“The Five-Year Engagement,” starring Jason Segel, Emily Blunt, Alison Bree, and Chris Pratt is the new romcom due in theaters Friday, April 27th, that gives a comedic perspective of what happens to a couple when their walk down the aisle keeps getting perpetually delayed. I had the pleasure of chatting with Leesa Evans, costume designer for the film who also worked on last year’s smash hit romantic comedy, “Bridesmaids.”

I had questions, like for starters, where do you even begin to figure out what to get, what to make and how to organize it without going bananas? Read on for what it’s like working with Jason Segel, an important camera styling trick, and advise for those of you who want to break into the biz!  P.S. – check out the movie’s site and blog, TomandViolet.com, which functions as a true couple’s wedding site. It is genius, adorable, and hilarious, of course!

[Costume Designer Leesa Evans]

Fashion Pulse Daily: How much is doing costumes for a movie a collaborative process with the actor(s) involved, and how much is it working independently to find the items you need, and presenting them to the actor(s)? I imagine it depends on the film and the character’s needs…

Leesa Evans: “The collaborative effort is always initially with the director. I come up with a design concept for the film and present it to the director; we collaborate more about the characters and what the film should look like. And then when the actors get involved they bring more ideas to the table and the collaborating continues…it’s continual and ongoing.”

FPD: What are some little known facts about selecting certain colors or prints, and how the appear on ‘the big screen’? For example, perhaps a way to beat the theory, via clothing, that ‘the camera adds 10 pounds’?

LE: “I think the most important styling trick for anyone going on camera is to keep the silhouette small. I love using color, I just use it sparingly.”

FPD: When do you start researching and acquiring product, and a team to for a movie? Maybe three months before filming? Can you give us a timeline of the process, perhaps as your most recent project, “The Five-Year Engagement” as an example?

LE: “I usually have 12 weeks of prep on a film; I start with the design concept and 2-3 assistants. From that point each week as we get closer we shop more, fit more and bring on more assistants.”

FPD: For “The Five-Year Engagement”, how much of the clothing did you source from existing stores and brands, and how much of it did you have specially-made for the actors?

LE: “I would say for any contemporary film, I generally shop 75-80% and manufacture the remaining 20-25%.”

FPD: How many fittings do you usually do with the actors, and are you on set every day?

LE: “I generally have 2-3 fittings with the actors and on occasion I try 1 or 2 pieces on here and there…..I am not on set that often but try to stop by at least once a day.”

FPD: For this film, since it takes place over the course of five years, how did you express the change via dress on the main protagonists, Jason Segel and Emily Blunt?

LE: “I think they both grow up a bit by the end and their style reflects that…….

I love that they both try to be different people when they aren’t with each other.

Violet tries to dress older to be with Winton and Tom tries to dress younger to be with Audrey and ultimately they find their way back to themselves.”

FPD: Slightly off the subject, but as a comedian, did Jason Segel request, or have any humorous, or quirky elements incorporated into his wardrobe to convey his natural sense of humor? Did he keep you laughing the entire time ( I can only imagine…)?

LE: “Jason is really lovely to work with and gives you complete creative freedom…..I love when he comes in for a fitting not only because he’s very funny but he always adds a finishing touch that brings his character to life.”

FPD: Is there extra pressure doing costuming for a film, that relates to a major event, like a wedding, since most often the film builds up to that moment, that is important to convey through dress?

LE: “I love to style weddings……I almost always try to stay true to the character and create the wedding they would have imagined!”

FPD: For someone who may want to transition from traditional fashion design or styling, or anything else really, into the world of costume design, what would be three major pointers you would encourage them to do/keep in mind?

LE: “I would spend a little time as an intern for a costume designer to see if it’s truly something you love……it can be much harder work and bit less glamorous then you imagine but when you love it, it’s worth it!”

-Julia DiNardo

Maren Hartman

Luckily, we had the opportunity to speak with trend expert and brand analyst Maren Hartman,  Director of WGSN‘s  East Coast Content operations, whose position involves managing a team of forecasters, journalists and designers. Hartman, who has worked for Abercrombie & Fitch and American Eagle Outfitters, also has a background in trend consulting and working with Stella McCartney as well as the iconic show, “Sex & the City.”

Read on below for our q&a with Hartman regarding how to get into the business, and what to keep a keen eye out for when it comes to trends.

Fashion Pulse Daily: What kind of background, knowledge, or understanding is quite essential to becoming a trend forecaster?

Maren Hartman: “There are many different answers to that question because often trend forecasters come from a wide array of backgrounds. I think what makes a good trend forecaster is to have experience in the design and product development process. If you come from a design background then you understand the ins and outs of what makes a garment from the inception all the way to its placement on the selling floor. The key to applying that to trend analysis is then being able to look at the bigger picture and connect the dots between what’s happening globally whether it’s socially, economically, or technologically and see how that will come down the pipe line and affect us all through the trends that we will inevitably see.”

FPD: When looking at runway shows, what are some criteria that you analyze or note, in regard to predicting trends?

MH: “We look at the four major buckets- Color, Fabrication, Silhouette, Print/Pattern, and Trims and Details. All of those can be funneled into larger buckets that fall within one of our Three macro-trends that we predict two years in advance.”

FPD: What might we anticipate as continuing to be big in 2013, or what might be big now that seems like it will continue into 2013?

MH: “We’re in a print cycle and it will continue for at least the next few seasons. Photo-real printing and a newfound love of science finds its way into print and pattern as updates to traditional florals. Science is actually cool. Examples of these things are like the prints we’ve seen from Proenza Schoeler (pre fall 12). They used Google earth aerial images as their prints on skirts. Also the androgyny trend continues as a lovely mix of “boy vs. girl tension“”.

FPD:  How is looking at trends for womenswear versus menswear the same, or different?

MH: “Much of what we see on the womenswear runways comes to fruition in mass market retail, whereas in menswear we have to look much closer and see through the flare and show to what it will become in stores since menswear has to be tamed down much more to sell.”

FPD: What is something that a trend expert does that might be considered unexpected, as part of the job description?

MH: “We have to shop the stores constantly! We don’t buy anything, but because fashion is such a fickle industry we have to watch the ever evolving machine, and that means checking out ALL the stores and their updates all the time.”

FPD:  Can being a trend expert also translate into other jobs, such as ‘cool hunting’ and consulting for specific brands?

MH: “Absolutely. The key is to be always flexible and never let your own personal taste get in the way of being able to read what’s actually happening in the market and to also be able to adapt to whatever your specific client’s needs are. Many of us come from specific brand consulting or mixed media backgrounds.”

FPD: If unfamiliar with WGSN, how would you say the site and its services is different than any other professional, fashion-related site out there?

MH: “We are the biggest and the most thorough. With offices across Europe, The U.S., Asia, and South America we have our fingers on the pulse of not only current fashion trends but global trends that will have a worldwide impact on designers, merchandisers, and consumers. The massive global balance is what sets us apart from all our competitors.”

FPD:  With having the ability to be so far ahead of the trends, do you personally dress ahead of what is happening in fashion, or just stick to what you like?

MH: “Depends on who you ask! When working in this industry it’s hard not be influenced and inspired by the newness that comes down the runways. To work in this market there has to be a pretty deep love and respect for the artform and so it usually finds its way into our wardrobes. But everyone here has their own personal style. There is no uniform.”

-Julia DiNardo

It’s not every day that one gets to sit down to a one-on-one with a strong, innovative female designer and pick her effortlessly cool brain. Lucky for us at FPD, we had the opportunity to meet Dana-Maxx Pomerantz, a recent winner of Polyvore and FIT’s Emerging Designer Series Contest. The contemporary ready-to-wear designer understands fearless fashion and the feeling of certainty that jibes when clothing is simply put, meticulously you.

[Zoey "Casp" Dress, $340]

[Claudia "Sarria" Blouse, $210, Olivia "Tasso" Skirt, $330]

Dana-Maxx’s Spring 2012 collection was inspired by Barcelona, a city known for its individuality and its unabridged physical beauty. She combined architecture and striking “juicy, yummy” colors to create a line as full of history and cultural descent as the city itself.

With a strong focus on day dresses and other no bother pieces, the brand fills a (serious) void for women’s easy, citified workwear. Architectural necklines and geometric shapes give strength to an otherwise relaxed collection.

[James "Lepant" Dress, $340]

“I love designing clothing that let women feel strong, vibrant and fearless in when they wear the clothing,” the designer explains. “Also, this sort of no fuss attitude; women want a lot of bang for their buck today…. (they want) easy, effortless pieces that are unique but can transition into various seasons.”

Here’s to clothing you’ll feel strong and individual in, and to a woman who gets it, and delivers it!

Shop the Dana-Maxx label online or find a store that carries the line in your city. Dresses and separates retail from $98-$425 while accessories go for $58-$100.

-Alana Quagliariello

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SELF Magazine‘s Fashion Director, Evyan Metzner, knows a thing or two about conducting a successful photo shoot.  With over 20 years of industry experience, Metzner travels all over the world to conduct shoots for SELF, Teen Vogue, Vanity Fair, New York Magazine, and InStyle.  She’s worked with  Beyonce, Jennifer Aniston, Jennifer Hudson, Gwyneth Paltrow, Carrie Underwood, Kristen Bell, Taylor Swift, and more, with some of the shoots she’s styled pictured below. FPD was able to get the skinny from Metzner, for you aspiring stylists out there, what its like to be a stylist and how to prepare for a styling career.

FPD: Most people want to know how to jump start a styling career, let alone become a fashion director; what sound advice might you give them to follow to make their dream a reality?

EM: “First, I’d suggest reading, looking at, and watching fashion and style magazines and blogs, whether in print or on the iPad.  See what you like and respond to: are you more of a full fledge fashion girl or do you like more lifestyle-like magazines, like SELF?  What designers do you like?  What photographers do you like?  I’d also suggest following different editors on Twitter.  And then intern, intern, intern.  It is still the best way to get your foot in the door.  While interning, see if you want to style (work with photographers and models on shoots), or want to be a market editor (they call in the clothes and accessories from designers & PR firms).  And then take a look at the mastheads of the magazines you love.  Find the editors’ email addresses or send them letters to ask for a meeting with their assistants.  Its also important to understand that we all don’t start out in this industry doing exactly what we want to in the beginning.  It’ll take a lot of energy and there is a lot of hard work, like packing and unpacking…and packing and unpacking.  Most importantly, though — don’t give up!”

FPD: What would you say are some elements to look for, take note of, and analyze, when looking at editorial shoots in magazines, in order to become a novice (or better)  stylist?

EM: “There always has to be a thread that pulls it together, whether it is a gold story and every piece has a golden element, or a Twiggy story, or menswear.  You have to give a clear message over a certain amount of pages.  It can have a more graphic or visual connection or a more storytelling connection, like being inspired by a book or movie, a painting or photograph.  Also, keep it clear what kind of feeling you are trying to give the person looking at it.  The type of hair, makeup, or attitude all make a picture and story.  And as a stylist, you have to communicate that.  And you have the control to do that.“

FPD: Do you think an understanding of photography or fashion design is necessary to work in this career?
EM: “I think you have to love fashion and/or photography to be a good fashion editor / stylist.  In the end, you are always having to come up with story ideas and how you want to show them.  I don’t think you have to go to school for it necessarily, but you have to want to know about it.  And its a lot of work, so loving it is key.”

FPD: You have had such an incredible career thus far; what do you think the key is to managing a successful styling career?
EM: “Being a good stylist is about being open to new ideas, trends, and change.  And being flexible since many things changes last minute before, during, and after shoots.  I also think being able to get the best out of all the people you are working with is key.  You need to be a good communicator.   You should always look around you.  There are ideas everyday, everywhere.  Keep your mind and eyes open.  Listen to younger and older people — you can always learn.”

FPD: What was the most challenging shoot that you’ve worked on?
EM: “I can’t say there is just one challenging shoot.  Each one has their own special challenges, whether that be the model you’re working with, or weather, or cost, or photographer, or locations.  I think the hardest ones are when you work with people who are difficult to communicate with and make the day hard.  It is and should be a team effort and when a photographer or a model is difficult, well, you certainly have a challenge.  As the editor, YOU have to make it all work out.  Its your job.  You are the peacemaker.  The conductor.  And of course when weather is bad — like a hurricane in Palm Beach, or it rains for the first time in 174 days in the desert in Australia — well, it gets difficult.”

FPD: Since you travel extensively, what are three (carry-on) beauty items that are found in your bag at all times?
EM: “First of all, I almost always carry-on my bag when traveling, unless I’m going for more than 5 days, or I have to go to fashion shows or bring snow pants and boots, etc.  I always have Dr. Hauschka eye and hand cream, a travel toothbrush and paste (a must), lip balm (always changing, but I’m into Burts Bees at the moment), and a sleep mask and headphones for sleeping. And a good book for when I’m asked to shut my iPad off.”

FPD: At shoots, what are several essentials to always have on hand, that could potentially come in and save the day?
EM: “Always always large sharp safety pins — they can make anything look good if you learn how to pin it.  Double stick tape (the wig type — we use Topstick).  Small, sharp sewing scissors.  All in a fanny pack.  And all must haves!”

-Julia DiNardo

Fashion historian, author and lecturer John A. Tiffany was mentored early in his career by working for Eleanor Lambert, who is considered  THE pioneer of public relations, as well as credited with many monumental events and organizations still in place today, such as the Council of Fashion Designers of America (CFDA). A true visionary who led a  fascinating life and incredibly long, fruitful career, Miss Lambert’s story has never been told before, until now, with Tiffany’s first book, Eleanor Lambert: STILL HERE. Fashion Pulse Daily was honored to interview John A. Tiffany about the experience of writing the book, and his personal interactions with Miss Lambert. Read below for a look into the life of a legend; although she has been gone since 2003, her legacy continues on in print form, thanks to John A. Tiffany.

FPD: What was the main catalyst that drove you to write “Eleanor Lambert: Still Here”?

JT: “I first started working for Miss Lambert, I was familiar with MANY of the things she did or so I thought… but as time went on I discovered more and more of the things she created, people she discovered and talent she nurtured and things she represented.  I had a passion to let people know all the things that she did!  I think the final straw was when my friend — celebrity photographer Karl Giant said (for the 100th time) you have got to write these things down!  My friend Jessie Barth always says  “John, you have to tell the story of our pioneer!””

FPD: Miss Lambert was obviously way ahead of her time and an incredible visionary in the realm of public relations; her decades-long career and reaching the ripe age of 100 is such a feat in itself. Working alongside her in the 1990s, what do you see as some of the reasons that can attest to her success?

JT: “Miss Lambert actually didn’t believe in luck; she believed in destiny and she believed in hard work!  I have always had incredible bosses – all successful ad hard working, but Miss Lambert really was he hardest working person I ever worked for – she didn’t waste time – she was very focused and very busy, I always felt that she had a lot of ideas brewing in her mind.  She totally knew who she was, she had no doubts about what she wanted to do — and what she was going to do and she kept doing it until she achieved it.  She was very focused.”

[A young Eleanor Lambert]

FPD: A quote from your book, that quotes Miss Lambert, “You must always be alert and see the things right in front of you that are not done and should be done.” Such simple, yet sound advice! Could you give an example of something like this that you recall happened while working with her?

JT: “Well of course that applied to the great things she created such as the Costume Institute which she helped start in the 1930s and the Costume Institute Gala which she started in 1948, or creating the first Fashion Week in 1943 or the Council of Fashion Designers of America in 1962; but also it referred to people – fashion designers or interior designers or any of her clients!  She liked to work with people – she wasn’t a big fan of big corporations.  She was always looking for new talent – people who needed her help and of course if she liked them she would help them – whether or not they could afford it!  She was always going to see a new designer somewhere.  I recall she was always interested in helping people out, she could get anyone and I mean ANYONE on the phone in minutes – making connections, she would and all parties would be the better for it.  Miss Lambert would consider that being alert — helping people who needed it!”

FPD: If there is one thing that Miss Lambert could go down in the history books for, what would you think her most significant contribution to fashion should be noted as (or what she would most likely want it to be)?

JT: “For sure, the Versailles Exhibition of 1973 – the contest — disguised as a fashion show between France & the USA.  With the French audience proclaiming America the hands-down winner.  It came to be this legendary event – although the night itself was not as legendary then as it is now, it started a chain-reaction.  It really put American fashion on the map – it put America in the same league as the French & Italians.  It had been what Miss Lambert had originally tried to do – put American fashion in the same league as French.  She was laughed at when she originally had this idea in the 1930s — when she told her friend Diana Vreeland in the 1930s, she laughed and said: “oh Eleanor, you are such an amateur!”

Also, I would also have to say Miss Lambert’s creation of the Council of Fashion Designers of America, because it was the first time that designers themselves came together.  To be a member you have to be a designer, in creating the Council, Miss Lambert let designers lead themselves as opposed the the manufacturers who controlled everything.

And finally the creation of fashion week, the first fashion week was in New York and then later Paris, Rome, Milan and London asked Miss Lambert to help them create their own fashion weeks.  I always say that Miss Lambert created a cultural moment…  That moment before a fashion show begins… The lights go down and the room is dark, and there is that moment we all sit and wonder what is new? what is next? it’s our collective excitement and anticipation, and then fashion marches in… she created the runway and she created that week.”

FPD: Was there a different way that Miss Lambert would go about achieving press for her art clients versus the fashion ones?

JT: “Miss Lambert sought to showcase talented people, whether they were artists, fashion designers, interior designers or hair stylists!  She thought that talented people needed to be promoted and that is what she did.  She was always open to new ideas.”

FPD: Another quote, “I am not the news,” seemed to be one of Miss Lambert’s mantras and although she was well-loved and respected, kept the focus away from her and directly to her clients. Do you think that nowadays in the world of publicity this concept has for the most part, been lost?

JT: “Yes!  I don’t say that it is right or wrong, but that concept doesn’t really apply anymore.  It’s tricky — might be hard to explain to your clients why you are getting publicity and they are not!”

[Eleanor Lambert and John A. Tiffany]

FPD: “Since “I am not the news” was so much a part of Miss Lambert, what was the process like when compiling information postmortem, about Miss Lambert’s accomplishments and life?”

JT: “Well, I went through the files when I worked for Miss Lambert in 1995.  When she closed her office at age 99, they went to the Metropolitan Museum of Art, then later, FIT.  The files – Miss Lambert’s archives were still pretty much how I remember them from 1995.  I knew Miss Lambert’s story very well and have been putting things together for the last 16 years!”

FPD: Miss Lambert certainly had a signature style with her turbans, jewelry, and furs; do you think to become an icon, one must always have distinct fashion traits such as these?

JT: “Miss Lambert used to say; “Get your looks and stick with it!”  Again, I think she really knew who she was, she knew how she wanted to live and she enjoyed putting her look together each day!  I always say she looked like an Empress, she had impeccable manners, but underneath she was a rebel!  I think it is best to always try to look your best!”

FPD: Since she died in 2003, what do you think Miss Lambert would have thought of social media? Do you think she would have adapted to this new world, or stuck to a more traditional public relations approach?

JT: “Miss Lambert certainly didn’t love computers – she liked her typewriter – HOWEVER, she would have loved how there are more ways to reach people and get the word out!  So, she would have been very interested to learn more, read more and have lunch with bloggers and connect them with others — and of course pitch a a few story ideas too!!!”

FPD: What is the best advice you can give to aspiring publicists, or those who want to just break into the fashion industry in general?

JT: “Learn everything you can!  I always meet people who want to get into fashion or PR and I ask them if they have a subscription to Vogue… And they don’t!  It’s $12 a year, you should subscribe to every magazine you can afford.  You should know who writes what and what they are writing!  Of course, they should read blogs too.  But you need to know what is happening!  That is a good place to start….”

Eleanor Lambert: STILL HERE by John Tiffany is available for $59.95 at Amazon.com

-Julia DiNardo

We’ve been a huge fan of the eco-minded  footwear brand Naya ever since they launched over a year ago, hence it was an honor to be featured on Naya’s blog, The Green Room this past week! Here’s the interview, and please check out their blog, as well as fabulous fall 2011 footwear offerings!

How do you like to relax?

Usually at night, once the computer has been turned off is my “me” time, and I love to indulge in a lavender foot bath, flipping through a hot-off-the-presses issue of a magazine, and watching old movies. Lately, I’ve been going through 1960s and 1970s Warren Beatty flicks; I just love him and Faye Dunaway in Bonnie & Clyde!

How do you help soften your footprint on our earth?

Every day I think about this, and am amazed at how much garbage my household of two humans and one cat can produce, despite recycling as much as possible. Besides conserving water by keeping it off while brushing teeth, taking quick showers, etc, I try to get as much second or third time use out of plastic and paper bags, tissue paper and bubble wrap as possible. As a fashion and beauty editor I have a high volume of packages coming in and out, so if I can find ore than a one-time use for them, it’s terrific. My cat, Micia, loves playing in the cardboard boxes, more so than any toy we’ve ever gotten for her, so we occasionally let her keep a few.

Sleep is a huge part of renewing your mind body and soul. What is your routine before going to sleep each night? Any tips on how to sleep soundly?

I try to have a break in between working and heading straight to bed or my mind will be racing when I lie down; night time is usually when I get to do some book-reading, a routine I’ve done all my life, as it seems to help my mind and body relax and prepare for rest. I also have some lavender mist and lavender temple cream that helps lull me into a calm state (can you tell I like lavender?).

What is your favorite drink to help you relax?

I occasionally have caffeine-free mint tea, but also feel really great doing some ‘juice’. Pureed watermelon is a delicious juice and great source of Vitamin C, and I’m also big on green juices. I’ve recently started using the powdered form from Amazing Grass which comes in great flavors, but love getting a fresh blend that includes cucumber, green apple, spinach, parsley, pear, lemon, and ginger.

Do you have a favorite song that helps you renew yourself?

If I’m down, I feel like I can always endure by listening to “Bittersweet Symphony” by The Verve. I also tend to crank Death Cab for Cutie and Nirvana (while of course singing along, obnoxiously loud in the solace of my apartment or a car).

Do you participate in any outdoor activities that renew your mind, body or spirit?

Yes! Summer is my absolute favorite season, and I can’t get enough of being outdoors. I recently brought my childhood bike back to New York City, so I’ve been riding around on some weekends and weekdays which feels much better than hitting the gym. I also am big on kayaking, and am grateful that NYC offers free kayaking on the river in several locations.

What is your favorite Naya shoe and why?

For fall 2011, I am loving the stylish versatility of the Naya Quail boot. It definitely is one of those boots you can comfortably wear all day long thanks to the wedge heel, and transition easily to the evening. My hypothesis is that it is going to be one of the best selling styles this fall!

(By Grace Gold for Fashion Pulse Daily; this feature is an extension of coverage of the Palladium Project)

I found out first-hand when talented FIT student Carlee Gustin set out to custom design an original piece for me. I asked for two things – that it feel soft and feminine – which was quite the challenge, given the industrial look of the material that sponsor Palladium provided as part of a FIT partnership program. Palladium is a naturally white precious metal that belongs to the platinum family, and is known for its strength, light weight and rich color.

A feather bracelet cuff is what Gustin cleverly created, with delicate detailing that brought the requested sense of softness and femininity to the piece, as well as a strong Native American influence. The FIT student shares more about the design journey below, as well as what it’s like to study and pursue jewelry design.

Grace Gold: Where did you find the inspiration for your feather cuff, and what do you feel were the most important aspects of the design?

Carlee Gustin: I am very inspired by old Native American jewelry. To me the feather represents flight and being free, something that should be a trait of all women. I love how the texture of the feather came out, it is exactly what I originally envisioned.

GG: What is the most challenging aspect of designing jewelry?

CG: I think the most challenging aspect of designing jewelry is figuring out how to make the piece work mechanically. You can have an amazing idea, but if its not wearable or comfortable, it probably won’t sell.

GG: What personal piece of jewelry is your most beloved, and why?

CG: A bracelet my dad gave me, he has passed away. Every time I wear it, I think of him. To me, jewelry is such a memorable and lasting gift…something to treasure.

GG: What made you pick jewelry design as a career?

CG: I’ve always been very creative and have been making jewelry and sewing for as long as I can remember. I started taking it more seriously when I was about 15 and have been designing, making, and selling jewelry ever since!

GG: What has your experience as a jewelry student at FIT been like?

[Jewelry designer and FIT student Carlee Gustin]

CG: The jewelry major at FIT is very hands on, which is perfect for me. The studio classes are my favorite, because I love creating things. My professors have all been so helpful and are always pushing and challenging me.

GG: What do you think the biggest misconception is about jewelry?

CG: I don’t think people realize how much work goes into making jewelry from beginning to end.

GG: What advice do you have for someone who wants to study jewelry design?

CG: I am all about following your dreams. I believe you can make anything happen for yourself as long as you stay focused, work hard, and want it enough.

To find out more about Carlee Gustin’s designs, please visit www.carleegustin.com

You can also reach the designer directly at info@carleegustin.com

[All images via ROMYGOLD.com]

Close friends Lisa Goldstein and Romy Jagid started the coveted handbag line ROMYGOLD in 2009, and has since gone on to have a cult following with retailers including  Bergdorf Goodman, Intermix, Saks Fifth Avenue, Harvey Nichols, Neiman Marcus and shopbop.com. The line stays on the forefront of fashion while offering accessible prices of $275-$700. In an exclusive interview, Lisa and Romy answered our questions on everything from the celeb they’d love to see rocking their bags to their favorite style and blogs.

FPD: What were you doing before ROMYGOLD, and how do you divvy up and/or collaborate on the operations and design aspects of the company?

LG & RJ: Before ROMYGOLD we were just raising our families.

FPD: Since you two were good friends before starting ROMYGOLD, what do you advise as most important to balance your personal and professional relationship with good friend?

LG & RJ: We each seem to have different but complimenting business interests which naturally result in our division of responsibilities,  however we always collaborate on everything.

FPD: What was the single most important thing you learned about designing handbags?

LG & RJ: Keep with the fashion trends, come up with a design that distinguishes our product from the competition (ie biker slash). We continue to use variations of what we are known for in different designs.

FPD: Tell me more about the “slash and Slit”  designs; how is this done while maintaining  a sturdy exterior, that wont catch or rip?

LG & RJ: The biker slash is our signature design and the design made such a huge hit that it contributes to the success of ROMYGOLD. The sturdiness of the bags is not compromised by the slashes because of the leather used and its inner structure.

FPD: What is your favorite bag style (i.e clutch, hobo, messenger – doesn’t have to be ROMYGOLD style specific)?

LG & RJ: Our favorite bag style is a typically a hobo (look for our bondage hobo coming out for resort).

FPD: What are your favorite blogs?

LG & RJ: We love to stay up-to-date on Who What Wear! They always have some amazing fashion stories and great celebrity sightings. We also love Refinery29 and DailyCandy.

FPD: What icons would you love to see your bags on the shoulders or in the hands of in the future?

LG & RJ: We would get such a sense of accomplishment by Jennifer Lopez, Gwenyth Paltrow and/or Sarah Jessica Parker carrying a ROMYGOLD bag.

FPD: Now two years in, what do you hope to happen in the next five years for the brand?

LG & RJ: We hope to have lines for all seasons, expand to more accessories (belts, wallets, cuffs, etc).

-Julia DiNardo

[All images by Rose Lou]

San Francisco’s native Erin Fetherston is introducing her new fall 2011 collection, Erin by Erin Fetherston. With the desire and intent to debut a new line that is lower in price, but not in design or quality, the emergence of this new line remains “quintessential of the Erin Fetherston line, but with a new flair,” explains Fetherston. The designer goes on to offer that she was inspired to create something “light, airy, with a celestial palette” and provide her fans and customers with a line just as stunning as her previous collections, yet is easier for the wallet to acquire.  On average, dresses run below $350, but are still somehow crafted out of sleek grey, white, and blue silks, rosey-colored chiffons, darkly glistening sequins, and sleek, polished knits.

- Rose Lou

Fashion Pulse Daily: What is your personal experience with being eco-friendly, and what is your past design experience that brought you to Naya?

Kasey Gibbs: Supporting products that are gentle on the earth has always been important to me. My husband and I both make purchasing decisions based on whether or not a product’s packaging is renewable and try to compost and recycle our own trash as much as possible. I also only drive hybrids and can be seen around town in my Ford Fusion or Escape. There are many easy changes that each person can make, whether it’s not purchasing eggs in styrofoam containers or using paper instead of plastic bags at the grocery store.

The footwear industry has been creating eco-friendly shoes that were great for hiking or sitting by the campfire, but Naya understands that women want eco-friendly footwear that fits into more aspects of their life. Women have a desire to help the environment but they also want to express their femininity and style. The home goods industry has been “doing it right” for a while now. From bamboo flooring and sustainable glass to all the recyclable products – they made me see that products could be eco-friendly while still being beautiful. Observing the positive progress of the home goods industry, I was really inspired by the idea that it could be possible in footwear.

This is my first experience designing for an eco-friendly brand, though I have many years of experience in footwear design.

FPD: What was your biggest challenge in creating this line?

KG: The most challenging part about designing eco-friendly shoes was the paradigm switch or change in thought process we went through with our sources. However, it has completely changed the way we think about making shoes. We feel this will eventually be a big change for the entire industry if the consumer makes the choice to buy more stylish, comfortable, eco-friendly products. We know women want to look good, feel good and do good for themselves and the environment.

FPD: Can you tell me some of the key eco-friendly materials in the design?

KG: Naya chooses natural and earth-friendly materials whenever possible, including: vegetable-tanned leathers and linings, fabrics made with natural or recycled materials, foot beds containing natural cork, outsoles made with recycled materials, water-based cements, boxes made with 80 percent recycled paper pulp, soy-based inks and water-based glue.

Naya also reduces consumption by using recycled shoeboxes, reusable shoe bags, shoe forms made with recycled PET (recycled soda bottles) and creating earth-friendly ways to deliver our message.

FPD: Which style are you most excited about for fall?

KG: I love the Bakula, which goes with all of my favorite fall work wear. For the evening, I love Narubi in every color. It is perfect to wear with skinny jeans, leggings and short skirts. It’s so versatile it can be worn with the cuff down or up for that over-the-knee look that is so on trend for this fall.

FPD: I’d love to learn more about the process: finding these materials, manufacturing the shoes, what it was like producing eco-friendly shoes on a larger scale.

KG: Naya uses recycled content fabrics and boxes made with 80 percent recycled paper pulp. Naya shoes with a wedge heel are made from cork and recycled TPR, a material similar to rubber. Naya is also utilizing bamboo and leawood in many of our heels. Additionally, Naya utilizes scrap leather for linings which are part of Naya’s comfort promise, as they make the shoes feel smooth on the foot.

At Naya, our mission is to leave a gentler footprint on the planet and make eco-friendly choices wherever we can. Currently, we are making great strides in the use of eco-friendly materials and design elements, and this makes Naya’s overall carbon footprint smaller.

FPD: Ultimately, what would you like to achieve with Naya?

KG: We’re really pleased with the progress we have made so far as the first eco-friendly shoe line under Brown Shoe Company, Inc. We see this as a journey, with Naya as the first step. We’ve made a lot of progress in finding earth-friendly materials and components and we’re excited about the changes and our ability to make them affordable for women. We hope to generate as much awareness as possible about the importance of softening your global footprint.

FPD: For 2011, what can we look forward to? Will mens or other accessories be added to Naya?

We’re always looking for new earth-friendly initiatives that are important to Naya customers.. During April 2010, Naya partnered with Plant It 2020 for the 40th anniversary of Earth Day. For every pair of Naya Shoes bought on shoes.com, a tree was planted. We met our goal of planting more than 5,000 trees in one month.

This fall we are launching a campaign called Renew Your Soles, in which women can return gently worn pairs of shoes to be donated to people in need or if the shoes are at the end of their lifetime they will be recycled. We will provide you more information on this campaign as soon as possible.

We are interested in expanding the Naya brand in the future, but for now, we are focusing solely on creating the highest quality earth-friendly footwear for women.

-Julia DiNardo