Awards, was quick to note: “I definitely don’t like soap… I’m not a sustainability queen. I’m not a source of information when it comes to that either. There are a lot of other people who are really leading that. I just chose to live a very simple lifestyle, back to the basics. ”
She estimates that three-quarters of her wardrobe is vintage. “When I buy something, it’s something I’ll have for a while and it’s not going to be disposable.” Murphy found herself growing increasingly distressed “raising a daughter who has shopped so many fast fashion places that I just find myself disgusted when I look at her and her peers. I’ve worked intimately with some of these brands, [and] I was told that I wouldn’t work with them until they agreed to do something more in the area of sustainability. I think we all have to push each other.”
Speaking of sustainability, Murphy really clocked in Bella Hadid’she wore the same Tom Ford-era Gucci dress she wore to her fall 1996 show: “Oh my God, I’m so excited. In fact, I retweeted a photo and then I took it down 10 minutes later because I was like ‘Wait, what am I doing?’ I am self-aware of it. But that was my initial reaction. I was very excited. She looks so beautiful. And that’s what I said in my post, Bella looks so beautiful in this dress and how beautiful it is to step out onto the runway and wear her, 25 years later. She’s really one of those current models who really seem to not only love fashion but very deeply.”
That fashion moment brought her back to a difficult time. “You can feel the excitement at the shows. It was palpable,” she recounted. When she watched Gucci house“I laughed, because I just remember being there,” heard this young Texan man tell her that, with her blonde hair and golden skin, she resembled his mother.
Tom Ford isn’t the only designer who has influenced her. “The first time I took a private jet was with Karl Lagerfeld. We shot Lagerfeld’s campaign at his home in Hamburg. I have never seen anything like it. It is like a castle. Then we flew to Paris, and he didn’t want me to stay in the hotel. He wanted me to stay with him,” she said, recalling how excited she was to spend the night Naomi, Christy, and Linda had before her. Their relationship continued for decades, with Lagerfeld sending Murphy and her mother thoughtful gifts. (“You could say that you love a certain perfume, and the next thing you would send it to your house.”)
She also remembers wrapping up a Versace couture show as the bride. “I tripped on the runway and burst into tears. [Gianni] Then sent me flowers to my hotel, with the message, ‘I know our marriage got off to a bad start, and it was our honeymoon night. Would you like to have dinner with me? ‘”
What she misses most about those days is the absence of social media, which “added this other layer of self-promotion. I am the worst when it comes to Instagram. I try. I have my daughter who gave me directions. What I remember about it is that I’ve always been proud of having that sane separation. And I think that’s appreciated at some point, which is you don’t go out at every party, chat with every photographer and editor. Now, nothing is sacred. Everything is just so exposed and exploited. I hope that it will come back a little bit.”
She’s also nostalgic for a pre-internet world in other ways. When working with the likes of Steven Meisel and Pat McGrath, they’ll “come with crates full of books, or they’ll say, ‘Let’s go home and watch this movie tonight’.” Have a real education. Now you just need to click a button, view an image. No real connection. No detection friend there.” Murphy gets the luxury of developing her style in a similar world, and with this collection, she officially shares the wealth.
This content is created and maintained by third parties and is imported into this site to help users provide their email addresses. You can find more information about this and the like at piano.io