Newspaper

AUGUST 31, 2022 COMMENCING CORE CYCLE 2.22

CHARLOTTE PERRIAND PERFORMANCE COLLECTION

FOUNDERS LETTER

AT THE KZ_K STUDIO, CLOTHING IS SEEN AS “EQUIPMENT,” (AS CHARLOTTE PERRIAND SAW THE
PURPOSE OF FURNITURE), A CORPORAL COVERING UTILITY THAT UNDERGIRDS THE ACTIONS,
AND OPENS THE SPACE FOR, A WELL-LIVED PERIOD OF WORK, PRODUCTIVITY, ENTERTAINMENT
AND SOCIALIZING.
-KAROLINA AND JESSE

IN THIS NEWSPAPER, WHICH COVERS OUR KZ_K STUDIO TENANTS, DISPLAYS WONDERFULLY
THOUGHTFUL JOURNALISM ABOUT KZ_K (AND MORE), WE AND THE KZ_K TEAM DESCRIBE
OUR COOL WEATHER CYCLE 2.22. WE REVEAL OUR PROFOUND INSPIRATION ROOTED IN
THE PROTYPICAL MODERN LIFE OF DESIGNER AND MODERNIST, CHARLOTTE PERRIAND. SHE
INNOVATED NOT ONLY SPACES AND DESIGNS (PROPELLING FORWARD A MODERN SPIRIT
OF CREATIVITY, EQUALITY, AND AESTHETICS FOUND THROUGH ADVANCED MATERIALS AND
FUNCTIONALITY), SHE LIVED A QUINTESSENTIALLY MODERN LIFE. THE (NOW) INCONIC IMAGE
OF HER FACING BARE-CHESTED THE NATURAL WONDERS OF THE ALPS, DEMONSTRATES
BOTH HER DEEP APPRECIATION OF MOTHER EARTH, AND HER CONVICTION TO CREATE AND
CONNECT WITH OUR PLANET'S CORE BEAUTY.

LE BAR SOUS LE TOIT: THE DESIGN THAT SET
PERRIAND APART AS A STUDENT - FULLY
INTEGRATED, UNDER THE STAFF QUARTERS’
ROOFTOPS OF A PARISIAN APARTMENT, SHE
DESIGNED A BAR, BAR TABLE, SHELVING, FOOT REST,
DRINK PREP AREA, GLASS STORAGE, LOUNGE AND
STOOLS. ALL OF THE ELEMENTAL MATERIALS FROM
THE ORIGINALMOVEMENT OF MODERNISM WERE
USED: TUBULAR STEEL AND GLASS. WE'VE TAKEN
TO HEART MANY OF THE ORIGINAL ELEMENTS OF
MODERNISM IN DESIGNING AND DEVELOPING OUR
KZ_K STUDIO ON GREAT JONES STREET, BUT ALSO
INFUSED THE ORGANICISM FOUND IN PERRIAND'S
LATER WORKS.

THE BAR SOUS LE TOIT INSTALLED AT THE SALON D’-AUTOMNE IN 1927

CYCLE 2.22 - PHOTOGRAPHY TEAM

CC.2.22 CAMPAIGN PHOTOGRAPHER
BELLAMY BREWSTER
CC.1.22 ECOMMERCE PHOTOGRAPHER
ZIHAN ZHUANG
MICHAEL MORALES
MOOD BOARD & FABRIC IMAGERY
ZIHAN ZHUANG

STUDIO SHOTS
ZIHAN ZHUANG
HAIR
TIMUR SADYKOV
MAKE UP
COLBY SMITH
RISA MIYAMOTO
MODELS
MINA CVETKOVIC | ELITE MODELS
WILLIE DE KOCK | OFFICIAL MODELS
MACKENZIE MACDONALD | NY MODELS

CYCLE 2.22 - KZ_K STUDIO CREATIVE TEAM

CREATIVE DIRECTOR
KAROLINA ZMARLAK
EDITOR IN CHIEF AND WRITER
JESSE KEYES

COPY EDITOR
ALISE MINTZ
PROJECT MANAGER
ERIKA CHONG-MUÑOZ
COLLECTION DESIGN
ANNA MATELSKI
COLLECTION STYLE-OUT
ESTEFANIA CASTANEDA
CATERINA CAPOCOTTA
PROJECT ASSISTANTS
CARINA WANG
SERRERA HU

SPACE IN THAT SPACE BETWEEN,
STANDS ANOTHER FERVENT THOUGHT,

UNSAID AND UNHEARD.

THE HARDER THE LINE,
THE SOFTER THE SOUND BE MAY

HERE SILENCE IS SPENT.

TIL THAT LIGHT FALLS,
DIMLY UPON SWOLLEN GROUND,

IN SHADOW AND DOUBT.

KZ_K STUDIO

KZ_K

NEWSPAPER VOL.2

IN THE NEWEST COLLECTION, KZ_K STUDIO CREATED NEW
LOOKS THAT INSPIRED BY FRENCH ARCHITECT CHARLOTTE
PERRIAND. THE WORK OF CHARLOTTE PERRIAND IN
DECORATIVE ART IS CONSIDERED ESSENTIAL REFERENCE
BY DESIGN HISTORIANS. HER FAMOUS "OMBRA" CHAIR
WAS DESIGNED IN 1954, PRODUCED 1996-2004, AND
MANUFACTURED BY TENDO MOKKO, JAPAN. NOW
COLLECTED IN CENTRE POMPIDOU - MUSÉE NATIONAL

D'ART MODERNE.

22/COLLECTION

INSPIRATION

HOW ART IS BORN

HOW ART IS BORN HOW ART IS BORN

IN HER LIFE, IN ITS FREE-SPIRITEDNESS, AS A YOUNG WOMAN PERRIAND SHE TOOK AWAY FROM HER RUE DE
CHARLOTTE PERRIAND EMPLOYED A (CAPTURED IN A PHOTOGRAPH IN SÈVRES TIME WITH CORB THE NOTION,
HIGHLY CONSCIOUS BALANCE OF WORK, HER APARTMENT ON PLACE SAINT- AS DO WE AT K Z_K, THAT FURNITURE
LEISURE AND SPORT – WHICH WAS SULPICE) WORE A GAMINE HAIRCUT, A OR CLOTHING, OR, INDEED, REALLY ALL
ESSENTIALLY MODERN IN THINKING. BOLD-PRINT DRESS AND NECKLACE OF INTERESTING PRODUCT DESIGN SHOULD
INDUSTRIAL BALL BEARINGS – THE VERY BE LOOKED AT LIKE “EQUIPMENT.” THERE
LE BAR SOUS LE TOIT: THE DESIGN THAT PICTURE OF THE MODERN WOMAN, ARE CLEAR FUNCTIONAL UNDERTONES,
SET PERRIAND APART AS A STUDENT – WEARING A PRECISION SYMBOL OF THE BUT THESE PRODUCTS FOR USE CAN BE
FULLY INTEGRATED, UNDER THE STAFF MACHINE AGE AROUND HER NECK. ELEGANT, THEY CAN BE SOPHISTICATED
QUARTERS’ ROOFTOP OF A PARISIAN WHILE THEY CREATE THE BACKDROP
APARTMENT, SHE DESIGNED A BAR, BAR WITH A SUPERB ERGONOMIC TWIST, TO USE, STORE AND CONVEY PEOPLE,
TABLE, SHELVING, FOOT REST, DRINK PERRIAND CREATED THE “CHAISE THINGS AND ACTIVITIES.
PREP AREA , GLASS STORAGE, LOUNGE LONGUE BASCULANTE” OR “TILTING” IN A SPACE EQUIPPED WITH PRECISELY
AND STOOLS. ALL OF THE ELEMENTAL CHAISE, TO BE APPROPRIATED BY LE DESIGNED FURNITURE AND BUILT-INS
MATERIALS FROM THE ORIGINAL CORBUSIER AS HIS OWN, IT WAS IN TO DO SO.
MOVEMENT OF MODERNISM WERE FACT THE WORK OF HIS YOUNG FEMALE
USED: TUBULAR STEEL AND GLASS. STUDIO APPRENTICE, PERRIAND. THE PRACTICAL NOTION OF EQUIPPING
A SPACE AS PART OF AN INTEGRATED
SPATIAL PLAN - AS OPPOSED TO
DECORATING IT - REMAINED CENTRAL
TO PERRIAND’S THINKING, AND OURS:
GREAT JONES STREET FULL FLOOR
INTEGRATED USE PLAN.

CHARLOTTE PERRIAND

SYNTHESIZER AT THE KZ_K STUDIO, CLOTHING IS SEEN AS “EQUIPMENT,” (AS CHAR-
– COLLABORATOR LOTTE PERRIAND SAW THE PURPOSE OF FURNITURE), A CORPORAL COVE-
RING UTILITY THAT UNDERGIRDS THE ACTIONS, AND OPENS THE SPACE
-CAN WE AGREE THAT DESIGN IS A “SYNTHETIC” DISCIPLINE, FOR, A WELL-LIVED PERIOD OF WORK, PRODUCTIVITY, ENTERTAINMENT
ONE IN WHICH THE DESIGNER BRINGS TOGETHER
THE NECESSARY EXPERTISE – BE IT CRAFTSPEOPLE, AND SOCIALIZING.
MANUFACTURERS OR ARTISTS – TO REALIZE A PROJECT? WE
HAVE DONE ALL THIS WITH INTENTION AND GREAT SPIRITED BON VIVANT COLLABORATE
CREATIVE PARTICIPATION AT OUR GREAT JONES STREET TO THE END
STUDIOPERRIAND WAS A BRILLIANT SYNTHESIZER, WHICH SHE MOVED ON FROM HER “ART D’HABITER” TO “ART DE
MEANS SHE WAS THE CONSUMMATE COLLABORATOR. SHE VIVRE” AN EVEN MORE ALL ENCOMPASSING - PERRIAND HAD AN INTEGRATED APPROACH TO DESIGN,
REMAINS THE CRUCIAL ROLE MODEL, IN THIS SENSE, FOR VISION OF USING THE ART OF DESIGN TO SUPPORT THAT, IN THE END, SHE CALLED:
KZ_K TODAY AND MOVING FORWARD WORK, SPORT AND LEISURE “ARCHITECTURE - FURNISHINGS - ENVIRONMENT” BECAUSE
- RATHER THAN CLAIM PERRIAND AS SOME MYTHOLOGICAL - SHE WAS BORN A BON VIVANT, A TRAVELLER AND A OF ITS ALL ENCOMPASSING NATURE, IT NECESSITATED
AUTEUR, THE RICHER VALUE IS SEEING HER WORLDVIEW SENSUALIST COLLABORATIONS
OF AN INTEGRATED APPROACH TO DESIGN AS - ”I QUICKLY UNDERSTOOD THAT BARRIERS AND - SHE NEVER GRADUATED WITH AN ARCHITECTURAL
INDISTINGUISHABLE FROM HER DESIRE TO COLLABORATE CONTRADICTIONS DON’ T EXIST AS SUCH. A CONCEPT DEGREE NOR ACHIEVED A LICENSE: “ TO HELL WITH THE
CAN BE AFFIRMED IN DIFFERENT WAYS DEPENDING ON TITLE, ‘ARCHITECT ’,” – BECAUSE SHE PREFERRED TO BE
PLACE, MATERIALS, TECHNIQUES AND TRADITIONS...” INDEPENDENT
THIS THINKING ALLOWED PERRIAND TO FREE HERSELF - THE RENOWNED SPANISH MODERNIST ARCHITECT, JOSEP
OF THE INHERENT RIGIDITIES OF THE ORIGINAL LLUÍS SERT, WHO REMAINED FRIENDS WITH PERRIAND
MODERNIST MOVEMENT. THROUGHOUT THEIR LIVES IN THE MODERNIST 20TH
CENTURY, SAID OF HER, “PERRIAND CREATES INTERIORS
AS AN URBAN PLANNER.” JESSE, AS URBAN PLANNER AND
STUDENT OF ARCHITECTURE, STRIVES TO THE SAME EFFECT

ASK KZ SPECIAL FEATURE KZ_K STUDIO ISSUE INTERVIEW WITH
DESIGNER KAROLINA

1. What inspired you to create a collection 5. How do you balance between your life and
based on Charlotte Perriand? your identity as a fashion designer?

As a progenitor of modernism, Perriand was the Essentially, Jesse and I are KZ_K, that is the values we imbue
quintessential modern woman, combining a dedicated in our Studio, are the same ones we exercise on a daily
balance of work, leisure and activity into her technologically and life basis: creative, productive work aimed at pragmatic,
advanced creativity in the fields of furniture, interiors and functional aesthetics, combined with time to connect with
architecture. She delved into creating spaces that expressed the community we love and care for, balanced out by
a kind of “ambience” as we do with our stylized minimalism, mental and athletic exercise. All this under the veil of genius
spaced that integrated the fully functionalities of creativity of a fast body of production we admire: novels,
“equipment,” or storage perceived as the vector of harmony nonfiction, innovative music, movies, viticulture, business
as we aim our pieces toward multi- functionality. With a study, languages, hotels, art and manufacturing innovations.
lifetime of productive creativity, she was overshadowed by Freud said one is of a healthy mind if she/he can work with
the male forces that build the modernist credo, so we were productive interest, and love. In this sense, there is no need
keen to pick up her mantle of forward thinking, to integrate to balance, as all of these life activities, that Jesse and I have
some element into our Cycle 2.22 collection. built are integral to our purpose as human beings.

2. What particular elements in the new 6. As a fashion designer, how would you define
collection reflect your interpretation of Charlotte your role in society?
Perriand? With the Architecture Studio Mentality and focus on Slow
One fun capsule we developed was based on Perriand’s Fashion, I aim to conceive, design, develop, communicate
first completed interior architecture statement, her “Bar and sell our pieces to a community of women who will
Sous Le Toit,” which celebrates technologically (at the time, use them as points of communicative power to reach their
Pre War II Paris) advanced materials of steel, tubular steel, unique personal and professional objectives. I am in this
tempered glass and concrete to compose a perfectly fitted world in the service of and development of productive
bar in the upper chambers (below the “toit,” the roof ) of aesthetics to be used meaningfully by a community of
a walk up Parisian flat, so as to celebrate design, at the clients.
moment it meets social pleasures and communication.
Design in the service of creative communication was 7. How would you describe the attention on
Perriand’s pleasurable production. sustainability in the fashion industry in recent years?
Slow Fashion is rooted in reducing the layers of bureaucracy,
3. Are there any designs that were revived transportation, waste, environmental and labor exploitation,
from the previous collections and how are they so that the connections are based in trust and quality
different from before? products: we’ve developed direct partnerships with our
To maintain and build on the first pillar of the KZ_K Studio: factories in NYC’s Garment District, the same is true of our
we employ a design discipline of multi functionality, mill and tanner partners, and we close the responsible loop
seen through stylized minimalism in service of creating with our client partner/friends. That’s it. Inspired by the
collections that work together, layer and develop over time, Slow Food movement in Bra, Italy, in the 1990’s, we believe
so our clients may build a coherent capsule that speaks that these few layers require decency, thoughtfulness
to their aesthetic and productive virtues: we continually and responsibility amongst all the participants: labor, the
are working with design tenants that make our pieces environment, clients, product purpose and quality. Less is
so functional: a perfect fit and silhouetted Slim Pant, a about creating the space for more of what really matters, to
washable Transformational Habit, seen in the Drape Leather reduce harmful practices, and enhance virtuous productivity
Jacket, and more, always with an eye to supporting our and relationships.
client through design, creative quality and stories that add
meaning to the clothing, for their use.

4. Do washable double faced leathers have any
special meaning to you ? Why?

Washable double faced leathers represent the environmental
responsibility we aim for: tanned and produced under
the highest regulatory standards in France, finished with
durable and soft touches to last for a lifetime of use, and
stretch to permit flexible and comfortable silhouettes. This
is just a small example of specialty we look for in every mill
(vast majority Japanese) and tannery (all European) with
whom we work.

NEW

SPACE & LIFE

KFASZHI_OKN FESATTUURESDIO
OPENS NEW
BRICK AND
MORTAR ON
GREAT JONES

CAROLINE COTTEN OPTION AS WELL. FORM FITTING AND FLATTERING LATEX TOPS CAN BE STYLED WITH
JUNE 2, 2022 AN OVERSIZED CLOAK MADE FROM A WOOL BLEND. EVERYTHING JUST WORKS
WHETHER IT BE A LIVED EXPERIENCE, A PERSPECTIVE ON HISTORY, OR A VISUAL MUSE, TOGETHER EASILY, WHICH IS ALL YOU CAN ASK FOR IN A COOL WEATHER WARDROBE.
THE MEANINGFUL INTENT BEHIND DESIGN ACTS AS A COMPASS TO THE CREATORS
GUIDING THEM ALONG THEIR PROCESS. THIS INSPIRATION IS A FOUNDATION KZ_K STUDIO IS A TRUE TESTAMENT TO SUSTAINABLE FASHION IN RESPECT TO THE
UNDERLYING ANY UNIQUE CONCEPTION OF ART. FOR KAROLINA ZMARLAK, WAY THE CLOTHES ARE MADE, THE APPRECIATION FOR THE CRAFTSMANSHIP OF
FOUNDER AND DESIGNER OF KZ_K STUDIO, THESE DETAILS DO NOT GO UNMISSED. FASHION, AND THE UNDERSTANDING OF A WOMAN’S MODERN NEEDS. THERE IS A
HER DESIGNS ARE ROOTED IN A STORY THAT IS BROUGHT TO LIFE IN ALL STEPS OF STORY FOR THE CLOTHING THAT IS THOUGHTFUL FROM THE VERY BEGINNING OF
THE CREATIVE PROCESS, FROM THE DRAWINGS AT THE STUDIO TO THE HUMAN FORM IDEATION TO THE END OF IT OUT ON THE STREETS. ALL DESIGNS ARE MADE IN HOUSE
AND WHEREVER THESE PIECES MAY TAKE HER. AND MANUFACTURED IN NEW YORK’S HISTORIC GARMENT DISTRICT, YET ANOTHER
REASON TO LOVE THE INTENTIONS BEHIND THE BRAND. SO, IN CASE YOU HAVEN’T
MOST RECENTLY, KZ_K OPENED THEIR NEW STUDIO SPACE ON GREAT JONES ST., AND NOTICED WHILE READING THIS, WE NOT ONLY LOVE HER EYE FOR STYLE AND DESIGN,
DEBUTED A PREVIEW OF THEIR COOL CYCLE COLLECTION. THE STUDIO SPACE ACTS AS BUT WE LOVE HER BRAND AND PASSION. CONTACT KZ_K STUDIO TO MAKE AN
A HOME BASE FOR CLIENTS LOOKING FOR PERSONALIZED APPOINTMENTS THAT CAN APPOINTMENT TO VISIT THE STUDIO AND CHECK OUT THEIR LATEST COLLECTION.
CATER TO THE NEEDS OF STYLING, LOOK BOOK CURATION, ALTERATIONS OR REPAIRS,
AND PERSONALIZED WARDROBE CAPSULES. KZ_K IS CREATING AN EXPERIENCE THAT HOW DID THE IDEA FOR THE STUDIO COME ABOUT?
GOES BEYOND A ONE TIME PURCHASE. HERE IS WHERE THE MAGIC HAPPENS FROM
PERSONALIZED LOOKBOOKS TO WARDROBE CAPSULES THAT ARE CREATED BY A “MY FATHER AND GRANDFATHER WERE ARCHITECTS, AND I LEARNED FROM THE
TALENTED TEAM TO ENSURE THE CLIENT WALKS AWAY WITH CURATED PIECES THAT EARLIEST OF AGES THAT A SUCCESSFUL CAREER BASED IN PRODUCTIVE DESIGN
FIT THEIR DYNAMIC LIFESTYLE. DEPENDS ON BUILDING LASTING, MEANINGFUL RELATIONSHIPS WITH YOUR CLIENTS,
WHO APPRECIATE YOUR TECHNICAL AND PRACTICAL ABILITIES. KAROLINA IS AMAZING
THE ENVIRONMENT ITSELF WAS DESIGNED BY JESSE, WHO ARTICULATED THE NEEDS WITH THE COMMUNICATIVE CONNECTION SHE DEVELOPS BETWEEN OUR CLOTHING
OF BOTH THE KZ_K CLIENT AND THE STUDIO TEAM; THE SPACE ENTAILS A LIBRARY, AND CLIENT. SO, A FOCUSED STUDIO EXPERIENCE OF OUR OWN CREATES A NATURAL
BAR, SHOWROOM, DESIGN ROOM, AND MORE. THE SPACE IS OPEN, YET INTIMATE, LINK BETWEEN ALL THESE TRUTHS.” – JESSE KEYES
VISUALLY STIMULATING, YET CAPTIVATINGLY MINIMALISTIC. ORGANIC SHAPES BUILT
WITHIN THE SPACE ARE WELCOMED AND BALANCED BY A SCANDINAVIAN STYLE WHY DID YOU SHIFT FOCUS FROM TRADITIONAL RETAIL PARTNERSHIPS TO
DÉCOR. UNSURPRISINGLY, EVERY DETAIL THAT WAS CHOSEN PEAKS INTRIGUE AND DIRECT TO CLIENT RELATIONSHIPS?
ALLUDES TO EXTERNAL INFLUENCES – AS NOTED BY THE APPEARANCE OF A PICASSO
COFFEE TABLE BOOK RESTING AT EYE’S SIGHT ON ONE OF THE SHELVES; A CASUAL “IT BECAME INCREASINGLY APPARENT THAT WHEN WE WORKED THROUGH THE
SEGUE INTO THE CLOTHING COLLECTIONS. MAJOR DESIGNER RETAIL STORES, WE LOST CONNECTION WITH CLIENTS, AND
EVEN OUR DESIGN, AS THEY DICTATED THINGS LIKE COLORS AND SILHOUETTES. WE
ON PREVIEW WAS THE COOL WEATHER CYCLE COLLECTION. FRENCH ARCHITECT, DECIDED, GRATEFULLY, TO REDUCE THE LAYERS AND MAXIMIZE THE COMMUNICATION
CHARLOTTE PERRIAND, GUIDED KAROLINA’S CREATIVE PROCESS FOR THE LINE. BETWEEN OUR MILLS, FACTORIES AND CLIENTS, ALL MEDIATED THROUGH OUR
SIMILAR TO KAROLINA AND JESSE, CHARLOTTE PERRIAND FOUND INSPIRATION IN THE CLOTHING DESIGN. THAT’S IT: SIMPLE DESIGN, AND COMMUNICATION ARE THE
NATURAL WORLD. PERRIAND'S DESIGNS PULL ELEMENTS OF THE ENVIRONMENT IN HARDEST TO ACHIEVE, AND ONLY WHEN DONE THROUGH A SLOW FASHION
SHAPES, MATERIALS, AND COLORS. THE COOL CYCLE COLLECTION SHARES THIS SAME APPROACH.” – KAROLINA ZMARLAK
UNDERSTANDING OF ORGANIC FORMS AND QUALITY MATERIALS. HIGHLIGHTS OF
THE COLLECTION ARE PIECES MADE WITH WASHABLE LEATHER. THE LEATHER IS SOFT
AND BUTTERY TO THE TOUCH, AND MANY STYLES EVEN BOAST A TRANSFORMATIVE

KZ_K STUDIO

PILLARS

KZ_K STUDIO EXTOLS THE USE OF TECHNOLOGICALLY
ADVANCED MATERIALS INTEGRATED INTO A PURELY
FUNCTIONAL FORM FOR MAXIMUM EFFICIENCY AND
VERSATILIT Y, MINIMIZING EXCESS AND MAXIMIZING
UTILIT Y, RESULTING IN A LIGHT, REFINED, AND
ESSENTIALLY MINIMAL PRODUCT FORM.

KZ_K STUDIO PILLAR #3 KZ_K STUDIO PILLAR #4
SLOW FASHION SLOW FASHION

- SUSTAINABLE APPROACH TO - DON’T PRETEND TO CREATE RADICAL
PRODUCTION NEWNESS
- MINIMIZE INTERMEDIARIES - FLIPPED THE SCRIPT TO MAKE A
- CREATES TRUST AND RELIABILITY STUDIO MEDIATED
- PAY FAIR PRICES FOR LIVABLE WAGES - PRODUCT-BASED PURPOSEFULNESS
- DESIGN WITH INTEGRITY - IS IT MASS SCALABLE? NO, IT HAS
- LIFETIME OF USE DESIRABLE ECONOMY

KZ_K STUDIO PILLAR #2
ARCHITECTURAL STUDIO
MENTALITY

KZ_K STUDIO PILLAR #1 - TECHNICAL CAPACITY
DESIGN DISCIPLINE - AESTHETIC COHERENCE
- CONCEPT DRIVEN
- CLIENT DIALOGUE TO LEAD TO
UNDERSTANDING OF NEED

- MULTI-FORM FOR MULTI
FUNCTIONALITY
- TECHNICALLY DEVELOPED
MECHANISMS FOR REVERSIBILITY AND
CONVERTIBILITY
- ADVANCED FABRICS TO SUPPORT THIS
DISCIPLINE
- INTEGRABILITY VIA MODERNIST
AESTHETIC CONSISTENT ACROSS
COLLECTIONS

INTERVIEWS

AT THE

LIBRARY BAR
SPECIAL FEATURE

WILLIE DE KOCK
COLBY SMITH

BELLAMY BREWSTER
PENNE WEIDIG

DAVID VAN KEUREN

SHORT VERBIAGE ABOUT WHO AND HOW THE PEOPLE COVER ALL
DIFFERENT TYPES OF PROFESSIONS WITHIN THE FASHION INDUS-
TRY TO PAINT A BIGGER PICTURE OF THE INDUSTRY AS A WHOLE

How are you today? What do you do?
I'm a full-time model.
Thank you for having me today! I'm doing great. Busy days for me this month.
Work-wise and also in my personal life but all exciting things going on. I'm feeling
grateful and have lots of positive energy. Happy to be here today with you.

What’s your impression of the library bar? Use three words to describe your
profession.
First of all, congrats on this beautiful new office!!! The office has such a great
atmosphere with the lightning and the wooden details. The library bar is a Adventures, inspiring and creative.
unique en very detailed bar, it looks amazing!

PROFILE When / why did you decide to start this career? What changes would you like to see
NAME: WILLIE DE KOCK going forward and how do you plan
PROFESSION: MODEL I started modeling at a young age. When I was little I already loved being in to contribute to that change?
LOCATION: TBD front of the camera. When I was 15 years old I got scouted on social media,
AGENCY / COMPANY: TBD signed with an agency back home in Amsterdam and started my career. I would like to see even more changes in
When I turned 18 and finished school I started working full-time international. sustainability in the fashion industry. I can tell
many brands are slowly going in the right
What are the day-to-day activities that keep you finding meaning in your work? direction and people are more aware but
unfortunately, there is still a lot of fast fashion
Modeling is a job that can be very unpredictable. In my day-to-day life, I try to find a routine. with child labor and animal cruelty. I feel like
So I keep up with my hobbies for example learning new skills like dancing, learning a language, the only way to make a bigger change is to
doing my morning workout, researching the newest trend, and also I really like to cook make people more aware of what is going on.
vegan meals! These activities keep me relaxed and motivated and give me space in my mind.
What did you learn through your
job about the fashion industry?

In what way do you think fashion What is the MOST difficult/intriguing / stirring How many people there are involved in producing
provides you with the platform to part of your work? clothes. I’m very impressed with how many steps
express yourself? you need to make to get to the final product.

Oh in many ways! That’s a reason why I like fashion As I answered in the previous question, modeling is a job that is very unpredictable with the work schedule. This
so much because it’s a way I dress depending is a part of the job that I also find very exciting because every day is different, location-wise, regarding working
on my mood, where I live, where I’m at the hours, clients, and the people you work with. But there is also a downside to it unfortunately, like you have with
moment, and what people I’m surrounded with. any job tho. It can be tiring. Mostly I hear the day before what my job will be the next day, this can be anywhere
around the world. Because of this it's hard for me to plan personal things in advance. I don’t see my family and
close friend from home that often. Which can feel lonely sometimes. This is definitely the hardest part of this job.

What value do you always want to bring to the table? What are the must-have skills in your
Always have respect, be professional and bring positive experience as a professional?
energy to work. I want to give my 110% positive
energy to set so we can happily create together. Putting effort into keep learning and doing research
in the fashion industry. You want to keep up to date
What sorts of settings/clothes/brands do you prefer to shoot for or wear? on what’s new. Know what is trending, who are new
designers/photographers,s and also do research about
I love the combination of all sorts! I find that the most inspiring and exciting. clients you are working with. So you know where you
From shooting swimwear on location to editorial shoots in designer clothes modeling for and what’s is going on in the industry.
to shooting the newest trends for e-commerce. Shooting for different
projects keeps me inspired by how I dress in my daily life. Who were your role models growing up and how have they influenced
you and your career?
What’s your style & fashion philosophy?
Absolutely my mom!! She has and still is my role model even tho she, unfortunately,
I get inspired a lot by all the people I work with. I shop a lot of vintages passed away when I was 9 years old. She was into fashion and very stylish, she
to participate in environmental sustainability. I got a lot of different has always inspired me. I remember as a kid we would dress up together and
styles depending on how I feel but overall it’s classic, chic and 90’s she took photos of me and I loved the camera!! My mom was a hard-working
inspired. But I'm experimenting with different styles at the moment. I woman that brought sunshine to do the room with lots of good energy. Her
find the Japanese and Korean styles very interesting. Beautiful fabrics, passing away made me release to make everything out of my life and appreciate
clean, unique designs and they have an eye for details. But also little things. She gave me calmness, peace, and a positive mindset which can
Berlin-inspired fashion I like, that is more crunch, achy and vintage. sound strange because she is not here anymore but it releases me to live life.

G R E AT JONES STREET STUDIO

D E S I G N E D F O R C R E AT I V E CO M M U N I C AT I O N

“A FA S H I O N L I N E ’ S D E S I G N P R I N C I P L E S G U I D E T H E I R N E W S T U D I O D E S I G N ”

S T E E P E D I N T H E T E N E T S O F M O D E R N I S M, T H E K Z_K S T U D I O FA S H I O N L I N E CO L L E C T I O N S U T I L I Z E D A D VA N C E D T E C H N I Q U E S I N FA B R I C AT I O N
A N D FA B R I C S TO I N F U S E E A C H P I E C E W I T H C O N V E R T I B I L I T Y A N D M U LT I F U N C T I O N A L I T Y. D E S I G N A N D B U S I N E S S PA R T N E R O F K A R O L I N A
ZMARL AK, JESSE KEYES, TRAINED IN ARCHITECTURE, PUT HIS INTERIOR DESIGN SKILL TO WORK TO EXPRESS THE BRAND’S DESIGN PRIN-
C I P L E S A N D CO M M U N I C AT I O N P I L L A R S I N D E S I G N I N G A N D D E V E LO P I N G T H E I R N E W F U L L F LO O R G R E AT J O N E S S T R E E T S T U D I O, I N T H E
N O L I TA N E I G H B O R H O O D O F M A N H AT TA N. T H E S T U D I O I S A S PAT I A L E X P R E S S I O N O F T H E F O U N DAT I O N S T H AT G U I D E T H E FA S H I O N L I N E.

01 A design discipline of multi functionality- the layout of the studio integrates a panoply of uses, including a design pattern
room, a teammate cocina, double hung clothing storage, a ship station, a founder’s room, an integrated work space, a library
bar, a showroom and an outdoor cactus terrace, but as with the collections the spaces are laid out and connected via central
organizing principle: they are integrated so each connects seamlessly with the other, via a sinuous set of hallways, pocket
doors and curtains, so that teammates, industry partners and clients can all use, visit and appreciate the various spaces.

Employ an architecture studio mentality- as Jesse grew up with an architect father (who studied under Louis Kahn 02
at the University of Pennsylvania) and grandfather (who studied under Walther Gropius at the Harvard School of
Design), he understand the elemental communication that sustains the services of architects: to create on ongoing,
deep level of dialogue and understanding with each client. While digging into the programmatic needs of each
client, and architect can help educate and articulate those needs in drawing and ultimately spatial development.
The Great Jones Street Studio self consciously contains a client facing, vibrant, marbled library bar, where educa-
tion, connection and entertainment can take place to deepen the studio’s clients. The showroom was developed in
collaboration with the sculptor, Alex Roskin to create modern, yet organic forms out of cherry wood and steel, so
that the creative conversation level would be high, as the KZ_K team, and especially Karolina, looks to understand
each client at her level of need and desire.

03 Engage in slow fashion- means the brand minimizes layers of middle people, maximizing intense direct relationships with mills
in Japan, tanneries in Europe, factories only in NYC’s Garment District, and direct to client relationships. The Studio is designed
and developed so each partner in the slow mode of high touch connection can take place in the studio, at all times, and
at any time, with Karolina and Jesse maintaining an open door policy to all their concomitant partners. The studio, by em-
ploying layers of functionality: fully integrated variable built-in red oak custom shelving units, elongated walnut works places,
handcrafted custom designs pattern table, a self contained teammate cocina, stacked (like a library stack) and curtained
inventory room, a library of design books, and a wine fridge of champagnes, and bar of tequilas, is all designed to create
a hub of communication, design and production within the studio. The slow fashion takes place within a space that is laid
out in function and design to bring all the elements (that is the people with the ideas and skills) together. Jesse likes to think
of it as a fashion design laboratory, with a hospitality edge (as he comes from the world of hospitality, as founding partner
at La Esquina and operating partner of Hotel Griffou). With the slow food movement from Bra, the ethos is highlighted by
the synthesis of relationships that it espouses: bring together a myriad of experts in their field of creativity to create a whole
word of art. At Great Jones, K_K assembled expert cabinet makers (Bronx team), marble fabricators (Queens team), talented
electricians and plumbers (Westchester team), neon light artists (G/L/O), a metal sculptor(Alex Roskin), an interiors design
partner (Collective 71), and plaster craftsman (Jorge Baches, to approximate the plastered concrete of Barragan), to create a
comprehensive whole, all coordinated via complex, though persistent design and development communication among the
synthesized team.

Aim for rearview innovation- all that is newly innovated does not necessarily hold the water of meaning. What wor- 04
ked for fashion ateliers the 17th C in Paris, that founded the notion of fashion trends or seasons themselves? Spaces
that could inspire designers to conceive, design and execute on new collections, followed by hosting collection
exhibitions, aiming to communicate with and sell to clients. How did Balenciaga, Cardin and even Louboutin create
such a following of loyal clients three centuries later in the 20th Century? Client by client in the warm, hospitable re-
doubt of their ateliers, each, no doubt, reflecting some of the design sensibilities of their collections. KZ_K imagined
connecting the myriad interior architectural elements employed in their Great Jones Street studio to relate to and
express their modernist, multi functional, stylized minimalism, through creative materials, (four types of plywoods
and an exceptional White Beauty marble, among many others), custom built-in functions (anthropomorphic ins-
pired variable shelving unity), and, inter relatability of spaces, resulting in a modern copy, a reuse of the atelier
concept, today. The rearview shows us that spaces well designed are ultimately meant to be well participated in:
for hospitality, for exhibition, for social mingling, for mirth. The Great Jones Street studio invites people to live, once
again, in real time and space.

THE IMPORTANCE OF DESIGNED STORAGE

THE STORAGE DESIGN WAS THE PILLAR OF PERRIAND’S ART OF DWELLING: IN ORDER
TO BE ABLE TO APPRECIATE, THINK AND CREATE IN THE “VACUUM” OF THINGS,
STORAGE ENABLES THE PROPER DISAPPEARANCE OF STUFF. IT’S NOT THAT YOU KEEP
THE THINGS THAT BRING YOU JOY, BUT RATHER FIND YOUR MOST PRODUCTIVE JOY
IN THE ABSENCE OF THINGS
- FOR PERRIAND, STORAGE WAS THE “VECTOR OF ORDER AND HARMONY”
- IT IS NO COINCIDENCE THAT SOME OF PERRIAND’S MOST FAMOUS PIECES ARE THE
“BIBLIOTHÈQUE” SHE DESIGNED FOR MANUFACTURE BY JEAN PROUVÉ’S SHEET-METAL
WORKSHOP. THESE ROOM DIVIDERS CUM STORAGE UNITS WERE DESIGNED FOR
STUDENT DORMITORIES...THEY NOW FETCH ASTRONOMICAL PRICES AT AUCTION.
THEY WERE A MEANS FOR MAINTAINING SPACIOUSNESS EVEN IN SMALL SPACES
- STORAGE SOLUTIONS HELPED LIBERATE THE SPACE IN WHICH THE PRODUCTIVE
WORKERS EXPRESSED THEMSELVES
- WE SHOULD ALSO NOT FORGET THAT THE MODULAR SYSTEM PERRIAND DESIGNED
FOR THE “BIBLIOTHÈQUES,” COULD BE ARRANGED IN MULTIPLE CONFIGURATIONS,
WHICH MADE THE BUYER, TOO, A COLLABORATOR IN THE FINISHED PIECE

AMBIENCE – A SENSIBILITY THE CONGRÈS INTERNATIONAUX D’ARCHITECTURE MODERNE (CIAM) IMBUED
DESIGN WITH A MEANINGFUL SOCIAL PURPOSE, AND ITS SECOND GUISE IN 1929,
- PERRIAND WAS JUDICIOUS IN HER DEVELOPMENT OF ARCHITECTURAL SPACE, LIGHT PERRIAND DESIGNED A MINIMUM DWELLING, “LA CELLULE,” AIMED AT LOW INCOME
AND THE ARRANGEMENT OF A FEW CAREFULLY CHOSEN THINGS; NEITHER A “STYLE” FAMILIES, IN WHICH EACH INDIVIDUAL WAS DEDICATED A TOTAL OF 150 SQ. FT, SO
NOR “DECOR” WAS ON HER DESIGN AGENDA THE BUILD WOULD BE AFFORDABLE AND DETERMINED DOWN TO EACH LAST SQUARE
- IN MID CAREER, HER EXPANSION OF MATERIALS CHOSEN FROM THE MACHINE FOOT FOR USAGE. AT KZ_K WE BUILD EFFICIENT CAPSULES FOR CLIENTS TO UTILIZE
AESTHETICS OF GLASS, CONCRETE AND STEEL TO A HARMONIOUS, INTEGRATED FUNCTIONALLY OVER A LIFE OF USE. RECALLING FROM “FORMES UTILES,” PERRIAND
USE OF VERNACULAR WOODS, STONES AND PLASTERS MADE HER PROJECTS WROTE IN HER AUTOBIOGRAPHY,“ THERE IS ART IN EVERY THING, WHETHER IT BE AN
MORE HUMANE, AND EVEN MORE SO INCLUDED AN ENDURING RESPECT FOR ACTION, A VASE, A SAUCEPAN, A GLASS, A PIECE OF SCULPTURE, A JEWEL, A WAY OF
CRAFTSMANSHIP IN HER PROJECTS BEING.” PERRIAND FOUND THAT THE NOTION OF “ARCHITECTURE” IN ITS VERY ESSENCE
- SHE LOVED WORKING WITH CRAFTSMEN AND FELT ENRICHED BY THEIR SKILLS. MEANT, “WORKING FOR MANKIND,” AND THAT WORK COULD ONLY BE SUPPORTED BY
IT’S, OF COURSE, NOT AT ALL UNUSUAL FOR THE MOST MODERNIST OF DESIGNS THE MASSIVE VARIATIONS OF TRAINED CRAF TSPEOPLE, FROM THE CARPENTER TO
TO BE MADE BY CRAFTSPEOPLE OF ALL SORTS, A PARADOX CALLED BY GLENN THE PLUMBERS WHO COULD MAKE THOSE WORKS COME TO LIFE.
ADAMSON, “HANDMADE MODERNISM.” THE PIECES THEMSELVES NEVER SPEAK TO
INDUSTRIAL ORIGIN: PERRIAND’S “BIBLIOTHÈQUES”, TOO, HAVE THAT QUALITY OF THE TEAM OF CRAFTSPEOPLE ASSEMBLED AND COLLABORATING WITH KZ_K TO
THE METALWORKER COLL ABORATING WITH THE CARPENTER, SO THAT IT IS VERY EFFECTUATE EACH COLLECTION AND OUR STUDIO INCLUDE: SEAMSTRESSES, MILLS,
CLEAR WHO DID WHAT. IN OUR K Z_K GREAT JONES STREET STUDIO A VAST ARRAY TANNERIES, PATTERN MAKERS, BINDING EXPERTS, FUSING TEAMS, GRADING STUDIOS,
OF CRAFTSPEOPLE CRAFTSPEOPLE AND SPECIALISTS WERE COORDINATED FOR THE CARPENTERS, PLUMBERS, MARBLE FABRICATORS, FURNITURE MAKERS, SCULPTORS,
WHOLE TO COME TOGETHER AND, YES, ARCHITECTS, AND MANY MORE

PERRIAND WORKED DILIGENTLY ON A WAY OF DESIGNING SPACE AND THEN
INHABITING IT, AS A WAY OF “L’ART D’HABITER” - THE ART OF DWELLING. IT’S A
MANIFESTO OF SORTS THAT AT TEMPTS TO TRANSCEND THE PURELY FUNCTIONAL,
MACHINE AESTHETIC OF THE ORIGINAL MODERNIST, THAT SHE LEARNED VIA HER TIME
EXPERIENCING DAILY LIFE AND SPACES IN JAPAN, SO TO ADD MORE “SOUL” PERRIAND
WORKED DILIGENTLY ON A WAY OF DESIGNING SPACE AND THEN INHABITING IT, AS A
WAY OF “L’ART D’HABITER” - THE ART OF DWELLING. IT’S A MANIFESTO OF SORTS THAT
ATTEMPTS TO TRANSCEND THE PURELY FUNCTIONAL, MACHINE AESTHETIC

KZ_K WORKED COLLABORATIVELY TO DESIGN AND SCULPT SHOWROOM HANGING
AND DISPLAY SOLUTIONS WITH SCULPTOR, ALEX ROSKIN

KZ_K STUDIO
EXPRESSES ITS
MODERNIST DESIGNS
IN THEIR NEW STUDIO:

PURPOSE WITH A CONTINUED FOCUS ON DIRECT CLIENT REL ATIONSHIPS AND CREATING
UNIQUE, PERSONALIZED, ENGAGING EXPERIENCES FOR THOSE CLIENTS, K Z_K
STUDIO L AUNCHES THE NEW GREAT JONES STREET STUDIO. A SPATIALLY
DIVERSIFIED PLACE, THE STUDIO BOASTS A DESIGNER SHOWROOM, A
BEAUTIFUL LIBRARY BAR, A TEAM KITCHEN NOOK, PAT TERN AND DESIGN
ROOM, AND ROOFTOP DESIGNED BY KZ_K CO-FOUNDER, TRAINED IN
ARCHITECTURE, JESSE KEYES. DRAWING FROM THE 1940’S, 50’S AND 60’S
WHEN WOMEN WOULD VISIT AN ATELIER FOR FIT TINGS AND PERSONALIZED
WARDROBES, K Z_K STUDIO BROUGHT THAT REAVIEW INNOVATION TO
MODERN TIMES. OFFERING PERSONALIZED AT TENTION AND SERVICE TO
EACH CLIENT TO HELP HER BUILD A TIMELESS WARDROBE. IN ADDITION
TO WELCOMING CLIENTS BY APPOINTMENT, THE STUDIO WILL BE OPEN TO
INDUSTRY PARTNERS, PHOTOGRAPHERS, AND OTHER CREATIVE FRIENDS IN
AN EFFORT TO ENHANCE COMMUNIT Y AND CREATIVIT Y.

FOUNDED BY POLISH-BORN FASHION STUDIO BIO UNIQUE DESIGN ELEMENTS
DESIGNER, KAROLINA ZMARLAK AND HER
BUSINESS AND LIFE PARTNER, ARCHITECT, ALEX ROSKIN – SCULPTOR FOCUSING ON PRACTICAL
AND ENTREPRENEUR JESSE KEYES, THIS APPLICATIONS OF FURNITURE AND SPATIAL DESIGN
NYC-BASED BRAND IS BASED ON THE SOLUTIONS, COLL ABORATED WITH K Z_K TO DESIGN A HAND
TENANTS OF MODERNISM. KZ_K STUDIO FORGES SET OF STEEL RACKS AND CURTAIN RODS, ALONG
EX TOLS THE USE OF TECHNOLOGICALLY WITH A SHOU SUGI BAN LIVING EDGE SHELVING SYSTEM
ADVANCED MATERIALS INTEGRATED INTO TO TIE THE FUNCTIONAL DESIGN ETHOS OF THE STUDIO
A PURELY FUNCTIONAL FORM FOR MAXIM EXPERIENCE INTO THE SHOWROOM.
EFFICIENCY AND VERSATILIT Y, MINIMIZING G/L/O- K Z_K WORKED WITH A WOMEN-OWNED, NYC
EXCESS AND MAXIMIZING UTILIT Y, BASED DESIGN STUDIO OFFERING CUSTOM NEON LIGHT
RESULTING IN A LIGHT, REFINED, AND BASED SIGNS TO PRODUCE A HAND-WRITTEN MESSAGE
ESSENTIALLY MINIMAL PRODUCT FORM. OF SIGNIFICANCE TO KAROLINA AND JESSE BY THE GREAT
FRENCH THEORIST, SAMUEL BECKET T.
SHOU SUGI BAN (HAND BURNT SOLID CYPRESS WOOD,
DEVELOPED BY THE JAPANESE TO PROVIDE RESIDENCES
ENDURING PROTECTION FROM THE ELEMENTS AND PESTS)
FUNCTIONAL ELEMENTS FOUND THROUGHOUT THE STUDIO,
ADDING VISUAL TEXTURE AND PROTECTION FOR THE MANY
INTEGRATED PARTITIONS

KZ_K STUDIO 35 GREAT JONES STREET, 4TH FLOOR,
NEW YORK CITY

THE ROOMS

/

A LIBRARY FOR INSPIRING AND MIND-EXPANDING A VISTERO TO BREATH IN THE CITY AND VIEW IT’S
READING/NOTE TAKING NOHO ROOFTOPS

A BAR FOR ARTISANAL AND TECHNICALLY COM- A KITCHENETTE FOR CATERING EVENTS OF
PLEX SPIRITS AND WINES THAT FACILITATE AND ALL SORTS: COFFEE WAKE-UPS, COLLECTION
STIMULATE CONNECTIONS LUNCHES, COCKTAIL PARTIES, CHAI-TIMES

A TECHNICAL DESIGN ROOM CENTERED AROUND AN ARCHIVE OF RACKS FOR CYCLE AND CORE
A PATTERN CYCLE AND CORE ORGANIZATION ORGANIZATION

A SHOWROOM WITH STEEL SCULPTED RODS, A WORKSPACE DESIGNED WITH ANTHROPOMOR-
CONNECTING INTO SUGI FINISHED WOOD, LIGHT- PHIC INSPIRED CUBBIES OF RED OAK ALOFT SO-
LIGH FLOATING, TO HANG THE COLLECTION LID WALNUT DESKS FOR “EQUIPMENT” STORED
AND CREATIVE VISION UNLEASHED

ARCHITECTURE + DESIGN KZ_K STUDIO DESIGNED AND DEVELOPED: A FULLY
IMMERSIVE, INTEGRATED DESIGN AND EXPERIENTIAL
STUDIO ON A FULL FLOOR, PRE-GREAT WAR BUILDING,
ALONG GREAT JONES STREET.

LIBRARY BAR

LIBRARY

RECESSED LED LIGHTING ON MARBLE BACKSPLASHES AND UPLIT ON WALLS AND DOWN ON WORK SPACE WALLS

TRANSOMS CUT AT THE CEILING, ALUMINUM FRAMED AND GLASSED IN TO ALLOW LIGHT AND CONNECTIVITY BETWEEN
SEPARATED SPACES

DIMMABLE LED DIRECTIONAL TRACK LIGHTS IN WARM HEW MOUNTED INDEPENDENTLY IN EACH SPACE FOR AMBIENT OR
WORK LIGHTING, DEPENDING ON THE ACTIVITY

CUSTOM DESIGNED, CUT, CONSTRUCTED AND MOUNTED RED OAK WITH POLY FINISHED PLYWOOD CABINETRY, SHELVING,
DRAWERS, CUBBIES, AND COCINA COUNTER TOP

BLACK PATINA STEEL AND ALUMINUM FINISHES TO CONTINUE FINE DETAIL COLOR COHERENCY

BAR SHOWROOM

ITALIAN WHITE BEAUTY MARBLE CUT INTO AN 8’ RACETRACK CONFICTUARTOIN SEAM-CORED 4’X8’ POPLAR PLYWOOD WALL PANELS TO INSERT BOATLIFE
FOR THE CENTER LIBRARY BAR, AND ALSO CUT FOR THE BACK COUNTERTOPS BLACK MARITIME TEAK DECK CAULKING, JOINING AND COORDINATING
AND BACKSPLASHES, SOURCED FROM ABC STONE IN LONG ISLAND DIVIDING WALLS

MARBLE COUNTERTOPS MOUNTED WITH A FLOATING REVEAL ABOVE ALUMINUM BLACK STAINED EXPOSED PLYWOOD EDGES THAT BOTH HIGHLIGHT AND
PATINA BASES SUBDUE THAT MATERIALS LAMINATION PATTERN

SWELL LED PENDANT, BLACK WITH ANODIZED BRASS INTERIOR, DESIGNED BY BARRAGAIN NAVY BLUE PEBBLED LEATHER CUSHIONS ON INTEGRATED
PABLO DESIGNS, THROUGHOUT SHOWROOM STORAGE BENCHES

TOM DIXON “FAT” VELVET COVERED BAR STOOLS CUSTOM WELDED AND SCULPTED STEEL RACKS IN SHOWROOM
TO CREATE UNIQUE ENVIRONMENT FOR CLOTHING, DESIGNED IN
NERD STOOLS FOR LIBRARY BARS AND COCINA TABLE COORDINATION WITH KZ_K AND SCULPTOR, ALEX ROSKIN

PLUMBED AND INSTALLED TWO BAR KITCHENS WITH EJECTOR PUMPS, WATER SCULPTED SHOU SUGI BAN BURNT CHERRYWOOD SHELVING, WITH LIVE
HEATING UNITS, AND CONTAINING: EDGES, INTEGRATED INTO THE SHOWROOM

KRAUS MULTI FUNCTIONAL STAINLESS STEEL UNDERMOUNT SINKS AND SEPTO BY SECTO, OCTO CHANDELIERS INSERTED INTO CUSTOM
PROFESSIONAL ONE PIECE FAUCET NOZZLES DESIGNED AND INSTALLED RED OAK RACETRACK DESIGN CEILING
SOFFITS IN SHOWROOM
XO 15 INCH BUILT-IN INDOOR/OUTDOOR GOURMET ICE MAKER WITH CRYSTAL
CLEAR CUBES, THE 8’ RACETRACK DESIGN CARRIED TO 3 OVERSIZED MIRRORS CUT AND
MOUNTED ONTO RED OAK BASES
XO 24 INCH DUAL ZONE WINE COOLER WITH 46 BOTTLE CAPACITY, DOOR LOCK,
FAN CIRCULATION, UV BLOCKING GLASS DOOR SLIDING BIRCH POCKET DOORS, WITH EMTEK MORTISE HARDWARE

ORIGINAL 1890’S WOOD WINDOW TRIM EXPOSED, REFINISHED AND
SEALED, AFTER 125+ YEARS OF LAYERS OF ADDED PAINT

BLACK SHOU SUGI BAN BURNT WOOD TOE KICK/FLOOR MOLDING,
TRIPLE SEALED WITH POLYURETHANE CREATING TEXTURAL DEPTH AND
MIMICKING THE APPEARANCE OF CRACKED CROCODILE LEATHE

CUSTOM FABRIC AND COLOR EAMES MOLDED PLYWOOD LOUNGE CHAIR
WOOD BASE

NOGUCHI GLASS COFFEE TABLE

FLOSS IC PENDANT FOR DRESSING ROOM

EMTEK CUSTOM HARDWARE IN BRASS AND BLACKENED STEEL FOR
POCKET DOORS

MODERNICA CLOUD COUCH MEDIUM WALNUT SOLID / TURBO. FABRIC:
TURBO: TURBO BLACK

TECHNICAL DESIGN ROOM RECESSED LED LIGHTING ON MARBLE BACKSPLASHES AND UPLIT ON WALLS AND DOWN
ON WORK SPACE WALLS
CUSTOM DESIGN PATTERN TABLE, HAND CUT, STRUCTURED TRANSOMS CUT AT THE CEILING, ALUMINUM FRAMED AND GLASSED IN TO ALLOW LIGHT
AND FORMED BY OUR DOMINICAN CARPENTER TEAM IN AND CONNECTIVITY BETWEEN SEPARATED SPACES
THE BRONX DIMMABLE LED DIRECTIONAL TRACK LIGHTS IN WARM HEW MOUNTED INDEPENDENTLY
IN EACH SPACE FOR AMBIENT OR WORK LIGHTING, DEPENDING ON THE ACTIVITY
BLACK STAINED EXPOSED PLYWOOD EDGES THAT BOTH CUSTOM DESIGNED, CUT, CONSTRUCTED AND MOUNTED RED OAK WITH POLY FINISHED
HIGHLIGHT AND SUBDUE THAT MATERIALS LAMINATION PLYWOOD CABINETRY, SHELVING, DRAWERS, & CUBBIES,
PATTERN BLACK PATINA STEEL AND ALUMINUM FINISHES TO CONTINUE FINE DETAIL COLOR
COHERENCY
HAND WELDED STEEL MULLION WINDOWS WITH FOUR BLACK 1X1’ ⅛” WIDTH ANODIZED ALUMINUM CORNER TRIM ON HIGH TRAFFIC, AND
TEXTURES OF SPECIALTY GLASS TO CREATE VISUAL PROMINENTLY VISUAL CORNERS
MOVEMENT AND SEPARATION BETWEEN SPACES, USING BLACK ANODIZED ALUMINUM CORNERS, PROTECTING THE POPLAR PLYWOOD WALLS
THE SAME ANTHROPOMORPHIC FRAMING AS USED BLACK LEATHER AND BRASS CABINET HARDWARE PULLS FOR DOORS AND DRAWERS
FOR SHELVING UNITS THROUGHOUT ("EQUIPMENT" FOR SOLID 1 ¼” WALNUT WORKSPACE COUNTERTOPS WITH ANODIZED ALUMINUM TRIM
UTILITY) ORIGINAL 1890’S WOOD WINDOW TRIM EXPOSED, REFINISHED AND SEALED, AFTER 125+
YEARS OF LAYERS OF ADDED PAINT
4' DEEP OF EXTERIOR BRICK WALL CUT THROUGH CUSTOM FABRIC AND COLOR EAMES FIBERGLASS UPHOLSTERED SHELL ARMCHAIR
AND REMOVED, TO INSTALL A 3’ X 4’ FENESTRATION EMTEK CUSTOM HARDWARE IN BRASS AND BLACKENED STEEL FOR POCKET DOORS
PENETRATION FOR A WINDOWED TECHNICAL DESIGN
ROOM WORKSPACE

CUSTOM CUT AND INSTALLED ALUMINUM BLACK SEALED
DOUBLE HEIGHT RACKS

COCINA FRONT PAINTED NEON SIGN, IN COLLABORATION THE G/L/O NEON LIGHT SIGNAGE OUTFIT, THAT IS BACKLIT ON NAVY TEXTURED
PLASTERED WALL, INSPIRED BY THE TEXTURED, COLORED PLASTER CONCRETE WALL FINISHES OF LUIS BARRAGAN
BARRAGAIN NAVY BLUE PEBBLED LEATHER CUSHIONS ON INTEGRATED SHOWROOM STORAGE AND COCINA BENCHES
MARBLE COUNTERTOPS MOUNTED WITH A FLOATING REVEAL ABOVE ALUMINUM PATINA BASES
BLACK LEATHER AND BRASS CABINET HARDWARE PULLS FOR DOORS AND DRAWERS
SEMI OPAQUE CURTAINS HUNG TO SEPARATE RACK STORAGE FROM FUNCTIONAL SPACE, ALLOWING FOR PHYSICAL BUT NOT
VISUAL SEPARATION
CUSTOM FABRIC AND COLOR EAMES MOLDED PLASTIC COUNTER STOOL WITH SEAT PAD
SWELL LED PENDANT, BLACK WITH ANODIZED BRASS INTERIOR, DESIGNED BY PABLO DESIGNS, THROUGHOUT
NERD STOOLS FOR LIBRARY BARS AND COCINA TABLE
PLUMBED AND INSTALLED TWO BAR KITCHENS WITH EJECTOR PUMPS, WATER HEATING UNITS, AND CONTAINING:
KRAUS MULTI FUNCTIONAL STAINLESS STEEL UNDERMOUNT SINKS AND PROFESSIONAL ONE PIECE FAUCET NOZZLES
BERTAZZONI 24 ELECTRIC CONVECTION OVEN PROFESSIONAL SERIES
XO 24 INCH DUAL ZONE WINE COOLER WITH 46 BOTTLE CAPACITY, DOOR LOCK, FAN CIRCULATION, UV BLOCKING GLASS DOOR

PLUMBED AND INSTALLED 2 X LAVATORIES LAVATORIES
TOTO DUAL QUIET FLUSH WALL MOUNTED HIDDEN FLUSHOMETER TOILETS
WHITE CARRERA MARBLE SIGNATURE HARDWARE SINKS MOUNTED ON CUSTOM RED OAK
CABINETS
BLUE-GRAY BRAZILIAN SLATE, CHARCOAL GROUTED AND SATIN FINISH SEALED
WIDE BRUSHED ALUMINUM 24” VANITY LED STRIPS
TOM DIXON CARBON FIBER PENDANTS

1 4
3
5
2 6

8 9
7

2 2 OCTOBER 1940 8 NORTH FACADE OF THE CASCADE

SHE SKETCHED KATSURA'S TOKONOMA - THE ALCOVE IN WHICH REVERED OBJECTS RESIDENCE, ARC 1600, 1967-1969
WERE DISPLAYED – AND OVER A DECADE LATER, IT WOULD INSPIRE HER FAMOUSE CHARLOTTE PERRIAND'S WORK IN THE FRENCH
NUAGE [CLOUD] BOOKSHELVES, WHICH REPRODUCED THE MISALIGNMENT OF THE ALPS CAME ABOUT IN MANY WAYS SIMPLY
WOODEN SHELVES – A HYMN TO ASYMMETRY – AND LINKED THEM WITH SUPPORTS BECAUSE SHE WAS THERE SO OFTEN. HER
IN FOLDED SHEET-METAL LOVE OF THE MOUNTAINS IS PALPABLE IN HER
ANECDOTES AND RETELLINGS OF THE PERIOD,
5 FREE-FORM TABLE, 1956 FROM WEEKEND HIKES TO MORE SUSTAINED
MOMENTS BOTH HOLIDAYING BUT ALSO
PERRIAND CONTINUED TO DEVELOP HER FREE- BUILDING AT ALTITUDE.
FORM TABLE DESIGNS THROUGHOUT HER CAREER.
ALTHOUGH ORIGINALLY INTENDED FOR HER OWN TOWARDS THE END OF THE 30'S, PERRIAND
USE, SOME MODELS, INCLUDING THIS ONE, WENT WENT ON TO DEVELOP A NUMBER OF
INTO PRODUCTION THROUGH GALERIE STEPH BUILDINGS AT LES ARCS, A SKI RESORT IN THE
SIMON. THIS DESIGN INCLUDES SPLINE JOINTS TO SAVOIE REGION.
HIGHLIGHT ITS CONSTRUCTION. THE LEGS ARE
PLACED CLOSE TO THE CENTRE SO SEATED GUESTS ONE OF PERRIAND'S MOST REMARKABLE
ABOID BUMPING THEM WITH THEIR KNEES, WHILE BUILDINGS WAS LA CASCADE AT ARC 1600.
THE TABLE-TOP IS SHAPED SO THAT ALL THOSE THE DESIGN CLEVERLY RESPONDED TO
SEATED FACE THE CENTRE. CHANGEABLE WEATHER CONDITIONS: THE
SOUTHERN TERRACES OF LA CASCADE WERE
ARRANGED SO AS NOT TO CAST SHADOW ON
ONE ANOTHER, AND THE NORTHERN FACADE
WAS SIMILARLY REALIGNED TO PREVENT
SNOW FROM REACHING THE GROUND-FLOOR
PASSAGEWAY.

7 BOOMERANG DESK BY CHARLOTTE PERRIAND, 1938 9 SEPTEMBER 1940

ONE OF PERRIAND'S MOST SIGNIFICANT 'FREE-FORM' PIECES WAS IN BAMBOO, PERRIAND FOUND A MATERIAL IN WHICH TO APPLY THESE
THE DESK SHE DESIGNED FOR JEAN-RICHARD BLOCH, EDITOR OF IDEAS. SHE VISITED A FURNITURE COMPANY CALLED CHIKKOSHA, IN
THE FRENCH NEWSPAPER CE SOIR. NAMED AFTER A BOOMERANG TOKYO. SHE WAS CAPTIVATED BY THE INHERENT PROPERTIES OF THE
BECAUSE OF IT'S SHAPE, THE CURVED TOP WAS HIGHLY MATERIAL THEY WERE USING - STRONG AND FLEXIBLE AND NATURALLY
FUNCTIONAL, DESIGNED FOR GROUP EDITORIAL MEETINGS. JUST ABUNDANT. BAMBOO OFFERED SOME OF THE TECTONIC QUALITIES OF
BY SWIVELLING IN HIS CHAIR BEHIND THE BOOMERANG, BLOCH TUBULAR STEEL AT A FRACTION OF THE EXPENSE.
COULD TURN TO FACE EACH MEMBE3R OF THE TEAM WITHOUT PERRIAND REDESIGNS HER CHAISE LOUNGE BY REPLACING METAL WITH
IMPOSING ANY HIERARCHY. BAMBOO.

4 MERIBEL CHALET, 1960. 1 25 SEPTEMBER 1940

BETWEEN 1960 AND 1961, PERRIAND DESIGNED A VISIT TO THE KATSURA IMPERIA VILLA
AND BUILT HERSELF A SMALL CHALET IN PRODUCES A PLETHORA OF SKETCHES.
MERIBEL-LES-ALLUES IN FRAQNCE'S SAVOIE
REGION - NOT FAR FROM THE SKI RESORTS SHE
WOULD LATER DESIGN IN THE SAME AREA
.
THE INTERIOR IS MINIMAL, WITH WOOD AND
EXPOSED STONE.

PERRIAND WAS INSPIRED BY THE RUSTIC
FURNITURE OF SAVOIE, WHERE HER
GRANDPARENTS LIVED, WHILE DETAILS SUCH
AS STRAW TATAMI MATS POINT TO HER
YEARS SPENT IN JAPAN. THE INTERIOR FEELS
TRADITIONAL BUT IS HIGHLY MODERN .

6 BOOKCASE FOR STUDENT'S ROOM, MAISON
DU MEXIQUE, 1952

3 DECEMBER 1927 - SUMMER 1928 IN 1952, PERRIAND WAS COMMISSIONED

LE CORBUSIER, PIERRE JEANNERET AND PERRIAND CREATED TO DESIGN THE INTERIORS OF THE MAISON
THE THREE CHAIRS THAT HAVE BECOME CLASSICS: THE CHAISE
LONGUE, THE FAUTEUIL GRAND CONFORT, AND THE FAUTEUIL AU DU MEXIQUE, A DORMITORY FOR MEXICAN
DOS BASCULANT.
STUDENTS ON THE OUTSKIRTS OF PARIS. THERE
THE DOMINANT IDEA BEHIND THE DESIGN OF TUBULAR-STEEL
FURNITURE WAS TO CREATE 'TYPES' THAT COULD BE MASS- WERE SEVENTY-SEVEN ROOMS TO FIT OUT. HER
PRODUCED.
FIRST MOVE WAS TO REPLACE THE PARTITION

WALL BETWEEN THE BEDROOM AND BATHROOM

WITH ONE OF HER BOOKCASES. ACTING AS BOTH

ROOM DIVIDER AND STORAGE UNIT, IT MADE THE

ROOMS FEEL BIGGER.

FASHION FEATURE

CAN PLANT-DYED CLOTHES
HELP FASHION BECOME A
MORE SUSTAINABLE
INDUSTRY?

BY HALEY PROKOS April 28, 2022

PLANT DYES WILL ENCOURAGE TEXTILE DESIGNERS TO FOCUS MORE ON EMPLOYING COME MOSTLY FROM SMALL PRODUCERS WITH CONCERN FOR THE ENVIRONMENT.
THOSE MATERIALS AND EFFECT A NEW LEVEL OF SUSTAINABLE CHANGE. FOR THEM, THE USE OF PLANT DYES IN CONJUNCTION WITH ORGANICALLY
FARMED MATERIALS IS IDEAL BECAUSE THE PROCESS FACTORS IN EMISSIONS,
THERE’S AN EARTH-FRIENDLY RENAISSANCE HAPPENING IN FASHION RIGHT NOW. BIODEGRADABILITY, TOXICITIES, WORKERS’ RIGHTS, AND WATER WASTE — ALL OF
AS BRANDS `SEEK OUT WAYS TO BECOME MORE SUSTAINABLE — BEYOND THE USE WHICH ARE KEY CONCERNS THAT MAKE UP THE TRUE DEFINITION OF SUSTAINABILITY.
OF CREATING ITEMS WITH RECYCLED PLASTIC WATER BOTTLES, FOR EXAMPLE —
ONE PATH FORWARD TO AN ECO-FRIENDLY FUTURE IS TO EMBRACE PLANT-DYED THE USE OF ORGANIC MATERIALS IS CRITICALLY IMPORTANT TO MANY OF
CLOTHING. THESE DESIGNERS — USING ANYTHING BUT WOULD UNDERCUT THE POSITIVE
ENVIRONMENTAL EFFECTS OF PLANT DYES. DESIGNER KAROLINA ZMARLAK OF KZ_K
PLANT-DYED `CLOTHING IS EXACTLY WHAT IT SOUNDS LIKE; IT INVOLVES DYEING STUDIO USES ORGANIC COTTON FOR HER KNITS COLORED WITH ROOIBOS TEA, RED
CLOTHES WITH PLANT-BASED SOLUTIONS. MORE SPECIFICALLY, PLANT-DYEING USES TURNIP, BLUEBERRY, COFFEE BEAN, AND MATCHA DYES. SHE SOURCES THE MATERIAL
LIQUID FORMS OF FOLIAGE, NUTS, FRUITS, VEGETABLES, AND FLOWERS TO IMBUE FROM FOOD TEXTILE, A MANUFACTURER THAT EXTRACTS DYES FROM FOOD WASTE.
COLOR INTO FABRICS. TEXTILE EXPERTS, FASHION DESIGNERS, AND HOBBYISTS SAY AND A FAIRLY NEW DEVELOPMENT AT ABACAXI IS THAT SOOD WILL BE WORKING WITH
THESE NATURAL DYES ARE MORE SUSTAINABLE THAN MANMADE ONES BECAUSE A COOPERATIVE IN INDIA, CALLED OSHADI, THAT FARMS ORGANIC COTTON AND
THEY ARE LESS LIKELY TO BE TOXIC — A BASIS BEHIND THE LARGER CONCEPT OF REGE DYES MATERIALS USING LOCAL FLOWERS AND BARKS RATHER THAN SOURCING THESE
SERVICES SEPARATELY. MEANWHILE, HODES HAS EMPLOYED INDONESIAN WEAVERS
DESPITE WORDS LIKE “SUSTAINABILITY” AND “CIRCULARITY” BECOMING THE BUZZIEST WHO USE ORGANIC COTTON YARN TO ACCOMPANY HER SEASONAL ASSORTMENTS
BUZZWORD AMONG FASHION PEEPS TODAY, SIDER CONFIRMS THAT ONLY A SMALL OF SILK GARMENTS.
FRACTION OF TEXTILES TODAY ARE DYED FROM PLANTS. THOSE TEXTILES SEEM TO

• UPDATED RECENT
PHOTOS OF
KIMONO?

KZ_K STUDIO AND 1 ATELIER FASHION SUSTAINABILITY
WITH NEW HANDBAG COLLABORATION

BY KROSTOPHER FRASER Mar 3, 2022

WHAT’S IN THE BAG? PLENTY, THANKS TO KZ_K STUDIO AND 1 ATELIER. THE TWO THE BAGS ARE LOCALLY DESIGNED AND CRAFTED BY ARTISANS IN NEW YORK CITY’S
WOMEN-OWNED FASHION COMPANIES HAVE DEBUTED THEIR NEW GARMENT GARMENT DISTRICT, AS WITH ALL KZ_K AND 1 ATELIER PRODUCTION. FROM LEATHERS
DISTRICT CAPSULE OF HANDBAGS THAT ARE CUSTOMIZABLE, MULTI-FUNCTIONAL, TO TRIMS TO STITCHING TO HARDWARE, THE FULL PRODUCTION OF THE BAG WAS
AND MADE IN NYC. DESIGNER KAROLINA ZMARLAK OF KZ_K STUDIO AND CEO OF 1 CONCEIVED AND EXECUTED UNDER FAIR PAY PRACTICES. EACH PIECE IS MADE-TO-
ATELIER STEPHANIE SARKA ARE BOTH BASED IN NEW YORK CITY’S GARMENT DISTRICT ORDER, LIMITING EXCESS INVENTORY AND WASTE.
AND ARE BOTH COMMITTED TO SUSTAINABILITY AND CREATING FUNCTIONAL
PRODUCTS, SO THAT PARTNERSHIP WAS SEAMLESS. 1 ATELIER IS ONE OF THE FEW LUXURY LEATHER GOODS FACTORIES BOTH BUILT-IN
MANHATTAN AND LEFT IN THE GARMENT DISTRICT. ONE OF THE BIG THINGS THAT
THIS COLLABORATION WAS A YEAR IN THE MAKING, AND AS ZMARLAK PUTS IT, BOTH 1 ATELIER AND KZ_K STUDIO ARE DRIVING HOME IS THE CUSTOMIZATION
“NOTHING GOOD COMES WITHOUT A LOT OF DETAILS COMING TO LIFE OVER TIME.” ASPECT OF THE BAG. 1 ATELIER’S WEBSITE CURRENTLY OFFERS A 3D MODEL WHERE
KZ_K STUDIO IS PRIMARILY A WOMEN’S READY-TO-WEAR LINE FOCUSED ON SLEEK, CUSTOMERS CAN SEE HOW THE BAG IS DESIGNED DIGITALLY.
MODERNIST WOMEN’S DESIGN. ZMARLAK HAS LONG BEEN INTERESTED IN DABBLING
IN ACCESSORIES, BUT WAS WAITING FOR THE RIGHT PARTNER WITH EXPERTISE IN BOTH ZMARLAK AND SARKA TRULY BELIEVE IN WHAT THEY ARE DOING AND CONSIDER
HANDBAGS TO COLLABORATE WITH. SHE WAS HOPING TO PARTNER WITH SOMEONE IT A LABOR OF LOVE. “COLLABORATIONS ARE REALLY HARD,” SARKA SAID. “SO MANY
IN NYC’S GARMENT DISTRICT, BUT NOWADAYS THAT CAN BE CHALLENGING GIVEN THINGS CAN GO WRONG, AND A LOT OF THINGS HAVE TO GO RIGHT ON SO MANY
THAT CRAFTSPEOPLE IN NYC ARE HARD TO COME BY. LUCKILY, SHE FOUND 1 ATELIER, LEVELS. WE’VE WORKED HARD AT THIS RELATIONSHIP, AND I’M SO PROUD OF WHAT
AND IT WAS A MATCH MADE IN HEAVEN. WE ACCOMPLISHED TO GET HERE. THERE WERE MOMENTS WHEN EITHER OF US
COULD HAVE JUST THROWN UP OUR HANDS AND CALLED IT QUITS, BUT BECAUSE WE
"IT WAS THE PERFECT PARTNERSHIP AND A ARE SO COMMITTED TO WHAT WE ARE DOING ON ALL FRONTS THAT HAVE CARRIED
DREAM COME TRUE TO WORK ON SOMETHING US SO FAR.”
LIKE THIS WITH A PROFESSIONAL ATELIER,”
ZMARLAK SAID."

SARKA STARTED 1 ATELIER SEVEN YEARS AGO WITH THE GOAL OF “TURNING THE
FASHION INDUSTRY ON ITS HEAD AND BRINGING THE JOY BACK TO LUXURY.” SARKA
WANTED TO CREATE A BETTER BUSINESS MODEL FOR THE FASHION INDUSTRY THAT
DIDN’T INVOLVE CONVENTIONAL WHOLESALE AND EMBRACED SUSTAINABILITY. THE
TWO WOMEN ENTREPRENEURS WERE INTRODUCED BY A CONSULTING COLLEAGUE OF
SARKA AND ZMARLAK’S WHOM SARKA DESCRIBED AS “AN INCREDIBLE MATCHMAKER.”

“1 ATELIER IS ALWAYS LOOKING FOR TWO THINGS,” SARKA SAID. “NUMBER ONE IS A WITH EVERYTHING BEING CUSTOMIZABLE, THIS REDUCES EXCESS WASTE AND
FRESH APPROACH, BY BRINGING IN COLLABORATORS, LIKE KAROLINA, WE BRING IN INVENTORY. SARKA SAYS ONE OF THE BIGGEST ISSUES WITH FASHION CONCERNING
SOMETHING DIFFERENT AND SOMETHING I HONESTLY DON’T THINK WE COULD’VE THE SUSTAINABILITY MOVEMENT IS OVERPRODUCTION, BUT BY REDUCING INVENTORY,
DESIGNED OURSELVES. THAT’S HUGE BECAUSE YOU NEED TO SPEAK TO MULTIPLE THEY AREN’T A PART OF ONE OF FASHION’S BIGGEST PROBLEMS. 1 ATELIER ONLY
AUDIENCES. SECONDLY, WE LOOK FOR THE ABILITY TO SPEAK TO MEET NEW CLIENTS PRODUCES TO ORDER, THEY DO NOT STOCK OR FOR A PROJECTED FORECAST.
BY CROSS MARKETING. WE LOVE SUPPORTING KAROLINA AS ANOTHER FEMALE- EVEN RAW MATERIALS ARE CALLED IN ON A JUST-IN-TIME BASIS, SO AS MATERIALS
FOUNDED FASHION COMPANY IN THE GARMENT DISTRICT AND VICE VERSA.” ARE NEEDED, THEY ARE BROUGHT IN FROM VENDORS. THEY ARE ALSO HAPPY TO
REFURBISH CUSTOMERS’ OLD MERCHANDISE TO ENSURE A LIFELONG PRODUCT.
ZMARLAK WAS INSPIRED TO CREATE THIS LINE OF HANDBAGS BY HEARING CUSTOMERS
DISCUSS A HOLE IN THE HANDBAG MARKET FOR THE “PERFECT HANDBAG.” THE HANDBAGS ARE TARGETED AT A CUSTOMER WHO WANTS A LUXURY BRAND,
CUSTOMERS WANTED MULTI-FUNCTIONAL HANDBAGS AND WEREN’T INTERESTED IN BUT ISN’T OBSESSED WITH A HOUSEHOLD DESIGNER NAME OR LOGOS. ACCORDING
A BRAND NAME OR LOGO. THEY WANTED SOMETHING UNDERSTATED MADE FROM TO ZMARLAK, THE ULTIMATE LUXURY IS, “THE NEED FOR FUNCTIONALITY. WITHOUT
SOFT LEATHER. FUNCTIONALITY, THINGS DON’T FEEL GOOD. SOMETHING ISN’T LUXURIOUS IF IT
MAKES YOUR LIFE MORE DIFFICULT.”
FOR THE COLLABORATION, THE BRAND FOCUSED ON NAPPA LEATHER, WHICH IS KZ_K STUDIO AND 1 ATELIER TOGETHER HAVE FUNCTIONED FASHION. IT’S A HANDBAG
MUCH SOFTER, AND ULTRA-SOFT SUEDE. THEY ALSO CREATED THREE COMPARTMENTS THAT CAN MEET A VARIETY OF YOUR NEEDS, IS SUSTAINABLE, AND CUSTOMIZABLE TO
FOR THE HANDBAGS, AS THAT WAS A REQUEST THEY HEARD FROM CUSTOMERS THE YOUR DESIRES. CHEERS TO THAT.
MOST. CUSTOMERS CAN SELECT THEIR LEATHER OR SUEDE TYPE, AS WELL AS THE
COLOR. THE BAG COMES IN TWO SILHOUETTES. A SLING-STYLE, WHICH IS A SINGLE
STRAP, AND A SHOPPER TOTE STYLE, WHICH IS A DOUBLE STRAP. THERE ARE A TOTAL
OF FOUR ITEMS IN THE COLLECTION, INCLUDING A ZIP, CLUTCH, AND A FLAP CLUTCH
IN ADDITION TO THE HANDBAGS.

FASHION FEATURE AGATA DROGOWSKA: YOUR COMPANY HAS BEEN ACTIVE FOR 15 YEARS NOW. CAN
YOU TELL ME ABOUT THE BEGINNINGS? HOW DID YOU GET STARTED?
SWLHYOISW FASHION KAROLINA ZMARLAK: I WAS ON THE TRAIN HOME WITH MY PARTNER, JESSE KEYES,
FROM HIS ARCHITECT GRANDFATHER’S PLACE IN WASHINGTON DC, ON JAN 1, 2009,
SO IMPORTANT? WHEN WE CONCEIVED OF A FASHION LINE THAT WOULD HEW TO THE TENANTS
KZ_K STUDIO EXPLAINS OF MULTI-FUNCTIONALISM, A FOUNDATIONAL NOTION WITHIN THE DISCIPLINE OF
ARCHITECTURE. WE WANTED TO MAKE PIECES THAT COULD BE WORN, EACH IN
JUNE 22, 2022 MANY VARIATIONS, AND TOGETHER IN A SERIES OF ALTERNATIVE AND CREATIVE WAYS
TO FIT THE UNIQUE FUNCTIONAL AND AESTHETIC NEEDS OF MODERN WOMEN. I
HAD DEVELOPED A MADE-TO-MEASURE BUSINESS WITH JESSE, UP UNTIL THAT POINT:
BUT AS THE GREAT RECESSION HIT, THIS NEW CONCEPT WOULD ALLOW OUR CLIENTS
A SIMILAR KIND OF PERSONALIZATION, BUT WOULD ALSO BE ORIENTED TOWARD
CREATING VALUE: BUY ONE PIECE AND WEAR IT IN THREE WAYS. INDEED, OUR FIRST
PIECE OF PRESS FROM THE WONDERFUL FASHION BLOG TENDENCE DE MODE, CALLED
US THE RECESSIONISTE COLLECTION.

IN 2022, A WAVE OF CHANGE IS SWEEPING THROUGH THE FASHION AD: WHAT IS THE NEW VISION FOR KZ_K STUDIO IN 2022?
KZ: AS WITH THE LAUDABLE TRANSITION OF THE FOOD INDUSTRY BEGINNING IN THE
INDUSTRY AS AN ABUNDANT NUMBER OF BRANDS ARE REJECTING THE PRINCIPLES LATE 80’S AND INTO 90’S, WE ESPOUSE “SLOW FASHION.” THE ESSENTIAL NOTION IS,
OF FAST FASHION AND OPTING FOR MORE INVENTIVE MANUFACTURING METHODS. KNOW THY PARTNER, WERE IT BE THE SUPERB JAPANESE SET OF MILLS WE’VE BEEN
AND THESE METHODS RUN VERTICALLY ON THE BLOCKCHAIN FROM INCEPTION TO WORKING WITH FOR OVER 10 YEARS, OR THE HANDFUL OF TANNERIES IN EUROPE,
CONSUMERS. IN FACT, A BRAND’S TRANSPARENCY HAS BECOME A HOT-TOPIC OF WE DON’T STRAY, WE DON’T SHOP AROUND, WE DON’T COUNTER SOURCE, WE
CONCERN FOR CONSUMERS. NOW TRUST, AND THEY KNOW AND TRUST US. AS IN BRA WITH THE “SLOW FOOD”
MOVEMENT IN PIEMONTE, ITALY, THE CHEF/OWNERS OF ESTABLISHED RESTAURANTS
SLOW FASHION IS CONSIDERED TO BE A CONTINUATION OF SUSTAINABLE CUT OFF THEIR FAR FLUNG, INEXPENSIVE FOOD PURVEYORS IN EXCHANGE FOR LOCAL
FASHION. TODAY, IT IS DISTINGUISHED BY QUALITY, LOCALLY MANUFACTURED ONLY, ONE-ON-ONE, RELATIONSHIP BASED EXCHANGES BETWEEN THEMSELVES AND
CLOTHING, PRODUCED ON A SMALLER SCALE AND WITH SLOWER PRODUCTION LOCAL FARMERS. THEIR CUSTOMERS BECAME FRIENDS, AND WERE COMMENSURATELY
TIMES. MINDFULNESS IS PAID TO WORKERS, THE ENVIRONMENT, AND CULTURAL INTRODUCED TO THEIR FARMER FRIENDS, IN A CLOSED LOOP, TRUST-BASED,
CONNECTIONS. SLOW FASHION IS A REIMAGINING OF WHAT THE CLOTHES-MAKING CREATIVELY HYPED UP –AS ALL IN THIS CIRCLE OF FRIENDS KNOW IT IN THEIR BEST
INDUSTRY COULD BE SUCH AS USING ECO-FRIENDLY MATERIALS, REPURPOSING INTEREST TO SHINE AMONG THE GROUP, AND TO PROVIDE QUALITY PRODUCTS AND
DISCARDED TEXTILES, USING RAW MATERIALS FROM SMALL PRODUCERS. IN SHORT, DELICIOUS INNOVATIVE PLATES– PRODUCTIVE, VIRTUOUS CYCLE.
NEW IDEAS AND PRODUCT INNOVATIONS ARE CONSTANTLY REDEFINING SLOW BESIDES OUR FABRIC AND LEATHER VENDOR PARTNERS, WE NOW HAVE DEEP,
FASHION AS IT EVOLVES. TECHNICAL – AS OUR REVERSIBILITY AND MULTI-FUNCTIONALITY HAS NECESSITATED
MANY INNOVATIONS – AND TRUST BASED FACTORY PARTNERS ONLY IN NEW YORK
SOME BRANDS ARE PUSHING BACK AGAINST HARMFUL TRENDS AND FOCUSING CITY’S GARMENT DISTRICT. EACH COLLECTION IS FUNDAMENTALLY CONCEIVED IN
MORE ON PRODUCING CLOTHES WITH LONG-LASTING QUALITY. FOR EXAMPLE, ONE A SPECIFIC MOVEMENT OF ART, ARCHITECTURE OR BOTH, THEN CONCEPTUALLY
COMPANY THAT IS WORKING IN THIS ARENA IS KZ_K STUDIO. FOUNDED BY KAROLINA DEVELOPED IN THEORY AND VISUALS IN OUR STUDIO. WE THEN CONNECT OUR
ZMARLAK AND JESSE KEYES, THIS NY BRAND IS BASED ON MODERN THOUGHT BY ITS FABRIC AND LEATHER SELECTIONS TO OUR SET OF SKETCHES, DEVELOPING PATTERNS
ACTIVE USE OF TECHNOLOGICALLY ADVANCED MATERIALS INTEGRATED INTO FORM WITH OUR TEAM, THEN CUT MUSLINS AND CREATE SAMPLE COLLECTIONS, ALL
FOR MAXIM EFFICIENCY AND VERSATILITY. DRAPED, CUT AND SEWN IN THE GARMENT DISTRICT.

THE REBRANDING STRATEGIES SEEM TO BE WORKING OUT WELL AS THE DIRECT CLIENT FINALLY, WE COMMUNICATE, DEVELOPING THOUGHTFUL SETS OF COLLATERAL
DATABASE HAS GROWN FROM FIFTY CLIENTELE TO WELL OVER ONE THOUSAND. THE THROUGH OUR GREAT JONES STREET STUDIO, WITH THE ULTIMATE AIM: A SET OF
COLLECTION CAPITALIZES ON ITS TECHNOLOGICALLY SUPERIOR MATERIALS THAT PRIVATE ATELIER/STUDIO APPOINTMENTS WITH OUR CLIENTS AND STYLISTS.
ARE INTEGRATED INTO MINIMALLY STYLIZED FUNCTIONAL FORMS RESULTING IN A
LIGHT, REFINED, AND ESSENTIALLY MINIMAL PRODUCT FORM, WHILE MAINTAINING AD: YOUR NEW STUDIO ON GREAT JONES STREET IS A NEW PROJECT. IS THE DESIGN
A SCULPTED SILHOUETTE.THE KZ_K STUDIO BRAND CULTURE AIMS TO BYPASS FAST- OF THE INTERIOR CONNECTED TO THE NEW COLLECTION?
FASHION TRENDS BY DEVELOPING STYLES TO LAST A LIFETIME. KZ: SPECIFICALLY, FOR OUR GREAT JONES STREET STUDIO, WE, AND PARTICULARLY,
JESSE WHO WAS LEAD ON DESIGN HERE, HAVE BEEN STUDYING THE TENANTS OF
CHARLOTTE PERRIAND, IN WHICH FURNITURE WAS SEEN AS “EQUIPMENT,” AS A WAY
TO MAKE ROOM AND FUNCTIONALITY WITHIN A SPACE TO FREE UP THE OPEN AREAS
FOR VISUAL, COMMUNICATIVE AND PRODUCTIVE CREATIVE USE. SIMILARLY, THE
CYCLE 2.22 (COOL WEATHER) WAS INSPIRED BY CHARLOTTE PERRIAND, HERSELF. IN
HER LIFE, IN ITS FREE SPIRITEDNESS, SHE EMPLOYED A HIGHLY CONSCIOUS BALANCE
OF WORK, LEISURE AND SPORT WHICH WE CAPTURED WITHIN THE COLLECTION.
SPATIAL DESIGN MEETS FASHION.
MORE BROADLY, ONE OF OUR FOUR STUDIO PILLARS IS TO MAINTAIN AN ARCHITECTURE
STUDIO MENTALITY. IN ITS MOST BROAD INTERPRETATION, THIS MEANS YOU NEED
A DESIGN STUDIO SPACE THAT IS CREATIVELY DESIGNED TO COMMUNICATE AND
INSPIRE YOUR DESIGN VISION TO YOUR CLIENTS. THIS IN TURN IS USED AS A SPACE
TO MORE FULLY UNDERSTAND OUR CLIENTS, AND THROUGH A DIALECTIC THAT IS
ENHANCED BY THE SPACE, WE HAVE A BETTER UNDERSTANDING OF OUR CLIENTS’
WARDROBE NEEDS. WE ARE ENABLED TO CREATE THE ARCHITECTURE OF A CLOTHING
CAPSULE FOR EACH CLIENT THROUGH THE STUDIO EXPERIENCE. THE DESIGN OF THE
GREAT JONES STREET STUDIO IS MEANT TO CONNECT WITH, INSPIRE, EDUCATE AND
HAVE FUN WITH OUR CLIENTS.

"WE HAVE DESIGNED EACH PIECE TO LAST FOR A LIFETIME
OF USE, AND THAT THE ULTIMATE RESPONSIBILITY
FOR US LIES IN EACH PIECE’S DURABILITY."

AD: YOUR NEW STUDIO ON GREAT JONES STREET IS A NEW PROJECT. IS THE DESIGN PHYSICAL RELATIONSHIPS BETWEEN DESIGN AND FABRIC. THE TWO HAVE TO WORK
OF THE INTERIOR CONNECTED TO THE NEW COLLECTION? HARMONIOUSLY, REALLY, ASSIDUOUSLY, TO MAKE A PIECE CONTAIN THE COMFORT,
KZ: SPECIFICALLY, FOR OUR GREAT JONES STREET STUDIO, WE, AND PARTICULARLY, REVEAL THE SILHOUETTE AND EXPRESS THE OVERALL AESTHETIC WE DEMAND OF IT.
JESSE WHO WAS LEAD ON DESIGN HERE, HAVE BEEN STUDYING THE TENANTS OF AND AS MENTIONED, WE NOW HAVE THE AMAZING FORTUNE TO WORK CLOSELY WITH
CHARLOTTE PERRIAND, IN WHICH FURNITURE WAS SEEN AS “EQUIPMENT,” AS A WAY THE MILLS AND TANNERIES WE MOST RESPECT, AND WHO MUST UNDERSTAND OUR
TO MAKE ROOM AND FUNCTIONALITY WITHIN A SPACE TO FREE UP THE OPEN AREAS VISION. THIS WAY, EACH YEAR, AS NEW TECHNIQUES ARE INVENTED, OUR PARTNERS
FOR VISUAL, COMMUNICATIVE AND PRODUCTIVE CREATIVE USE. SIMILARLY, THE KNOW OUR LANGUAGE AND CAN SHARE MANY OF THE INNOVATIONS THAT THEY
CYCLE 2.22 (COOL WEATHER) WAS INSPIRED BY CHARLOTTE PERRIAND, HERSELF. IN FEEL WE’LL APPRECIATE FROM THE ONSET OF THE ORIGIN OF EACH CYCLE. THE
HER LIFE, IN ITS FREE SPIRITEDNESS, SHE EMPLOYED A HIGHLY CONSCIOUS BALANCE PROCESS OF A FULL CYCLE DEVELOPMENT TAKES PLACE OVER 9-10 MONTHS: FABRIC
OF WORK, LEISURE AND SPORT WHICH WE CAPTURED WITHIN THE COLLECTION. SAMPLE SELECTION IS ONE OF THE EARLIEST AND MOST IMPORTANT ELEMENTS OF
SPATIAL DESIGN MEETS FASHION. THIS DEVELOPMENT CYCLE.

MORE BROADLY, ONE OF OUR FOUR STUDIO PILLARS IS TO MAINTAIN AN ARCHITECTURE AD: IN YOUR WORDS, WHAT MAKES YOUR BRAND UNIQUE AND SEPARATE FROM THE
STUDIO MENTALITY. IN ITS MOST BROAD INTERPRETATION, THIS MEANS YOU NEED COMPETITION?
A DESIGN STUDIO SPACE THAT IS CREATIVELY DESIGNED TO COMMUNICATE AND KZ: WE ARE MOST FORTUNATE TO HAVE CLIENTS AND PARTNERS WITH WHOM WE
INSPIRE YOUR DESIGN VISION TO YOUR CLIENTS. THIS IN TURN IS USED AS A SPACE TRULY CONNECT AND HAVE LOYAL, LONG TERM RELATIONSHIPS. FASHION IS NOT
TO MORE FULLY UNDERSTAND OUR CLIENTS, AND THROUGH A DIALECTIC THAT IS KNOWN FOR ITS SUSTAINABLE AND CONSISTENT PARTNERSHIPS.
ENHANCED BY THE SPACE, WE HAVE A BETTER UNDERSTANDING OF OUR CLIENTS’ STUDIO AND EVENTS WE HOLD THROUGHOUT THE COUNTRY), AND MORE THAN
WARDROBE NEEDS. WE ARE ENABLED TO CREATE THE ARCHITECTURE OF A CLOTHING HAPPY TO TAKE BACK AT FULL PRICE ANY UNSOLD ITEMS FROM OUR RETAIL PARTNERS.
CAPSULE FOR EACH CLIENT THROUGH THE STUDIO EXPERIENCE. THE DESIGN OF THE WE HAVE DESIGNED EACH PIECE TO LAST FOR A LIFETIME OF USE, AND THAT THE
GREAT JONES STREET STUDIO IS MEANT TO CONNECT WITH, INSPIRE, EDUCATE AND ULTIMATE RESPONSIBILITY FOR US LIES IN EACH PIECE’S DURABILITY. TO SELL MORE
HAVE FUN WITH OUR CLIENTS. VOLUME AT DISCOUNT IS ANATHEMA TO OUR STUDIO VALUES. OUR RESPONSIBLE
THINKING ALSO RELATES TO THE CHOICE WE MAKE TO SPEND 10X, TO CUT, SEW AND
AD: W HAT INS P IR ES YO U C R E ATIV ELY? SAMPLE ONLY WITH OUR PARTNERS HERE IN NEW YORK CITY, NEVER IN A MINIMALLY
KZ: SERIOUSNESS IN DESIGN AND EXECUTION, PRECISION THAT DEMANDS ALL MY REGULATED, LOW COST FOREIGN COUNTRY. WE ALL KNOW THAT LOW COSTS LEAD
ENERGY, FOCUS AND ATTENTION IS TANTAMOUNT TO INSPIRATION, SO THAT THE TO ENVIRONMENTAL AND SOCIAL ABUSES.
FINAL PRODUCT SERVES A FUNCTIONAL, DURABLE AND AESTHETIC PURPOSE FOR MY
CLIENT. I DO IT FOR THE DEMANDS OF THE CREATIVE PROCESS AND THE PLEASURE AD: WHAT SUSTAINABLE EFFORTS HAVE YOU IMPLEMENTED INTO YOUR PRODUCTION
OF THE SHARING. MICHELIN STARRED CHEF ARZAK IN SAN SEBASTIAN ONCE SAID: “BE METHODS?
SERIOUS, BE TECHNICAL, BUT ALWAYS SHARE WHAT YOU’VE MADE WITH JOY AND A KZ: WE SEE SUSTAINABLE FASHION AS A CONTRADICTION IN TERMS, BUT RATHER
LAUGH.” THINK ABOUT OUR DESIGN, DEVELOPMENT AND SALES AS RESPONSIBLE. WE ARE
RESPONSIBLE IN OUR PURCHASING IN THAT WE ONLY BUY FROM COUNTRIES
AD: WHO MANUFACTURES YOUR COLLECTION? WHERE ARE YOUR DESIGNS TAILORED? WHERE WE ARE CERTAIN THEY EMPLOY ENVIRONMENTALLY RESPONSIBLE FABRIC
KZ: WE HAVE FOUR VERY CLOSE PARTNERSHIPS WITH FACTORIES IN NEW YORK CITY’S MANUFACTURING PROCESSES, NAMELY IN EUROPE AND JAPAN. IN ADDITION, THESE
GARMENT DISTRICT. EACH HAS A UNIQUE SPECIALTY AND FACILITY FOR A SPECIFIC SAME COUNTRIES RESPONSIBLY PAY EVERY PERSON WHO WORKS WITHIN THE VALUE
AREA WITHIN OUR COLLECTIONS (AS, BESIDES OUR CYCLES BASED ON SEASONS, WE CHAIN REASONABLY, SO EACH CAN MAINTAIN A DECENT QUALITY OF LIFE. THIS
HAVE A CORE, MORE STABLE, COLLECTION, AND A “TRANSFORMATIONAL HABITS” SET MEANS THE FABRICS WE BUY ARE EXPENSIVE, AND THEY ALSO FALL IN LINE WITH OUR
OF FOUR OUTERWEAR JACKET PIECES, DESIGNED FOR MULTI FUNCTIONALITY, EACH VALUE SYSTEM. RESPONSIBLE ALSO MEANS WE PRODUCE QUANTITIES THAT ARE IN
DEMONSTRATES OUR STYLIZED MINIMALISM). WE ARE IN-PERSON, COMMUNICATING LINE DIRECTLY WITH OUR FULL RETAIL PRICE SALES EXPECTATIONS. WE NEVER GO ON
WITH OUR FACTORY PARTNERS EVERY DAY OF THE YEAR, EXCEPT JAN 1, AND SALE, WE ARE CAREFUL TO PLAN SMALLER PRODUCTIONS THAT FIT WITH OUR DIRECT
CHINESE NEW YEAR. CONCEPT DEVELOPMENT, DESIGNS, PATTERN MAKING, PATTERN TO CLIENT MAJORITY.
ADJUSTMENTS, AND OFTEN SAMPLE ADJUSTMENTS ARE MADE IN OUR GREAT
JONES STREET STUDIO, AND IN OUR KZ_K PRODUCT DEVELOPMENT STUDIO IN THE "YEARS OF EXPERIMENTING WITH
GARMENT DISTRICT. HUNDREDS OF FABRIC

AD: YOU ARE QUITE METICULOUS AND YOUR ATTENTION TO FABRIC SELECTION IS INTERMEDIARIES FROM EUROPE
AMAZING. THEY ARE COMFORTABLE, WITH STRETCH, NATURAL AND RECYCLED – YOU AND JAPAN HAS GIVEN US THE
CARE ABOUT THE ENVIRONMENT BUT ALSO USE VERY MODERN FABRICS. CAN YOU
PLEASE TELL ME MORE ABOUT HOW YOU CHOOSE THEM? WHERE DO YOU SOURCE GOOD FORTUNE TO HONE
THEM? IN ON THE DEEP PHYSICAL
KZ: YEARS OF EXPERIMENTING WITH HUNDREDS OF FABRIC INTERMEDIARIES FROM RELATIONSHIPS BETWEEN
EUROPE AND JAPAN HAS GIVEN US THE GOOD FORTUNE TO HONE IN ON THE DEEP
DESIGN AND FABRIC."

WASHABLE LEATHER
CARE INSTRUCTIONS

SOME ITEMS IN FW22 COLLECTION ARE WASHABLE LEATHERS. HERE ARE SOME CARE
INSTRUCTIONS. TO EXPAND THE LIFE OF YOUR WASHABLE LEATHER.

AVOID WASHING

DO NOT USE DETERGENT POWDERS, BEFORE AND AFTER EACH WASH, RUN
CAPSULES OR TABLETS (ONLY LIQUID AN EMPTY CYCLE TO REMOVE ANY
DETERGENT). DETERGENT RESIDUE FROM THE DRUM.

NEVER SOAK YOUR LEATHER IN THE USE A VERY SMALL AMOUNT OF SOFT
DRUM OF THE MACHINE, TAKE IT OUT LIQUID GENTLE DETERGENT AND
IMMEDIATELY AT THE END OF THE CYCLE. POUR IT INTO THE DRAWER OF THE
MACHINE (NOT DIRECTLY INTO THE
NEVER HANG UP YOUR WET GARMENT DRUM).
WHILE IT IS DRYING, AS THIS MAY CAUSE
IT TO BECOME DEFORMED. WASH YOUR LEATHER ALONE, RIGHT
SIDE UP ON THE DELICATE PROGRAM,
NEVER USE BLEACH OR ALLOW YOUR SHORT CYCLE. TEMPERATURE: COLD
LEATHER GARMENT TO COME INTO OR 30°C MAXIMUM
CONTACT, EVEN MINIMALLY, WITH
TRACES OF BLEACH EITHER DURING AT THE END OF THE CYCLE, REMOVE
WASHING OR DRYING. YOUR GARMENT IMMEDIATELY FROM
THE DRUM. THEN LAY FLAT TO DRY ON
DO NOT EXPOSE YOUR LEATHER TO A TOWEL.
PROLONGED SUNLIGHT.
IRONING: ON THE REVERSE SIDE
DO NOT WASH YOUR KZ_K PIECE BY (COTTON SIDE OF FABRIC), WITH NO
HAND. DO NOT SOAK IT. STEAM, PRESS THE SMOOTH FABRIC.

SPOT CLEAN PROTECT

IN CASE OF A GREASE STAIN, APPLY TO PROTECT THE LAMBSKIN LEATHER
BAKING SODA TO THE STAIN AND GARMENT, USE CADILLAC SELECT
LET ABSORB BY PRESSING THE PREMIUM WATER REPELLANT AND
BAKING SODA INTO THE STAIN. STAIN PROTECTOR.
AFTER LETTING BAKING SODA
ABSORB THE GREASE, USE CLEAN GREAT FOR USE WITH LEATHER AND
AND GENTLE WASH AND WATER TO SUEDE.
SPOT CLEAN THE AREA.
IF YOU USE THE CADILLAC SELECT
IN CASE OF A WINE STAIN, DAB WITH SPRAY, MAKE SURE IT HAS DRIED
COLORLESS PAPER TOWELS UNTIL COMPLETELY BEFORE WEARING
YOU HAVE ABSORBED AS MUCH YOUR LEATHER PIECE.
WINE AS POSSIBLE, THEN MACHINE
WASH. FOR BEST USE FOLLOW
INSTRUCTIONS ON THE BOTTLE.
IF THERE IS AN INK OR FELT-TIP
STAIN, ERASE (GENTLY) THE STAINED FOR BEST UPKEEP OF THE
SURFACE WITH A WHITE ART ERASER CONDITION OF YOUR GARMENT
(STAEDTLER OR PENTEL BLOCK SPRAY THE GARMENT EVERY FEW
ERASER) MONTHS.

BLEEDING FADING MARKS

BRIGHTLY COLORED AND WITH EACH WASH AND ONLY USE A SMALL NAIL
HIGHLY PIGMENTED DEPENDING ON ITS BASE SIZE AMOUNT OF WASHING
LEATHERS CAN BLEED COLOR, YOUR GARMENT DETERGENT. IN CASE OF
WITH HIGH AMOUNTS OF COULD FADE SOMEWHAT. COLOR OR WHITE MARKS
SWEAT OR MOISTURE. AS AFTER WASHING, REWASH
A PRECAUTION, AVOID BRIGHT COLORED LEATHERS YOUR GARMENT WITHOUT
CONTACT BETWEEN YOUR AND PIGMENTED LEATHERS DETERGENT. NOTE THAT IF
LEATHER ITEM AND ANY ARE MORE SUBJECTED TO THESE MARKS ARE DUE TO
LIGHT COLORED FABRIC. FADING WITH EACH WASH. BLEACH RESIDUE IN YOUR
DRUM OR IF YOU USED TOO
MUCH DETERGENT DURING
THE WASH, THESE WHITE
MARKS WILL UNFORTUNATELY
NOT COME OFF.

KZ_K STUDIO MARRIES THE BRAND PRESENTS TWO COLLECTIONS PER YEAR — ONE FOR THE
ARCHITECTURE & COLD SEASONS AND ONE FOR WARM SEASONS — WHICH INCLUDES SUCH
DESIGN FOR MULTI- OFFERINGS AS LIGHTWEIGHT SHIRT JACKETS, REVERSIBLE TOPS AND TROUSER-
FUNCTIONAL, INSPIRED DARTED PANTS IN THE WARM WEATHER COLLECTION, AND MATCHING
FASHIONABLE CINCHED JACKETS AND PANTS, BLAZERS, SWEATERS AND DRESSES IN THE COLD
GARMENTS WEATHER COLLECTION. EACH PIECE IS DESIGNED WITH MULTI-FUNCTIONALITY
IN MIND AND ARE BUILT WITH MATERIALS THAT WILL RETAIN THEIR QUALITY
LAUREN D'ERRICO AUGUST 1, 2022 THROUGH CONSISTENT WEAR — THE GARMENTS CAN TRANSITION, CONVERT
AND REVERSE TO CREATE A NUMBER OF SILHOUETTES AND STYLES ON THEIR
W H AT S E T S A G A R M E N T A PA R T F R O M S I M P LY B E I N G OWN OR PAIRED WITH OTHER KZ_K STUDIO PIECES, WHICH MEANS THAT
ANOTHER SHIRT ON THE RACK TO BEING A PIECE OF THEY WILL BE STAPLE PIECES IN SHOPPERS’ CLOSETS FOR YEARS TO COME.
WEARABLE ART IS THOUGHTFUL, INTENTIONAL AND
FUNCTIONAL DESIGN — AND NO ONE CONSIDERS ALWAYS A LOVER OF FASHION AND ALL THINGS CREATIVE, ZMARLAK
T H E I M P O R TA N C E A N D P O W E R O F D E S I G N W H E N I T STUDIED AT THE FASHION INSTITUTE OF TECHNOLOGY (FIT), WHERE SHE
CO M E S TO T H E C R E AT I O N O F FA S H I O N M O R E T H A N WAS ABLE TO HONE AND REFINE HER DESIGN TECHNIQUE — AND DEVELOP
KAROLINA ZMARL AK AND JESSE KEYES. A FASHION THE SKILLS THAT WOULD BECOME THE GROUNDWORK FOR KZ_K STUDIO.
D E S I G N E R A N D A R C H I T E C T R E S P E C T I V E LY, T H E
PA I R — W H O A R E A L S O L I F E PA R T N E R S A S W E L L A S “I BELIEVE THAT IN ORDER TO REALLY BE A GREAT DESIGNER, YOU HAVE TO
PA R T N E R S I N B U S I N E S S — A R E T H E F O U N D E R S O F UNDERSTAND THE FUNDAMENTALS AND HAVE THE TECHNIQUE BEHIND THE
K Z_K STUDIO, A NEW YORK CIT Y-BASED FASHION IMAGE OF FASHION,” ZMARLAK SAID. “FOR ME, THAT WAS VERY PARTICULAR.”
B R A N D T H AT WA S C R E AT E D O N T H E D E S I G N P I L L A R S
O F M O D E R N I S M , S U S TA I N A B I L I T Y A N D V E R S AT I L I T Y. AFTER ZMARLAK GRADUATED FROM THE FIT AND ENTERED INTO THE FASHION
WORLD AMIDST THE GREAT RECESSION, SHE SAW A UNIQUE OPPORTUNITY
TO FOLLOW HER AMBITION TO CREATE HER OWN BRAND. “JESSE AND I
WERE ALREADY COLLABORATING IN OUR PERSONAL LIFE AND WORK LIFE
… WE WERE COMING UP WITH A LOT OF DIFFERENT IDEAS, AND WE TALKED
ABOUT DOING A MADE-TO-MEASURE TYPE OF ATELIER,” ZMARLAK SAID,
“WHICH TURNED INTO WHAT YOU SEE TO THIS DAY: A READY-TO-WEAR LINE.”

THE BRAND TOOK ON ITS FIRST LIFE AS A SMALL CAPSULE IN 2009, AND IN
2015, ZMARLAK AND KEYES REASSESSED THEIR PROCESS AND WHAT THE
FUTURE OF KZ_K STUDIO MIGHT LOOK LIKE IN THE LONG-TERM. “INSTEAD
OF DOING THE REGULAR SORT OF FASHION PROGRAM AND ONLY WORKING
WITH STORES, WE EVOLVED TO BE DIRECT-TO-CLIENT AND FOUND NEW
WAYS TO PARTNER WITH STORES THAT MADE OUR BUSINESS SUSTAINABLE,”
ZMARLAK SAID. “WE COULD DESIGN AND WORK IN A WAY WE FELT WAS
GOING TO BE THE FUTURE [OF THE BRAND] FOR THE NEXT 20 TO 30
YEARS — BECAUSE WE WANT TO BE IN THIS FOR THE REST OF OUR LIVES.”

I. WAY,” ZMARLAK SAID. “MADAM CLICQUOT WAS THIS THIS COMMITMENT TO QUALITY TIES DIRECTLY
INCREDIBLE WOMAN WHO TOOK OVER A FAILING INTO THE BRAND’S SUSTAINABILITY GOALS.
ARCHITECTURAL INFLUENCES BUSINESS FROM HER HUSBAND WHO PASSED AND MANY OF THE KZ_K STUDIO’S GARMENTS ARE
MADE IT WHAT IT IS TODAY.” MADE WITH RECYCLED FABRICS AND PL ANT-DYED
KZ_K STUDIO’S ATELIER MODEL IS JUST ONE ELEMENT MATERIALS — FOR EXAMPLE, SWEATERS IN THE
OF THE BRAND’S DNA THAT SETS IT APART. NOT ONLY THE FALL/WINTER COLLECTION WAS INSPIRED BY FALL/WINTER COLLECTION, WHICH WERE DESIGNED
IS THE BRAND INSPIRED BY THE FASHION HOUSES OF CHARLOTTE PERRIAND, A WELL-KNOWN FRENCH IN COLL ABORATION WITH THE BRAND’S JAPANESE
OLD — WHERE CLIENTS WOULD WORK ONE-ON-ONE DESIGNER AND ARCHITECT WHO LIVED FOR ALMOST PARTNERS, WERE MADE FROM FABRICS THAT WERE
WITH DESIGNERS TO DEVELOP AND CREATE PIECES 100 YEARS. “SHE WAS ONE OF THE FIRST PRODUCT DYED WITH FOOD WASTE THAT WAS COLLECTED AND
TOGETHER THAT WOULD FORM THEIR OWN PERSONAL DESIGNERS, AND MANY PEOPLE CONSIDER HER AN REPURPOSED BY A TOKYO-BASED FOOD PROJECT.
COLLECTIONS FOR A SEASON OR MORE — BUT IT ALSO ARCHITECT … SHE NEVER RECEIVED THE CREDIT, BUT
TAKES INSPIRATION FROM WHAT KEYES CALLED THE SHE WAS REALLY PROLIFIC AND WORKED WITH NEW “THE ULTIMATE MEANING FOR SUSTAINABILITY
ARCHITECTURE STUDIO MENTALITY. IN THIS MODEL, MATERIALS AND TEXTURES,” ZMARLAK SAID. “THE TO US — AS WITH ARCHITECTURE, TOO — IS HOW
RATHER THAN CREATING A PRODUCT (OR, IN THIS COLLECTION IS SLEEK AND MINIMALIST, BUT WITH WELL-BUILT THE STRUCTURE IS AND HOW WELL-
CASE, A GARMENT) AND THEN TRYING TO CONVINCE AMAZING SCULPTURAL DETAILS.” BUILT THE PIECES ARE. IF [THE GARMENTS] LAST
CLIENTS OF WHY THEY NEED IT, THE DESIGNER AND THE FOR A LIFETIME OF USE — FOR 20, 30 AND 40 YEARS
CLIENT FORM A RELATIONSHIP WHEREIN BOTH PARTIES “WHEN YOU LIVE IN AN INCREDIBLE CITY, ESPECIALLY — THEN THAT’S THE ULTIMATE IN SUSTAINABILITY,”
UNDERSTAND EACH OTHER’S ABILITIES AND NEEDS — HERE DOWNTOWN, IT’S EVERYTHING FROM WHAT KEYES ADDED.
AND THE PRODUCT THAT COMES FROM THIS DIALOGUE YOU CAN SEE … TO REALLY THINKING ABOUT WHAT
COMPLIMENTS BOTH’S AESTHETICS. CHARLOTTE PERRIAND WAS LOOKING AT, AND THE III.
MATERIALS THAT SHE WAS WORKING WITH IN THE 1920S
“OVER TIME, YOU DEVELOP THAT DEEP, LOYAL, DESIGN- — AND HOW [THEY ARE STILL] INCREDIBLY MODERN KZ_K STUDIO’S NEW
ORIENTED RELATIONSHIP,” KEYES SAID. “CLIENTS TODAY AND UTILIZED IN PRODUCT DESIGN,” ZMARLAK DOWNTOWN HOME
COME TO US BECAUSE THEY KNOW WE’RE DESIGNING CONTINUED, EXPANDING FURTHER ON WHERE SHE
CLOTHING THAT WORKS, FUNCTIONALLY, AND [IS] FINDS HER INSPIRATION AS A DESIGNER. “WHEN YOU’RE ZMARL AK AND KEYES’ COMMITMENT TO TRULY
AESTHETICALLY PLEASING.” SEARCHING AND SEEKING OUT TECHNIQUES AND WELL- LISTENING TO THEIR CLIENTS AND SATISFYING
DESIGNED PRODUCTS, THE THEMES INTERCONNECT THEIR NEEDS WITH GARMENTS THAT ARE LONG-
“THE DIFFERENTIATING FACTOR [OF KZ_K STUDIO] IS AND YOU HAVE AN ARCHIVE OF IT ALL IN YOUR BRAIN. LASTING, GOOD FOR THE ENVIRONMENT AND
TWOFOLD,” ZMARLAK CONTINUED. “IT’S DEFINITELY IT BUILDS ON ITSELF.” TIMELESSLY CL ASSIC SETS THE BRAND APART FROM
IN THE PRODUCT, WHICH HAS EVOLVED BUT HAS ITS COMPETITORS — AND WILL ASSURE THAT THE
ALWAYS STAYED WITHIN THE VALUE SYSTEM OF MULTI- II. BRAND WILL BE AN IMPORTANT PART OF THE FASHION
FUNCTIONALITY, AND ALSO WITH THAT ARCHITECTURAL INDUSTRY FOR YEARS TO COME. THE BRAND HAS JUST
THINKING AND ATELIER-STYLE CONNECTION WITH THE MULTI-FUNCTIONALITY & MOVED TO A NEW SPACE, THE GREAT JONES STREET
CLIENT … THE CLIENT [COMES] BACK OVER TIME AND S U S TA I N A B I L I T Y STUDIO, WHICH PROVIDES A CENTRAL MEETING
IS REALLY CONNECTED NOT JUST AS A CUSTOMER, BUT GROUND WHERE THE FOUNDERS, THEIR TEAM AND
AS PART OF THE SUCCESS AND PART OF A COMMUNITY.” MULTI-FUNCTIONALITY IS AT THE CORE OF KZ_K THEIR CLIENTS CAN COME TOGETHER TO CREATE,
STUDIO’S MISSION — AND THIS FOCUS ON THE LEARN AND EXPLORE.
ARCHITECTURE ALSO INFORMS KZ_K STUDIO’S MUTABILITY OF PIECES INFORMS MANY OF ZMARL AK
GARMENT OFFERINGS AS WELL. EACH OF THE AND KEYES’ CHOICES WHEN IT COMES TO THE FABRICS “WE HAD AN OPPORTUNITY TO TAKE OVER
BRAND’S BIYEARLY COLLECTIONS ARE “CONCEPT AND TECHNIQUES THAT IT TAKES TO CREATE THEM. THIS WHOLE FLOOR DOWNTOWN, IN THE
DRIVEN,” KEYES SAID, AND ARE INSPIRED BY THE THE FOUNDERS TAKE PRIDE IN THEIR REL ATIONSHIPS NEIGHBORHOOD THAT WE SO ENJOY, AND BE ABLE
WORKS, AESTHETICS AND ARTISTIC MOVEMENTS WITH THEIR FACTORIES AND MANUFACTURERS — TO TAKE A SPACE THAT’S REALLY AN EXTENSION OF
OF NOTEWORTHY ARCHITECTS AND ARTISTS. MOST OF WHICH ARE LOCATED IN NEW YORK CITY’S THAT SAME DESIGN ETHOS,” KEYES SAID, “AND MAKE
ZMARLAK AND KEYES OFTEN TRAVEL TO AND GARMENT DISTRICT, IN ADDITION TO CONTINUED EACH SPACE [IN IT] PURPOSEFUL, INTERCONNECTED,
IMMERSE THEMSELVES IN THE INTERNATIONAL COLL ABORATIONS WITH MILLS AND TANNERIES MULTI- FUNCTIONAL AND FLOW. [WE] UTILIZED ALL
SETTINGS THAT INSPIRED THEIR DESIGNS. LOCATED IN JAPAN AND FRANCE, RESPECTIVELY — THESE TECHNIQUES AND MATERIALS WITH TWO
AND WORK CLOSELY WITH THEM ON DESIGNS AND THINGS IN MIND: THAT SAME MODERNIST, MULTI-
“WE HAD A BARRAGÁN COLLECTION, SO WE WENT TO LEARNING NEW AND UNIQUE TECHNIQUES FOR FUNCTIONALITY AND STYLED MINIMALISM.”
MEXICO CITY AND SPENT A WEEK AND A HALF STUDYING THEIR MULTI-FUNCTIONAL GARMENTS TOGETHER.
ALL OF HIS ART, ARCHITECTURE AND HISTORY, AND “WE ALWAYS SAY WE DON’ T WANT TO BE LOOKED AT
INTEGRATED SOME OF THOSE ELEMENTS THAT MAKE “WE’RE DOING THE SAMPLING AND ALL OF THE AS A FASHION BRAND,” ZMARL AK CONCLUDED. “WE
SENSE — LIKE SOME COLOR COORDINATIONS, DETAILS MANUFACTURING WITH THESE TEAMS,” KEYES SAID. KEEP CALLING OURSELVES A DESIGN STUDIO, AND
IN FABRICS OR EVEN FINISHING SOME OF THE DETAILS “IT GOES HAND IN HAND: THOSE FACTORIES THAT WE, I THINK THAT THAT’S THE EXCITING PART ABOUT
IN THE STUDIO THAT WE WERE INSPIRED BY,” KEYES OVER TIME, HAVE FIGURED OUT HOW TO BECOME HAVING THIS SPACE. IT’S SORT OF COMING FULL
SHARED. DEEP PARTNERS WITH, FROM OUR PERSPECTIVE, CIRCLE, AND KEEPING IT SORT OF REL ATIVELY SMALL
ARE THE BEST FACTORIES BECAUSE THEY HAVE THE [MEANS] WE DON’ T HAVE TO BE THE NEXT GIANT —
THE BRAND’S MOST RECENT SPRING/SUMMER HIGHEST LEVEL OF TECHNIQUE AND QUALITY.” IT REALLY IS SOMETHING THAT THE PASSION OF THE
COLLECTION PAID HOMAGE TO MADAM CLICQUOT WORK CAN BE REALLY FANTASTIC AND FULFILL ONE’S
AND PICASSO’S LAST 15 YEARS OF WORK AND LIFE, LIFE IN A WAY THAT’S SMALLER AND INTIMATE.”
SOME OF WHICH HE SPENT IN MOUGINS, FRANCE. “[IN
THE COLLECTION], YOU’LL SEE BEAUTIFUL, COUTURE
COLORS DONE IN OUR SORT OF MINIMALIST, NEUTRAL





CORE CYCLE 2.22 "EVERYTHING CHANGES SO QUICKLY, AND WHAT IS
STATE OF THE ART ONE MOMENT WON'T BE THE NEXT.

ADAPTATION HAS TO BE ONGOING - WE HAVE TO
KNOW AND ACCEPT THIS. THESE ARE TRANSIENT TIMES."

-- CHARLOTTE PERRIAND

35 GREAT JONES STREET, NEW YORK , NY 10012
WWW.KZKSTUDIONYC.COM