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Forbes
3 days ago
- Business
- Forbes
This New Effortlessly Chic And Inclusive Caftan Brand Will Be Your Summer Uniform
Models wearing Dianna Singh The Classic Caftan Life is better in a caftan. That's essentially Dianna Singh's motto. According to her philosophy, life is about to get a lot better for many people, thanks to her newly launched eponymous brand of caftans and matching sets. 'To me, a caftan is just the most joyful garment ever,' Singh says. 'I think it is scientifically impossible to be unhappy while you're wearing a caftan. What appeals to me about caftans and sets and anything that I'm making is that they are celebratory, they are non-exclusionary and they are statement making, but they're not fussy, and those are a lot of the same qualities that I love about beauty. So that is what brought me here.' A veteran beauty editor, Singh previously was on staff at InStyle and is currently the Features Director at Allure. She attended the Fashion Institute of Technology (FIT) with the intent to work in fashion but fell into the beauty world. 'I ended up staying there because I loved how joyful and celebratory it was, and the connectivity of it all,' she says. 'In my mind, there's always been a little voice that's said, 'what if you could bring that to fashion?' This feels like the vehicle to do that.' Dianna Singh wearing The Fancy Set True to her ethos, the entire Dianna Singh line is ebullient with a touch of whimsy. Don't expect any black or neutrals here—the line has a beautiful, bright color palette, featuring vibrant hues like Kelly green and tomato red caftans. The matching sets include the brand's cheery signature print and a classic lavender seersucker. Adding matching sets to the collection simply made sense. 'For those same reasons of caftans being cool and comfortable, easy-to-wear sets take the guesswork out of getting dressed, so they feel related to me in that way, in terms of ease, and you don't have to think about it,' Singh says. 'You put it on, you look good, you can go about your day. It gives options for folks who maybe aren't as familiar with the caftan world. It's a nice entry point as well; I suppose we can't wear caftans with absolutely everything, although I would argue you could. It adds a spice but still feels like it's that same core value.' Dianna Singh is a reflection of its founder's signature personal style. Unsurprisingly, Singh looked to her own closet while designing the collection. 'I've been collecting caftans for years,' she says. 'A pain point for me in collecting them has been the price point. There are a lot of great brands out there that are at a higher price point, and I certainly recognize that they're using handmade materials and perhaps they have hand-tied sequins and those details, and I certainly think there is a place for that. But in terms of those everyday, I want to feel really good in this, I could wear this to a wedding and dance in it kind of caftan, it was hard to find those. It's taken me years to amass my current caftan collection, so I figured I could take the guesswork out of that for folks.' Singh collects matching sets as well. Models in Dianna Singh The Swing Dress 'I love a great print,' Singh says. 'You can tell by my married name that my husband is Indian, and I really got into the Indian design world when I was working on planning our wedding a couple years back, and just fell in love with all the gorgeous prints and colors. That's reflected in the line as well.' Though Singh is clearly a dedicated caftan wearer, she is aware the silhouette can be overwhelming to some. That's why she shows plenty of ways to wear them on her social media platforms, including Instagram and TikTok. 'I want to show how people style and wear them in real life because it can be a little intimidating,' she says. 'It's more fabric than maybe people are used to wearing. I love a big, chunky earring. I love a little kitten heel to dress it up. The beauty of it, too, is if you want to ease into things, wear it as a beach cover up or by the pool, and get used to and get with the go the flow of it all. I was wearing one of our early samples on a dance floor at a wedding recently, and it just flows. It's hard to say no to; it's a very convincing garment. I don't do a belt typically, but you certainly could. Don't be surprised if the belt comes off by the end of the night; you'll be fully embracing it.' Singh had been dreaming of creating the line for years—she considers it a lifelong pursuit in many ways—and once she took action it took about a year to come to fruition. She started with mood boards, taking inspiration from Slim Aarons imagery from the 60s, with lounge-y poolside vibes top of mind. She brought those images, along with her own sketches, to her manufacturer. Models in Dianna Singh The Fancy Set and The Drawstring Dress 'I was lucky to be introduced to a manufacturer in India, and it felt like the stars aligned,' Singh says. 'That was a great partnership, and they've been lovely to work with, and it's great to know that the line is being made there. I'm excited to see the possibilities of the beadwork and fabrics that can be made there because the sky is the limit with their beautiful textiles.' Most of the textiles are sourced from India as well, and eventually they will be entirely. Inclusivity is also of the utmost important to Singh. 'One thing I love about the beauty world is the fact that it is non-exclusionary,' Singh says. 'Anyone can swipe on lipstick and that's something that I love about caftans too. At any body shape, at any body size, a caftan can work for you, and they grow with you. I've had a lot of folks reach out in the last couple days saying, 'I'm pregnant' or 'I'm going to be pregnant. Can I wear this?' Yes, it will grow with you. It might fit you a little differently, but the flexibility of the garments is so special and so universal.' To illustrate that size diversity, all of the models on and the social channels represent that. 'I want our models to reflect our world and you will always see a diverse range of models from us,' Singh says. 'Whatever size you are, I want you to look at our site and our social media and see yourself.' The Dianna Singh Bow Tie Caftan Dianna Singh is currently only direct to consumer, but Singh plans on doing trunk shows and expanding to select hotel boutiques, which is fitting given the nature of the line. 'Direct to consumer is a great fit for us right now so I can learn about our customer,' Singh says. 'I'm already seeing the orders roll in and what folks are gravitating towards, the sizes they're looking for, the questions they're asking. It's a great container for experimentation and figuring out next steps.' The brand is self-funded. 'I haven't received outside financial investment, but I'd be remiss not to mention the investment of time, advice and encouragement that I've received from many of my colleagues along the way,' Singh says. 'It was an investment to start it, but to be small and nimble, especially in the current climate, is an advantage. While we of course want to grow, right now we can use our size to our advantage.' With tariffs looming over many brands, Singh sees their small stature as a plus because they can react in real time. Dianna Singh in The Classic Caftan As the height of travel season commences, the launch timing isn't a coincidence. 'Caftans are certainly at their peak popularity in the summer,' Singh says. 'I am an advocate for caftans all year round, and I hope will convert a lot of folks into thinking the same way, but I do think the summer season is prime time. We've already heard from a lot of people who are headed off to places like Italy or Greece that they can't wait to wear their caftans there. They're also very packable. They might need a quick steam once they come out of your suitcase—because who doesn't after a long flight—but they are made to travel with.' This is just the beginning for Dianna Singh. She's considering expanding into knit sets and beyond. 'I'm excited to build relationships with our customers and follow their lead to perhaps other categories,' she says. 'I've had a few requests already for caftans for men and for children, so I'm listening. I'm hearing that a lot of folks like the idea of slipping on a little caftan on their mini me and matching, which I think is fun. Ultimately, I wouldn't rule out anything beauty related, maybe down the line; once a beauty editor, always a beauty editor. Obviously, I'm not a beauty brand, but I am armed with a lot of beauty knowledge and bringing that into fashion is a unique proposition, and I'm excited to see where it goes.'
Yahoo
21-05-2025
- Business
- Yahoo
Inside Dr. Joyce Brown's Trailblazing Legacy at FIT
For 27 years, Dr. Joyce F. Brown has been a behind the scenes force in the fashion industry. As the president of the Fashion Institute of Technology, where her tenure comes to an end this spring, she's led one of the most prestigious arts and design schools through a transformative time. Under her direction, FIT incorporated sustainability into the curricula via a natural dye garden, created a social justice center to build a pipeline to help diverse students succeed in the industry, and constructed a new 10-story academic building—the first to be added to the campus in 40 years, which opens this fall. Dr. Brown, the first woman and first African American person to lead the school, has prioritized creating a clear and egalitarian path to a career in fashion. Before FIT, she worked as an administrator with the City University of New York system, a professor of clinical psychology at the Graduate School and University Center of the City University of New York, and as New York City deputy mayor for public and community affairs under David Dinkins. 'What was most outstanding to me when I arrived was the opportunity that FIT presented. People don't realize it's part of SUNY [the State University of New York system], I think because they think of it as specialized,' Dr. Brown explains. 'We have connections to all of the top designers and all of the corporations, because it's a big part of our mission to fuel those industries and to provide a career pathway for our students, so it kind of gets into rarefied air, in terms of how people think about it. What I saw was a real opportunity to get to young people who might be afraid to think of FIT as a destination for themselves.' ELLE spoke to Dr. Brown about how the ways that the fashion industry has shifted in the past three decades, what matters to Gen Z students, and what still needs to be done to advance diversity. The designers recognize the incredible talent pool that we have here. They bring in interns, and they see how talented and well-educated they are. In our design studies, they really learn the practical, as well as the aesthetic. The designers and the couture houses and the retailers want us to succeed and continue to fill the ranks of their industry. Many of the people that work in these companies also come in and teach as adjuncts. It's very mutual. We're very practical and pragmatic in terms of our students, so that they're a really value-add the day they walk into their first job. It's not some ethereal notion of making something that no one will buy. But of course, we have had to [incorporate] technology into the way design and business are [taught] and try to stay one step ahead. The danger with technology is that you often lose that hands-on element and the unique individualized notion of design, as opposed to something a machine could turn out. That's been a challenge. The students are so fearless with technology, I swear they were all born with an iPad. I would also say that one of the most overriding differences [in design today] is the notion of sustainability. It is critical and crucial to this young generation that they have a different way of designing and doing business that will protect the planet. That will have less toxicity, less wasted water, less toxic designs, more biodegradable materials. They are disdainful of excess and understand the importance of quality. We lived through a very difficult time in 2020. The pandemic, and the death of George Floyd on camera, really awakened a number of different ideas, beliefs, and responses in people. For a very long time there had been conversation about the lack of diversity in the design and retail industries, and it seemed like a really opportune moment to try and create a pipeline for young people of color and a pathway into those industries. We needed the industry to really agree that they were going to mentor these young people, so that they could diversify their leadership ranks. In [terms of] the change in the industry, I can't say so much about that because it's slow, it's difficult, and there's a lot of bureaucracy. Now, of course, we're at a very different place in our society about how these things are looked at. It's hard to articulate what exactly the point of all that is. We have to see what happens. We should just keep moving forward, we should do what we're doing. The conditions that were to be addressed with such programs will not change unless someone actively reaches in to change them. I think we'll all just keep doing what we know to be the right things. You know the expression, 'If you stand for nothing, you fall for anything?' There just has to be an ethical core of beliefs, and you have to maintain and perhaps fight for them. What I don't know is what will be. I do know that if you believe in things and you think it makes a difference and you there's an ethical purpose to them, then you have to stick with them and then deal with the fallout. It offers students context, preparation, and experience. It offers many things that redound to their ability to be successful. Is it the only way? No. There's many, many young people that are talented, and driven, and want desperately to come to FIT and they come from these families where everybody went to Princeton, or Harvard, or Yale. And they're expected to go, and so they go, but then they come here after. We have a whole contingent of graduates who got their degrees elsewhere, then came here and pursued their passion. I think for some creative people, they really cannot sit through four years of the traditional model of education. Having said that, I want you to understand, we have a full liberal arts aspect to the curriculum. People are not coming out of here with certificates in sewing. They get a New York State degree. But they also can find themselves in the studios, and in the laboratories, in addition to studying math. They haven't postponed their dream of developing their talent, they're doing it [because] they're able to be in a place like FIT. This interview has been edited and Might Also Like The 15 Best Organic And Clean Shampoos For Any And All Hair Types 100 Gifts That Are $50 Or Under (And Look Way More Expensive Than They Actually Are)
Elle
21-05-2025
- Business
- Elle
Inside Dr. Joyce Brown's Trailblazing Legacy at FIT
For 27 years, Dr. Joyce F. Brown has been a behind the scenes force in the fashion industry. As the president of the Fashion Institute of Technology, where her tenure comes to an end this spring, she's led one of the most prestigious arts and design schools through a transformative time. Under her direction, FIT incorporated sustainability into the curricula via a natural dye garden, created a social justice center to build a pipeline to help diverse students succeed in the industry, and constructed a new 10-story academic building—the first to be added to the campus in 40 years, which opens this fall. Dr. Brown, the first woman and first African American person to lead the school, has prioritized creating a clear and egalitarian path to a career in fashion. Before FIT, she worked as an administrator with the City University of New York system, a professor of clinical psychology at the Graduate School and University Center of the City University of New York, and as New York City deputy mayor for public and community affairs under David Dinkins. 'What was most outstanding to me when I arrived was the opportunity that FIT presented. People don't realize it's part of SUNY [the State University of New York system], I think because they think of it as specialized,' Dr. Brown explains. 'We have connections to all of the top designers and all of the corporations, because it's a big part of our mission to fuel those industries and to provide a career pathway for our students, so it kind of gets into rarefied air, in terms of how people think about it. What I saw was a real opportunity to get to young people who might be afraid to think of FIT as a destination for themselves.' ELLE spoke to Dr. Brown about how the ways that the fashion industry has shifted in the past three decades, what matters to Gen Z students, and what still needs to be done to advance diversity. The designers recognize the incredible talent pool that we have here. They bring in interns, and they see how talented and well-educated they are. In our design studies, they really learn the practical, as well as the aesthetic. The designers and the couture houses and the retailers want us to succeed and continue to fill the ranks of their industry. Many of the people that work in these companies also come in and teach as adjuncts. It's very mutual. We're very practical and pragmatic in terms of our students, so that they're a really value-add the day they walk into their first job. It's not some ethereal notion of making something that no one will buy. But of course, we have had to [incorporate] technology into the way design and business are [taught] and try to stay one step ahead. The danger with technology is that you often lose that hands-on element and the unique individualized notion of design, as opposed to something a machine could turn out. That's been a challenge. The students are so fearless with technology, I swear they were all born with an iPad. I would also say that one of the most overriding differences [in design today] is the notion of sustainability. It is critical and crucial to this young generation that they have a different way of designing and doing business that will protect the planet. That will have less toxicity, less wasted water, less toxic designs, more biodegradable materials. They are disdainful of excess and understand the importance of quality. We lived through a very difficult time in 2020. The pandemic, and the death of George Floyd on camera, really awakened a number of different ideas, beliefs, and responses in people. For a very long time there had been conversation about the lack of diversity in the design and retail industries, and it seemed like a really opportune moment to try and create a pipeline for young people of color and a pathway into those industries. We needed the industry to really agree that they were going to mentor these young people, so that they could diversify their leadership ranks. In [terms of] the change in the industry, I can't say so much about that because it's slow, it's difficult, and there's a lot of bureaucracy. Now, of course, we're at a very different place in our society about how these things are looked at. It's hard to articulate what exactly the point of all that is. We have to see what happens. We should just keep moving forward, we should do what we're doing. The conditions that were to be addressed with such programs will not change unless someone actively reaches in to change them. I think we'll all just keep doing what we know to be the right things. You know the expression, 'If you stand for nothing, you fall for anything?' There just has to be an ethical core of beliefs, and you have to maintain and perhaps fight for them. What I don't know is what will be. I do know that if you believe in things and you think it makes a difference and you there's an ethical purpose to them, then you have to stick with them and then deal with the fallout. It offers students context, preparation, and experience. It offers many things that redound to their ability to be successful. Is it the only way? No. There's many, many young people that are talented, and driven, and want desperately to come to FIT and they come from these families where everybody went to Princeton, or Harvard, or Yale. And they're expected to go, and so they go, but then they come here after. We have a whole contingent of graduates who got their degrees elsewhere, then came here and pursued their passion. I think for some creative people, they really cannot sit through four years of the traditional model of education. Having said that, I want you to understand, we have a full liberal arts aspect to the curriculum. People are not coming out of here with certificates in sewing. They get a New York State degree. But they also can find themselves in the studios, and in the laboratories, in addition to studying math. They haven't postponed their dream of developing their talent, they're doing it [because] they're able to be in a place like FIT. This interview has been edited and condensed.
Fibre2Fashion
13-05-2025
- Entertainment
- Fibre2Fashion
US' FIT hosts 2025 Future of Fashion Runway Show
The Fashion Institute of Technology (FIT) showcased the exceptional creativity of its students at the annual Future of Fashion runway show presented by Macy's, held on the college's campus in New York city. The event featured visionary and innovative looks made by a select group of graduating students from FIT's Fashion Design BFA programme. The 2025 Future of Fashion runway show—featuring 82 designs—celebrated the work of 67 students. The looks were inspired by personal stories and anecdotes that addressed themes such as sustainability, technology, cultural heritage, and more. The five concentrations include knitwear, sportswear, intimate apparel, children's wear, and special occasion. The Fashion Institute of Technology's 2025 Future of Fashion runway show, sponsored by Macy's, showcased 82 innovative designs by 67 BFA students, highlighting themes like sustainability and cultural heritage across five fashion concentrations. Award winners included Khoboso Nale and Allison Margaret Smith, with 13 students receiving critic honours. "For four years, our graduating designers have honed their skills and refined the tools they needed to best channel their creativity – and we are able to witness first hand the results of those efforts," said FIT president Joyce F Brown . "At FIT, our graduating BFA students do not just turn in final exams, they craft beautiful designs that come to life on the runway, right before our eyes. Each year, the Future of Fashion show gives budding designers a unique opportunity to demonstrate for the world what they can achieve when their passion and training are synchronised and jointly applied." The runway looks were selected by a group of distinguished judges, including FIT alumnus Joe Ando-Hirsh, fashion designer and actor; Kevin Bass, senior associate of programmes and fashion calendar at the Council of Fashion Designers of America (CFDA); Edmundo Castillo, fashion accessories designer; Hollis L'Estrange Daniels, design director, Macy's; Vanessa Friedman, fashion director and chief fashion critic, The New York Times; Kelly Geib, account executive, Avalon Apparel; Phillip Lim, fashion designer and creative director; FIT alumna Rebecca Moses, international fashion designer and author; and Dr. Valerie Steele, director and chief curator of The Museum at FIT (MFIT). For the fourth consecutive year, Macy's was the lead sponsor of the show. Through Macy's social purpose platform, Mission Every One, the brand recognised the outstanding skills of graduates with two awards, uplifting and empowering the next generation of designers, trendsetters, and retailers through its Future of Style Fund (FoSF). The Macy's Capsule Collection winner, Khoboso Nale, will gain real-world experience by working alongside Macy's executive mentors at retail and manufacturing locations. The collaboration will culminate in the production and sale of Nate's collection under Macy's private label BAR III, available at the Macy's Herald Square flagship and select stores nationwide. The Macy's Empowered Design Award, which honours a student who powerfully conveys their inspiration through a final design, was awarded to Allison Margaret Smith. "This spring, Macy's is proud to partner with FIT and the Future of Fashion runway show to empower young designers through Mission Every One," said Emily Erusha-Hilleque, senior vice president of private brands for Macy's . "The creativity and dedication on display at last night's runway show illustrate our commitment to empower the next generation of designers." "The continued support from Macy's exemplifies the industry influence on and investment in new talent," said dean of FIT's School of Art and Design Troy Richards . "Our students benefit from the mentorship and opportunities that Macy's provides, enriching the fashion design curriculum at FIT." In preparation for the runway show, students collaborated with leading designers who served as critics throughout the spring semester, offering expert insight across the five areas of concentration. Thirteen students were honoured as critic award winners and recognised with distinction during the runway show. The 2025 recipients are Alexandra Dayton (sportswear), Evelyn Hernandez (sportswear), Leyi Huang (special occasion), Lauryn Ilasco (knitwear), Hannah Kisilevich (intimate apparel), Paris Liu (knitwear), Leah Robinson (children's wear), Allison Margaret-Smith (sportswear), Yuval Sorotzkin (special occasion), Burak Turp (sportswear), Yuxiang (Peter) Xiong (sportswear), Xiangyu Yang (sportswear), and Geonhyung Yu (sportswear). Fibre2Fashion News Desk (RR)
Yahoo
07-05-2025
- Entertainment
- Yahoo
Meet MisMister, the Brand Melding Victorian Silhouettes With Street-Wise Attitude
© Skyli Alvarez, 2025 In her bedroom, studded belts, scraps of black lace, and a pair of headphones drape loosely over the bed frame, shifting softly in the breeze of an early April morning in Brooklyn. To the left of the bed, a minidress cut from plush sweatshirt fleece adorns a dress form, an antique marching band hat perched atop its neck. The hat, designer Paige Tann tells me, came from an old vintage collector in New Jersey who gave it to her for free, surprised she had any interest in it at all. The original owner's name remains etched into the lining — marks of a long-ago stranger. Bedroom and design studio, personal space and creative site, Tann really sees no distinction at all between the two. Though a lack of separation may trouble some, to Tann, it's the reason she and her brand MisMister have persisted. Growing up in Montclair, New Jersey, the 22-year-old spent school days journeying to Manhattan as a teen, and by the time she received her associate's degree from the Fashion Institute of Technology in 2024, she already had nearly a decade's worth of industry experience under her (probably vintage, probably studded) belt. As of late, much of Tann's time has been dedicated to petticoats, capri pants, and the aforementioned mini 'sweatdress' — all for her spring collection, released on May 2. Working, living, and moving in the same space have allowed her to cultivate the world of MisMister, a world in which sailors, Gilded Age girls, and runaway princesses are one and the same. Below, Teen Vogue sat down with Tann to discuss her artful childhood, love for sewing, and melding fashions old and new. Teen Vogue: How did you get your start in fashion and design? Paige Tann: From a young age, I was interested in fine arts. My father was an artist who tried out every medium — I still have some of his cutters, markers, and patterns. I definitely was the classic 'can't speak, but will dress crazy' kid, and sewing [became] a way to articulate how I was feeling without any words. My parents sent me to one sewing class in sixth grade and I absolutely fell in love. In seventh grade, I was blessed to get a sewing machine and the rest was history. © Skyli Alvarez, 2025 In middle school, I started skipping class to take the train to the city and soak up whatever I could, whether it was wandering into galleries, luxury stores, thrifting, seeing if I could get any opportunity. And funny enough, a lot of things did fall into my lap. I'd meet people on the street who would tell me, 'Oh, I actually do the costumes for this Broadway show. Do you want to come see my studio?' I had so many people give me their card, their info, tell me this, that. In ninth grade, I got the opportunity to intern at a bridal showroom and kind of fudged it a little bit and lied about my age. I just knew that this is what I was going to dedicate my life to. TV: Your parents took fashion seriously, and in turn, you did as well. Tell me more about being raised with this mindset. PT: Their openness and support helped me recognize that this career didn't have to be some fantastical dream, this is reality. And my proximity to the Garment District really, really helped. There's a photo of me in Mood in middle school, where I'm next to a roll of fabric that's taller than me. I was really serious [about it], asking 'okay, how many yards of fabric am I getting?' TV: Speaking of behind the scenes, let's now talk MisMister. What were the first pieces you released? PT: MisMister came about when I was talking to my friend [about] wanting to release a fall capsule. [The name] came pretty naturally, as I like to incorporate details that oppose each other in a lot of my designs — like a men's military uniform mixed with a woman's bustier. It seemed appropriate. Our Denim Sailor Set was the very first thing we released. And then once we established ourselves as MisMister, we released the Happily Never After Capsule I in October for fall, and now we're working on part two for spring, Happily Never After Capsule II…As of now, MisMister consists of myself, my design intern Oliver Grenz, and our seamstresses at the Brooklyn sample room. © Skyli Alvarez, 2025 TV: How does your spring capsule build off the fall collection? PT: It's definitely one cohesive collection, however, the fall capsule used heavier fabrics and denim, it was a bit more structured. In a fashion film we created [for the spring capsule] with director Haley Spranger, we describe it as a spring awakening. A girl walks into this fantastical greenhouse bedroom [wearing] the old collection, fully buttoned up in our jacket, and underneath she wears items from spring. The girls already in the room kind of corrupt her and give her a makeover. In the beginning she's very shy, but by the end of the video, she walks back into the world in her new look. I want to create a new little world and give people a little bit of a reprieve from everything that's going on in ours right now. For me, fashion has always been a safe space to experiment, and that's why I get so happy when I see people in my clothes, because at the end of the day, it's about helping people feel more at home in their own skin. TV: It's like these new pieces allude to the past, and you can mix and match them all. Tell me more about the MisMister girl and the universe you've built for her. PT: My favorite thing is to put a rugged textile with a soft silhouette, pair lace with studs or make a high-neck, button-up completely sheer. The Happily Never After Capsule II is based on a runaway princess who abandons the prim and proper life in the tower. Her petticoats become shorter, her blouse sheer and revealing. The hem line of her little evening gown is now up to her thigh. It's a transformation. The tagline for the brand is 'whimsical, yet wearable,' and 'womenswear with a boyish charm.' I think the pieces I've created so far illustrate the combining of these two elements. MisMister is about existing in two worlds at the same time, harmonizing masculine and feminine elements into a piece. © Skyli Alvarez, 2025 © Skyli Alvarez, 2025 © Skyli Alvarez, 2025 TV: That fantastical element, of dipping into fantasy, brings a whole mix of different eras, styles, references to your work. PT: I love a little bit of everything for sure. Vintage-inspired, typically, with more modern fabrics or flare, something that makes it more sturdy. I love a little frilly skirt made out of raw denim. My [spring capsule] petticoat is actually made out of thermal fabric and the netting underneath is super stiff and durable. TV: Which pieces from this new collection excite you the most? PT: The bolero. I think it's something I'm going to wear every day. We're also making a unisex long sleeve [and] are hoping to shoot it on a guy and a girl. With my original Denim Sailor Set, we shot it on both and had so much fun styling both looks. I want to move in a more genderless direction. TV: Walk me through your design process. PT: We pattern sample and design everything in-house, a.k.a., my apartment, and then we bring it to the sample room. When I make the sketch, I create a technical flat and then I either drape it on that form or I pattern make it, we make a couple muslins, then once I feel comfortable, we make it in fashion fabric. I bring that sew-by-sample to the factory for an appraisal along with the pattern, and then I say a prayer that I'll be able to afford to produce it. TV: What are you listening to when you work? PT: A musical soundtrack, a little Phantom of the Opera. It just makes things interesting and dramatic. Obviously, I've never met anyone who's a designer who isn't dramatic. Theater translates into the work that I do. It's very emotional. It's very over-the-top, and with sewing, the stress is life or death. © Skyli Alvarez, 2025 TV: What have customers told you about their experience with your pieces? PT: A lot of my customers have sent me photos of them wearing them out, and it makes me want to cry. I had one boyfriend reach out to me. He was like, 'my girlfriend loves your brand. I really want to get her a piece. Will it come in time for her birthday?' And I was like, 'of course it will.' It arrived for her birthday dinner. On the scale I'm at right now, I won't be able to have that connection forever. But I do want to keep it very intimate because that's what keeps me going. When it's 3 a.m. and I'm still sewing and want to be done, I think of personal moments like that and [feel] so lucky. © Skyli Alvarez, 2025 © Skyli Alvarez, 2025 TV: Beyond nurturing customer relationships, how do you stay small-scale with production? PT: It's very important to me to stay made in New York, in an environment I can actually go in person to see. I want to keep producing in small batches so I know the sewer who's actually making this. The sample room I'm using now is smaller than the one I [first] used in the Garment District, but it's an open, clean space. I was talking to a factory in Portugal, but I'm not ready to produce in the hundreds yet. And I'm not sure if I ever will be, but that's to be continued. I want to scale the brand, be able to fulfill all my orders, and be stocked in multiple locations. However, at the end of the day, when I think about my pieces, half of the magic is how specialized they are. A lot of details cannot really be produced on such a big scale. With the factory I work with now, the owner Colby makes exceptions and he's like, 'for 15 pieces we can make it work.' My last capsule, I could not keep up with the demand, especially for the Denim Sailor Skirt. I just had to start saying no, and I marked everything as sold out in January. I just couldn't do it anymore. I was sewing orders myself after I sold out of the stock that we had, and eventually I realized it was not sustainable. I can't just be sewing morning 'til night every single day, then I wouldn't be able to design. TV: What have situations like that taught you about your work as a designer? PT: Now I think, 'how do I keep all of the integrity of the design, but make the details replicatable?' When I'm designing for a capsule, I'm designing for a capsule. When I'm sketching something whimsical, I incorporate those details into the capsules. © Skyli Alvarez, 2025 TV: Tell me about living and working in the same place. PT: The in-home studio is a blessing and a curse, because it dissolves that separation of life and work. If I'm about to go to sleep and an idea comes to my head, I can get my sketch pads, look at the fabric, go to sleep. If I was working on something the night before, I could just wake up and not have to look presentable. Sometimes I'll go [back] into bed, then I wake up, make breakfast, have a coffee. A lot of times I will have a faux-morning where I'm not doing anything but finishing that thought I had. My social life and my work life are so intertwined that it couldn't be any other way. Honestly, I can't remember the last day I didn't work on MisMister in some capacity. Even if I'm not having the whole day in the studio, I'm doing something for the brand. My life is the brand. © Skyli Alvarez, 2025 TV: How has your brand transformed your own sense of style? PT: It's just given me more options for what I can wear, because growing up, I always loved pairing the tutu with the denim jacket, [and now] I love having an eyebrow piercing and flowy blonde hair. Now I just have a bigger wardrobe. TV: One last question. Describe MisMister in one word, one song, and one scent. PT: Whimsical, 'Angel's Song' by Melanie Martinez, and your parent's attic. This interview has been condensed and edited for clarity. Originally Appeared on Teen Vogue Want more like this from Teen Vogue? Check these stories out:
