I was in New York City during New York Fashion Week last February. The Fall/Winter 2008 collections were being unveiled and a friend of mine who works in the fashion industry attended the Carolina Herrera show. When I met up with him, he couldn't stop raving about the magnificent hats that adorned the models' heads and the long, elegant feathers that swayed rhythmically as the models made their way down the catwalk. I later learned that the talented artist responsible for that particular stylistic flourish was a South Africa-born, New York-based milliner by the name of Albertus Q. Swanepoel. While I had never heard of him per se, it would seem that his talent was already a well-guarded secret amongst the cream of New York designers including Marc Jacobs, Proenza Schoeler, Peter Som and Thakoon to name but a few.
While his label, Albertus Quartus, isn't yet a household name, that may be about to change very soon. Swanepoel is one of the lucky finalists for the coveted 2008 CFDA/Vogue Fund Award. (Source) The fund offers a cash prize of $200,000 to the winner and $50,000 to the two runners-up, But, perhaps more importantly, the prestige associated with mere inclusion in this select group of promising design talents frequently translates into the kind of publicity and attention that often lead to bigger and better things. Rodarte and Phillip Lim are prime examples of what that kind of attention can do for a struggling fashion label. The list of the finalists for 2008 was announced just last week and Swanepoel admitted to us that he was still somewhat stunned by the news. In the midst of a flurry of interview requests and congratulatory attention, he very graciously took the time to submit to a brief Q&A for The Luxe Chronicles. A summary of our exchange follows after the jump.
1. What is your design background? Where did you learn your trade?
I started off as a fashion designer after receiving a Fine Arts degree and studying fashion design in Johannesburg, South Africa. I worked making "made to measure" clothing for seven years under my label, Quartus Manna. I came to New York City in 1989 but I found it difficult to work on my own or even to find work so my then wife, Shaneen Huxham and I started a glove company. I eventually attended the Fashion Institute of Technology for two years taking millinery classes at night while starting up a small hat collection. For several years after that I worked on a freelance basis for Lola, a noted NY hat designer and also Lynne Mackey, a theatrical milliner.
In 2004, I was asked to make hats for the Marc by Marc Jacobs show. Other designers followed and my roster of clients now include Proenza Schouler, Erin Fetherston, Carolina Herrera, Peter Som, Tuleh, Nathan Jenden, Costello Tagliapietra and Thakoon. In 2006 I started my own collection for women which now sells at Barneys in New York, Louis in Boston, American Rag in Japan, En Suite in Russia and several other high end boutiques throughout the USA. I also have a men's collection that I sell at Paul Smith and Odin in NYC.
2. What is it about hat making that attracted you in the first place?
I have always loved the craft. Millinery has this wonderful sculptural quality to it. It combines handwork with different craft elements. For me, it is the perfect medium.
3. Where do you draw your inspiration from?
I love this city so just walking around inpires me - seeing the different cultures and buildings. I love opera as well so all the different historical periods, the sense of drama (or melodrama) inspire me. My native South Africa remains a huge source of inspiration for me as well - all the textures, cultures and colors. I find all of this very stimulating.
4. What are your favorite materials to work with?
My favourite materials are duchess satin and straw cloth. Duchess satin is a very stiff fabric usually reserved for ballgowns. I love its lustre and "couture" quality even though the limitations of the fabric make it challenging to work with. Straw cloth is a vintage material made from straw (like yardage fabric) that feels great to work with - it can be blocked or patterned.
5. Accessories now seem to drive fashion, first statement bags now statement shoes. Do you think that hats will ever command the type of attention and fervor that handbags and shoes do currently?
Sadly no! I always say it's the orphan accessory. Women spend thousands of dollars on handbags or shoes but not on hats - no matter what material it is made of. I dont understand this but it's the reality.
6. We went from a sartorial standard that required a hat to be worn during the day for the well-dressed woman to the virtual disappearance of hats except for the most formal of occasions (weddings, Royal Ascot). Why do you think that is?
I think women have luckily moved away from the formal hat wearing notion and apart from serving a functional purpose (for instance in winter), hats are worn as a symbol of personal style and character. There is a certain market segment who wear hats only for weddings and horse races but I hope women eventually wear them as an extension of their personality.
7. French and British women still wear hats for weddings and other formal occasions for instance but American women tend to abstain. Do you sense American women could be convinced to adopt the practice?
The British have a long history of wearing hats for occasions and I love it and Americans do not. I hope that changes. I think there is a certain lack of imagination here, a sense of fantasy in every day life that is lacking.
8. Do you think someone like Phillip Treacy with his really whacky confections helps or hinders your industry?
I admire Philip Treacy and Stephen Jones tremendously. I think Mr. Treacy has elevated hat wearing to some kind of art statement and by doing so has made people more conscious of hats in general. Any positive publicity is good for the industry.
9. Do you think hats have become too closely associated with eccentrics like Isabella Blow as opposed to an actual accessory to be worn casually by the average woman?
Yes I do think so but she did have amazing style! Throughout history hats have become associated with eccentrics which is unfortunate.
10. You created some stunning hats for Carolina Herrara's Fall Winter 2008 collection. How did you come up with the Tyrolean theme? Were the long Quail's feathers your idea?
In that case, the designer gave me brief and some images so I blocked up some shapes for her and she chose the ones that were featured on the runway. The feathers were the stylist's idea.
11. You've worked with Proenza Schouler, Marc Jacobs, Thakoon Panchigal and others. When a designer comes to you and commissions hats for a runway show, are they looking for an accessory or are they looking for a true statement piece to define a theme?
I think designers want to make a statement on the runway. A favourite quote of mine is something Christian Lacroix said (I'm his biggest fan in terms of couture): "A hat is the dot on the 'i'." I think that is so true and so well said! Usually, that is exactly what designers want or need even though it's always one of the last things they consider.
12. When you do work with a designer, is it a collaborative exchange or do they tend to define exactly what they want?
It's different with every designer. Some designers give me a very specific brief including a sketch or a vintage hat. In this respect, I'm almost like a patterncutter, creating the shape for them. With other designers, I have exchanges with. I then come up with suggestions, make up samples and we we take it from there. It is more of an actual collaboration.
13. Do you also offer bespoke services?
Yes, I do bespoke services but not nearly enough! Working with an individual and their needs is something I love to do but I guess I'm not well known enough for people to come to me! My dream is to have some sort of salon set up to accomodate that kind of service.
14. You live and work in Washington Heights, a very gritty part of Manhattan yet you create these very regal and refined confections. Does your neighborhood inspire you? If so, how?
I did live and work in Washington Heights but I now have a work studio on the edge of the garment district since last year. Personally, I like living up there. It 's very quiet and one gets value for money in terms of apartment space. This said, I am very glad I now have a studio in midtown. It cuts down on the commuting and has increased my proximity to my clients.
15. If you were not a milliner, what would you be doing instead?
Mmmm, a few things maybe! A game ranger somewhere in Africa (catching poachers) or perhaps something involving the performing arts. I wish I could have been a ballet dancer - to only have one's body as a tool rather than "schlepping" hundreds of bags with fabrics across dozens of city blocks all day long seems appealing (...). Or, maybe designing for the opera.
16. And now for the $64,000 question: How does it feel to be a CFDA finalist? What does it mean for you personally to have been "anointed"?
It is a huge, huge honor and Im still pretty stunned! It has really put me in another league and the whole experience is very exciting and quite a whirlwind!
Thank you Albertus for so graciously accepting to speak to The Luxe Chronicles. We'll be rooting for you when they open the envelope!
No, thank you!
The Albertus Quartus design studio is located at 124 W 30th St. Room 304, New York, New York 10001 (212.629.1090).
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