shalom harlow and amber valletta todd oldham

I just pulled the waistband up, stapled the sleeves, moved the shoulder lines in and just played with it to make it really misshapen, and it looked so cute. The shirt was so shrunken and so tiny, and I bought a boy’s blazer and started altering. The shirt on Veronica is where we just fucked with every proportion. We found this manufacturer that used to make sequin tube tops in the ’70s and had them make these little skirts in wool. These are my executive looks, you know, we were trying to help women dress for success. We don’t get recognized for that part because I think fashion can be so silly and vapid, and we can sound like clowns when we’re yacking about it too, but what it does to people is very real. Designers tend to be pretty sophisticated folk. It’s shorts and a t-shirt, it’s just like a normal thing, but not a normal thing. That shirt on Debbie Deitering was this incredibly intricate yarn-dyed chenille woven, and it’s transparent, so there were bands of chenille and then mesh. Nadja Auermann, Claudia, Stephanie Seymour, we worked with so many beautiful girls, we were always so grateful they did our shows.įor looks like the one on Carla, I had everything done on white and then hand-painted those stripes on the back of the fabric, then the dyes ran up between the beads and tinted them. They wore them in the show and then just wore them home.

One night I was at the fair and I was looking at those cheesy airbrushed t-shirts, so I made friends with one of the airbrush guys and we had all the girls’ names done and gave them to them.

The spring shows, we made them in the fall, so the shows were when the fair was on in Dallas.

Shalom harlow and amber valletta todd oldham