Photo: djimages.biz

Blurb from Ny Wesson:

Pulling threads to the extreme length, Jeantrix Co. walks in the door with an ass full of tulle and a mouth full of leather. ‘Probably does not make sense, but that is the beauty of it! I was super stoked to snag an interview with this bold adventurous line and finally knowing what makes us Jeantrix Junkies.

Photo: Salvador Ochoa + Saul

GrungeCake: I may know my history on Jeantrix Co., but you could put it in better words than I can. Let our readers know what the company is, who all is involved and how did the name come about.

Jeantrix: Jeantrix is a clothing line based out of the Philadelphia area. The clothes are a mixture of fantasy and fun incorporated into fashion. Currently, there are two owners/designers of the company (Nyce and Homm). The name came about from us brainstorming and saying, “our jeans were doing tricks.” Corny, but it worked. (Laughs)

GrungeCake: Is there a message Jeantrix is trying to spread? If so, please do tell.

Jeantrix: Our message is to be different; there are no rules to fashion. Fashion has lost its fun since the 80′s, so we are bringing that back.

GrungeCake: Do you prefer sketching designs or actually constructing them?

Jeantrix: We prefer constructing designs, because when you sketch them you limit yourself to what’s on the paper. It’s kind of like free styling and letting your ideas flow.

GrungeCake: Tell us about the process of designing the futuristic construction of Jeantrix Co.

Jeantrix: The process we go by is: Inspiration (from any and everything i.e. movies, music, life itself) Brainstorming (coming up with different random themes for the new collections) Conception (picking a concept or theme for the collection that we agree on) and last but not least, construction of the clothes.

Photo: djimages.biz

GrungeCake: What do you like best about designing clothes?

Jeantrix: The best part about designing clothes are the creative process (each new collection is as if the company gave birth to a new child) and the positive feedback we get from the fans or as we call them “Jeantrix Junkies.”

GrungeCake: What do you believe are the downfalls of designing?

Jeantrix: The only downfall is the reinvention of fashion. In other industries you can base your entire career on the same image, however in fashion you have to reinvent yourself. Also, there are only downfalls in life — if you allow them to be downfalls’ — so staying positive is a must.

GrungeCake: How would you define the style your line exemplifies?

Jeantrix: The style of the line is really fantasy and fun and it depends on each collection. It can be anything from 80′s (when we first started) grunge to Harajuku, or even pop inspired/themed.

GrungeCake: What are some of your fashion goals?

Jeantrix: Our fashion goals are to be in stores worldwide, to style more top celebrities, and to allow our consumers to feel like they are not just wearing clothing, but they are wearing an actual “look”.

GrungeCake: Where do you get your inspiration and how does that translate in some of Jeantrix’s work?

Jeantrix: Our inspiration can come from anything from TV, music, pop culture, super heroes, or even trash. (One man’s trash is another man’s gold) (Laughs) I always wanted to be a trash man. (Laughs)

GrungeCake: What are some of your favorite fashion websites and magazines? I know GrungeCake is one of them — (laughs)

Jeantrix: Well, of course GrungeCake. (Laughs) Italian Vogue, Bazaar magazine, comic books. As far as websites, fashion blogs are currently what’s in now, especially jeantrixclothingco.blogspot.com

GrungeCake: What other experiences do you have in the fashion industry (stylist, retail, marketing, etc.)?

Jeantrix: We both have retail experience, styling for celebrities and magazine photo shoots. We are currently working on a lot of marketing and P.R. work.

GrungeCake: What are your favorite colors to work with and why?

Jeantrix: Oddly enough, our favorite color to work with is black. You wouldn’t think that, because of all the colors we add to the clothes. Black brings everything together and makes certain colors pop. It is the most versatile color there is.

Photo: Lindsay Husk Photography

GrungeCake: What are your favorite fabrics to work with?

Jeantrix: Our favorite fabrics are tulle, lace, leather, and felt. Every collection we try to work with more and more different types of fabrics.

GrungeCake: What advice do you have for aspiring fashion designers?

Jeantrix: Our advice is to just do it. People make accomplishing a goal harder than what it is. If you are a musician, then make music. if you want to be an astronaut, then go to the moon. (Laughs) It’s like the law of attraction, sometimes you don’t have to necessarily know how you’re going to accomplish things. All you know is that you will accomplish them and that’s all you need. We all have been told “you can be anything you want to be” and it’s truer today than ever before.

GrungeCake: Where can readers purchase Jeantrix Co.?

Jeantrix: Readers or Jeantrix Junkies can purchase the clothes on our eBay store (type in “Jeantrix” in the search bar). We will be in stores within a few months so stay tuned. Also the official website will be up this summer! (Smiles)

GrungeCake: We hope we satisfied your sweet tooth and Jeantrix comes back for some homemade GrungeCake.

Jeantrix: Thanks for the awesome interview!

Photos: Resin Denim

Blurb from YAMS:

Headlined “Enough with the Leggings! Why Resin Makes Us Want to Wear Jeans Again“, Chelsea Zalopany writes about how the designers met, what makes them different in the cult pool of jean designers, how much their brand costs, the connection with Paper Denim & Clothing, the fit and last, but definitely not least, our love Ibrahim Ahmed III’s contribution to the jeans. See my interview with Mr. Ahmed by kindly clicking here. To read the article on Vogue.com, kindly click here!

From Vogue.com written by Chelsea Zalopany:

There is something indubitably American about (a) denim and (b) two brainy, hustling New York City hipsters. Chantel Valentene, a native of Brooklyn, first met the small-town Louisianan Durango Adams while they were both studying at the Fashion Institute of Technology. After five years of freelance designing, these self-proclaimed “denim-heads” quietly launched their jeans line, Resin—you might have stumbled across it in Barneys—at the end of last year—with the help of friend and co-founder of Paper Denim & Cloth Chris Gilbert. “We all brainstormed for months on why there needs to be another denim brand in the market,” says Valentene.
Clearly they thought one does. What separates Resin from the glut of denim labels is its inventive approach to the most utilitarian fabric on the planet. The name of the brand derives from their use of synthetic resins (usually it’s a natural substance found in plants and trees). “Resin, the chemical solution, changed the face of the denim industry from the basic stone and acid washes of the eighties to the crisp and gloss-coated unwashed denim of today,” explains Valentene.

Technicalities aside, it’s evident they’re doing something right from the looks of the brand’s body-hugging burnished skinny, the Lariat ($148), which is manipulated to instantly feel worn-out while being soft to the touch. Or their subtly washed black-garnet signature skinny jean, the Catalyst ($154). The Artisan denim trouser ($154)—which brought them to our attention—takes its cue from menswear. “We’ve relaxed the fit and shortened the length to keep it sexy yet comfortable,” says Adams. There is an artsy (installment artist Ibrahim Ahmed III designed artwork for the pocket linings) and organic feel to the label, which is as effortlessly cool as this pair of jeans-obsessed designers.

Photos: http://flyingmouse365.com

Blurb from YAMS:

Telling stories through t-shirts is their motto and we are listening. For more, kindly click here.

Flying Mouse’s Mission:

The FM 365 project is the result of Flying Mouse’s Project of doing one design per day for a whole year! Every week there will be 7 new products available! These 7 new products will be available for a quick pre-sale at a lower price for the entire week and once the week ends there will be 7 newer products to replace them and so on. These designs are printed on super-soft American Apparel tees so you can wear your favorite Flying Mouse designs in comfort everywhere you go!

[showtime]

Photos: Isabella Blow

Blurb from YAMS:

Isabella Blow > Lady Gaga

Isabella Blow’s Bio:

Isabella Blow was an English magazine editor and international style icon. The muse of hat designer Philip Treacy, she is credited with discovering the models Stella Tennant and Sophie Dahl as well as the fashion designer Alexander McQueen.

Blow moved to New York City in 1979 to study Ancient Chinese Art at Columbia University and shared a flat with the actress Catherine Oxenberg. A year later, she left the Art History programme at Columbia, moved to Texas, and worked for Guy Laroche. In 1981, she married her first husband, Nicholas Taylor (whom she divorced in 1983), and was introduced to the fashion director of the U.S. edition of Vogue, Anna Wintour. She was hired initially as Wintour’s assistant, but it was not long before she was assisting Andre Leon Talley, now U.S. Vogue’s editor-at-large. While working in New York, she befriended Andy Warhol and Jean-Michel Basquiat. In 1986, Blow returned to London and worked for Michael Roberts, then the fashion director of Tatler and the Sunday Times Style magazine.

In 1989, Blow married her second husband, art dealer Detmar Blow, in Gloucester Cathedral; he is a grandson (and namesake) of the early 20th-century society architect Detmar Blow. Philip Treacy designed the bride’s wedding headdress and a now-famous fashion relationship was forged. Realizing Treacy’s talent, Blow established Treacy in her London flat, where he worked on his collections. She soon began wearing Treacy’s hats, making them a signature part of her flamboyant style. In a 2002 interview with Tamsin Blanchard, Blow declared that she wore extravagant hats for a practical reason:

“…to keep everyone away from me. They say, Oh, can I kiss you? I say, No, thank you very much. That’s why I’ve worn the hat. Goodbye. I don’t want to be kissed by all and sundry. I want to be kissed by the people I love.”

In 1993, Blow worked with the photographer Steven Meisel producing the Babes in London shoot featuring Plum Sykes, Bella Freud, and Honor Fraser. Blow had a natural sense of style and a good feeling for future fashion directions. She discovered Alexander McQueen and purchased his entire graduate collection for ₤5,000, paying it off in weekly ₤100 installments. Spotting Sophie Dahl, Blow described Dahl as “a blow up doll with brains”, and launched the model’s career.

Isabella Blow arrives as a guest at the Turner Prize, December 2005.

Blow was the fashion director of Tatler and consulted for DuPont Lycra, Lacoste, and Swarovski. In 2002, she became the subject of an exhibition entitled When Philip met Isabella, featuring sketches and photographs of her wearing Treacy’s hat designs.

In 2005, Blow starred in a project by artist Matthieu Laurette, commissioned and produced by Frieze Projects 2005 and entitled “What Do They Wear at Frieze Art Fair?” It consisted of daily guided tours of Frieze Art Fair led by Blow and fellow international fashion experts Peter Saville, Kira Joliffe, and Bay Garnett.

Shortly before her death, she was the creative director and stylist of a series of books about beauty in the Arab world; the books were being produced by Kuwaiti fashion entrepreneur Sheikh Majed al-Sabah. Blow was dismissed from the project for unknown reasons and attempted suicide. For more about blow, kindly click here.

[showtime]

Photo: Richardine 'YAMS' Bartee

Blurb from YAMS:

This interview is from 2007-8. Then, 17, fashion designer and aspiring actress Ade from Washington, D.C. has began dressing herself and designing clothing since the precious age of 2. Of Ivorian descent, Ade’s dresses embody continual great use of textures, shapes, and composition. Full of personality, we bring you Ms. Giwa-Bello! To purchase The Virgin Episode, click here.

GrungeCake: How long have you been into designing, modeling, and fashion illustration?

Ade: Designing? Since I could dress myself, really. Since I was about two. I started drawing in like the 7th grade.

GrungeCake: Who are your inspirations?

Ade: I am a huge fan of anything 40’s. I love Lauren Bacall, side parts, and pin curls. Sweetheart tops, gathered as well as A-Line skirts. I also have a special place in my heart for Josephine Baker. That femininity with a wink. I adore anything that is not quite right— a little off.

GrungeCake: How has DC influenced your own fashion and your work?

Ade: D.C. is such an eclectic city. It is definitely evolving and finding itself fashion wise. Honestly though, I could not pinpoint anything that I got specifically from D.C. It is just a part of me you know. My mother is Ivorian and her mother sewed. She made beautiful pieces. I adore the prints and fabric from Ivory Coast and I think I can appreciate it a lot more because I do not live there. It is not everyday for me.

GrungeCake: Share what you like most about DC.

Ade: Whew, such a small city but there is so many different parts of it. The fact that it is the capitol of the United States makes it such a melting pot culture wise, which I love because I get bored easily.

GrungeCake: Describe your first piece. What does it look like? What material(s) did you use? Is there a specific colour scheme? How long did it take you to make it? What were your inspirations?

Ade: My first piece I honestly made when I was about two, I still have the picture, I made it out of packing material and accessorized it with a shower cap and pearls. I’m still looking for it, when I find it its going straight on eBay.

GrungeCake: Do you design for a specific demographic?

Ade: Absolutely not. I design for whoever is interested in my work.

GrungeCake: How long does it take you to complete each piece?

Ade: It depends really. If I am really inspired or determined I can do I quick dress in one day. I have pieces that have taken me months to complete. I am a persistent person. When I want something, I want it now!

GrungeCake: What kind of sewing machine do you use?

Ade: I currently own a Singer 7422 Advance. I got it because; it has about 30 something stitch patterns. It’s my baby. I love it but I am looking to upgrade.

GrungeCake: Are you or do you plan to be a fashion major?

Ade: Whew. Man, I have considered it but honestly, I do not see that happening.

GrungeCake: Are you into cloths of the Scottish? Could you see yourself emulating the look of Scot man’s kilt into your style of design?

Ade: I love plaid and I really love lumberjacks. This is probably the best question ever. Yes, the answer is yes.

GrungeCake: Your dresses embodies continual great use of textures, shapes, and use of composition (most importantly) — is there anything else that you see within your work that was not mentioned?

Ade: I am a Drama Queen; as far as composition goes, I am big on dramatics, using simple techniques to create a dramatic finished piece. Honestly it depends on how I’m feeling creating pieces tends to be therapy for me so more intricate pieces tend to be products of particularly intense times in my life. It is a little more than just making clothes with me. (laughs)

GrungeCake: Any other talents or interests other than fashion?

Ade: I act which is my first love. I am a big music appreciator; I am actually in the process of starting a band. I am a writer and I read a lot.

GrungeCake: Do you enjoy Granola bars?

Ade: Nature Valley. I hate Quaker.

GrungeCake: If your line were out in stores now, which stores would they be in?

Ade: Man, honestly I could see myself in boutiques around D.C. one of my favorites is Pink November.

GrungeCake: You are also a writer, has any of your poems and prose influenced any of your fashion design?

Ade: Whew, this one is a winner! Yea, again when I create anything. Honestly, it is personal. I construct my pieces many times like the pieces that I write with the same type of passion.

GrungeCake: Are you a Blink 182 fan?

Ade: Is a pig’s pussy pork?

GrungeCake: Can you dance?

Ade: I’m brown.

GrungeCake: If a celebrity could wear something you designed, who would it be and why?

Ade: Wow, Betty Davis! She is so bad, man.

GrungeCake: Are you influenced by any music or art movements?

Ade: I love music period. My feel-good song though— the one that gets me “unhhh” in that place is “She’s Gone” by Hall and Oates. Whew!

GrungeCake: Red velvet or chocolate cake?

Ade: Zora’s Chocolate Mousse Cake and mainly because they only have it in D.C.

GrungeCake: What is next for Ade?

Ade: Graduation. An official website. A new haircut. A lot. I’m planning a launch for sometime this year. My MySpace will be updated with plenty of information.

Blurb from YAMS:

We need a “lifeguarded Domino effect.” I am willing and ready to snowball it. Here is my beginning. For great reviews on “Schmatta: Rags to Riches to Rags,” visit the LA Times and PopMatters. Photographs by George Lee for The Push Episode.

GrungeCake: As a young tailor, I felt it was important for you to equip yourself with the raw knowledge about where your future [trade] has gone. Ninety-five percent of your business has left your country and only five percent remains. I can make a bet that colleges, institutes, and universities are aware of it, yet they are still enrolling students’ and promising jobs-careers after graduating. Does this analogy make you feel hopeful?

Ny Wesson: No, it doesn’t at all. Knowing the economy doesn’t need fashion in their time of crisis because people can’t afford to spend extra money on garments is very frightening. Universities such as OTIS and FIDM guarantees their students a stable job in the industry after attending their programs and graduating, so with such a great promise behind their names, determined dreamers such as myself get sucked into believing, “that will be me.” Therefore, it’s that will power that keeps us designers motivated and going. Schmatta has displayed the truth behind the scene. Sharing what’s really going on and it’s quite discouraging seeing how the industry has declined within such a short time span. I actually had a serious talk recently with my mother who is a RN and finds her job the best for me as a young woman. She’s not looking at my talent as a gift anymore because people need money, not talent. It’s not me that she doesn’t believe in, but the economy that gives us broken promises is what shifts her mind about my career path.

GrungeCake: Does this give you a completely new perspective on the recession-era we are living? If the major declines of the garment business over the span of 40 years were the main causes of America’s financial dilemma, wouldn’t it be reasonable for our government to rebuild?

Ny Wesson: Very much so. The fact of actually knowing my work might not sell and make business because garments are the main cause of America’s madness can take anyone for a loop. Some days I wake up hungry wanting to be a top designer and other days I wake up hungry because there’s no food. Literally. Meaning, I’m in need of a stable career. Understand? It’s a constant battle on whether, do you keep fighting the war to be where you want to be? Or do you surrender to the economy to be where you need to be and that’s wherever they place you. Might be a dead end 9 to 5, but that’s what is given to us now to survive. As far as the government rebuilding, indefinitely it’ll be very reasonable to rebuild but America doesn’t know how to pick things back up and make it new again.

GrungeCake: In the film, Irving Ruosso explains that he ripped off his uncle to make his fashion business boom. Do you think “knock-offs” are equally or highly responsible for the fail of our garment industry today?

Ny Wesson: With the economy being the root and “knocks-offs” growing into a tree, I believe they go hand in hand. “Knock-offs” have been around forever and slowly, but surely, it caught up with the economy. Designers aren’t getting full pay with people switching up the tags and duplicating a piece matching exactly with the original then charging only half of the retail price. You couldn’t beat that with a stick! So of course, people will wear the generic version to keep extra dollars in their fake LV wallets and YSL bags.

GrungeCake: Do you think “greed” is equally or highly responsible for the fail of the once, robust apparel manufacturing industry?

Ny Wesson: Greed is highly-equally responsible for the fail of anything!

GrungeCake: If you were in the position, would mild “knocking-off” be a consideration?

Ny Wesson: The phrase “fake it until you make it” never popped a great idea in my mind. I prefer quality over quantity.

GrungeCake: Can the fashion communities’ nation-wide revive good-paying jobs? If yes, share your ideas.

Ny Wesson: To be honest, no. Not in this era. People are beginning to recycle, learning how to make their own clothing, loosing weight to get back in a old pair of jeans versus going out and buying new items.

GrungeCake: American Apparel might not be the best brand to all — however, the brand’s made Downtown Los Angeles and for the most part is sold here. Before, watching “Schmatta: Rags to Riches to Rags,” I thought very little of the company. Knowing that American Apparel has the power of increasing the five percentile, will you support their business? Will you support small businesses with the same basis?

Ny Wesson: Yes, if that’s what it takes to rebuild the industry then why not? If there is a good message behind the company, then I’m all for it.

GrungeCake: As an editor, and bona fied lover of art and expression, I want to see you and people like you happy, always and will continue to support and spread the scheme. Which brings me to “Save the Garment Center.” Save the Garment Center is a campaign spearheaded by designers Nanette Lepore and Anna Sui as well as many local designers, organizations and fashion manufacturers to preserve New York City’s fading Garment District. The loss of jobs and culture as a result of non-conducive zoning laws has led many in the industry to join together on a campaign to save what is left of the once-vibrant garment center. Fashion Week in September 2008 was filled with t-shirts that embodied the cause and provided contact information of city officials. Women’s Wear Daily highlighted the issue during this week, and many designers and members of the Council of Fashion Designers of America lauded the effort. Check it out when you have a moment. Will you let your friends know about this non-profit organization?

Ny Wesson: I will be sure to enlighten friends, family, and bystanders about it. This will help not only me, but everyone else who shares the same passion. I want to thank you for reaching out to the people in the industry and taking the matter seriously as well as bringing this to my attention. People like you gives us hope.

Below are clips that I shared with Ny. I have looked for order links to buy the film and haven’t been successful. If you find any, kindly contact me and I will add it in the post. Thanks in advance.

Lastly, I have searched for Save the Garment Center on Twitter [and Facebook] to find that there were ONLY 39 followers, making me follower number 40 [on Twitter]. Let’s change that and spread the word about “Save the Garment Center.” I have written to Bloomberg, Quinn, Stringer, Burden, Patrick Murphy, Randall, Nadler, Maloney. We hope it helps. Thanks to all in advance.

Photos: Vogue France

Christopher Bailey, the designer of Burberry has imagined two new trench coats exclusively sold at the “fashionista” french boutique in Paris, Colette.

For Spring/Summer 2010 Burberry sign this exclusive collaboration with hype Parisian Concept Store Colette – A remix on their classic trench by Christopher Bailey, beautiful drapes and Rock n’ Roll spikes on the collar. The Trench will be tagged by label “Burberry exclusive for Colette.” Available Feb. 22nd starting at $2800. The trench is magical. I can’t wait to see it on the streets of New York City!

Photos: Courtesy of Cartiers Robot

Blurb from YAMS:

I was on iChat the other night looking for Kodi to send him a program when I made a mistake and connected with Mickey Free of Cartiers Robot. Into a full on conversation with the wrong person, my poly-tasking ass ran into helping just one more person for the night. Completely delved into what “Kodi” was saying, I offered my help through an interview. He was in search of a graphic designer. Thus, this was born.

GrungeCake: Your biography states, that your brand is “…a growing lifestyle brand with an high-end urban, ready-to-wear feel. It is very hard to expect what is coming next…” What areas in fashion and art have you dabbled in thus far?

Cartiers Robot: We have done the artistic fabrics with vibrant colors and designs, where we would cut-n-sew then onto certain areas of the clothing. We went from hand painting and crafting letters and words onto our material. Now, we use the “worldwide equip” which is screen-printing to get a better quality and get more quantity of material. We moved through high fashion to street to nerdy retro and many different areas of fashion. We try to create something that exist, but through our mind frames to a visual picture. High Fashion. Street Fashion. City Fashion. Retro.

GrungeCake: What other fashion brands best describe “high-end urban, ready-to-wear”? Your brand, will it be sold in similar retailer shops?

Cartiers Robot: I mean, brands such as BBC, Ice Cream, Bape, Crooks and Castles, 10Deep, and Play Cloths are what I may call a high-end brand that’s urban and ready to wear as soon you purchase it. When the time is right, we will be sold all over in a few local retailers. Although, we are working on building and creating our own lifestyle brand boutique that will sell our brand and many other brands that we approve of and have respect for.

GrungeCake: “A Wealthy Mind is a Healthy Mind.” Would you like to shed some light on this statement? Are you a living testimony to this statement provided above?

Cartiers Robot: Well, being that in this business of fashion, your mind is where all the ideas come from. So, if your mind is wealthy, then it will be healthy. We’re not doing this for money, but to better ourselves and to get our word, style and message out. Since I was a kid, I would always say, “Mommy I wanna be wealthy,” because anybody can be rich. As long as our minds are healthy, our lives will be healthy.

GrungeCake: What inspired the name?

Cartiers Robot: We wanted something that sounds rich, but urban. So, the name Cartier [came] to mind and we kept going on about back and forth and I said Cartier is a jeweler but it kept calling me we named ourselves ” The Cartier(s).” Then, we said, “Nah, it has to be another word,” and we fell upon “Robot.” Being that it’s a mechanical organism “rare.” So, Cartiers Robot; our self-made machine that pumps out good quality and urban feel clothing.

GrungeCake: Do you look forward to a legal running with renowned French jeweler and watchmaker, Cartier?

Cartiers Robot: (Thinks) Cartier is a fine jeweler and I also admire his work. I’m not too sure if we [he] would ever get into a legal running with us, because we are LLC. But, the legal running might [not] be a problem as long we don’t disrespect the name and use it improper. Besides, the name is Cartiers Robot.

GrungeCake: What you would like to achieve with Cartiers Robot?

Cartiers Robot: We would like to become that clothing brand that blows up into something large and have many stores worldwide. And also start our lifestyle of dressing and living. Being that we are into more than clothing, we also produce good music, create beautiful photographs and videos. We would love to be that clothing brand that always does something radically different. Art books. Magazines. Cafe and food. Toys and electronics. Shoes and more.

GrungeCake: What’s next for Cartiers Robot?

Cartiers Robot: Our next step is to release our spring/summer collection (seasons 1 and 2) and go from there. More t-shirts, fitted caps, varsity/bomber jackets and many more to come. “Run with us or run from us.”

Cartiers Robot is in search of a Graphic Illustrator for their team. If you’re interested, kindly contact Mickey Free via MickeyFreeWorld@gmail.com —Thank you.

Photo: Still from Documentary

Blurb from YAMS:

Mr. Greenfield explains it takes a young person six years for apprenticeship to become a tailor. He has been in America since September 1947 and started as a “floor boy.” His experience at concentration camps in Germany helped to land the job at the business he owns today, 3 G Clothes in Brooklyn, New York. Greenfield explains the artistry of tailorship in a warm tone. You know how to learn more.

Photo: Pegleg NYC

WAREHOUSE SALE – 435 Broome Street between Broadway & Crosby, NYC. Friday, Saturday & Sunday, December 18, 19 & 20th, 2009 from 11am – 8pm. (peglegnyc.com)