Designer David Peck shows the many colors of his Spring/Summer 2013 collection.

Fashion, David Peck makes clear, is more than just the clothes we wear. With his eponymous CROP by David Peck Spring/Summer 2013 collection, Peck shows that fashion is both transformative and character defining. (Translation: You are what you wear.)

Underpinning Peck’s “Once Upon a Dream” collection is a stream of narratives, both deeply personal to the designer and profoundly universal. The artistic fish motif, for instance, that swims across silk organza dresses, organic cotton sateen shifts and linen chiffon shirts, is transported from the characters of “Wynken, Blynken and Nod,” a popular poem by American writer Eugene Field.

The designer’s starting point for the seasons’ fish motif began as a stylized cardboard cutout.

His floral origami prints, radiating across pieces like the silk chiffon Arable Top and Laurie Trouser (below), traveled from Peck’s yesteryear love for the Child Craft Encyclopedias—the place from where he began his artistic pursuits.

Other garments speak from journeys later in life. His geographical dresses, skirts and shirts, imprinted with a historical Parisian map from 1850, hail from Peck’s love for his home of six years, where he studied fashion design at École Parsons  Paris. As Peck and I tour the garment and its subtle French centerpiece, we catch sight of the Louvre and the Seine en route to his former apartment.

Beyond the artistic magnificence of Peck’s designs—down to the careful back cutouts and the meticulous placement of seams—is the diversity of all he creates in a single season. Wearable for women across ages, passions and pursuits, he gives his wearer the ingredients to make the piece her own. Classic twists like the racer top Attonia Dress (below), the Havisham Gown from locally sourced viscose jersey (below) or the striped and plaid Elinore dress, made from entirely hand-woven cotton from India, bring playful sophistication to the forefront—day to night and year to year.

For Peck, though, the greatest fashion statement of all is the one he wears proudly: Made in the USA. Each collection is designed and stitched in his namesake production facility in Houston, Texas. There, he works to create his own collection stateside and produces for four other brands who also see the value in local. Through collaboration with the Greater Houston Partnership, Peck hopes this will only continue to grow, as companies take advantage of domestic skills, the large port that Houston offers and the efficiency that local manufacturing can create.

To further support local communities throughout the United States, 10 percent of profits from the complete Spring/Summer 2013 collection will go directly toward caring for homeless youth through the charge of Covenant House. Through such initiatives Peck upholds his founding vision to promote “Creative Opportunities,” abbreviated as CROP.

Dreams, Peck shows, really do come true.

Some more looks we love:

Images: Jennifer Barckley

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Designer Myrrhia Resneck’s Spring 2013 collection features elegant, flattering, edgy knitwear, sustainably made in California.

One important part of sustainable fashion is local manufacturing, and it can still be challenging to have a fully “Made in the U.S.” fashion line. Oakland-based knitwear designer Myrrhia Resneck of Myrrhia Fine Knitwear has invested heavily in localized production and made it her goal to provide livelihoods in the textile industry in her community.

After one year of production, Myrrhia decided to invest in a Stoll knitting machine – currently the only one of its kind in Northern California – which she intends to use to create a micro industry for surrounding farms and other knitwear lines (NoCal designers, take note).

Myrrhia uses sustainable materials including locally sourced fiber from Northern California and wool and cotton that is sustainably grown and harvested as well as milled into yarn locally. The company is also involved with the Fibershed movement – an organization dedicated to regionalizing fiber sourcing.

In starting her knitwear line, Resneck continues a long-standing family tradition of fashion-related business endeavors. Her maternal great-grandfather started out peddling clothes out of the trunk of a car, her grandfather and great-uncle operated a chain of women’s clothing stores in the Midwest, and, at age 7, Resneck’s paternal grandmother taught her to knit. That same week, she had designed and completed her first project – a pair of green slippers. Fast forward a couple decades and although her focus has changed, that initial passion for knitwear remains.

Myrrhia’s knits and accessories are inspired by “friends and family, technology, and space.” The recently released Spring 2013 collection features patterned maxi skirts, lace knit tops, cropped and boyfriend cardigans, flowing long dresses of scrolling lace and playful short dresses of scoop and boatneck cuts as well as versatile infinity scarfs made of soft, silky knits. The pieces showcase the designer’s sustainability efforts, using fibers like un-dyed organic cotton (grown only 90 miles from Myrrhia’s studio by Foxfibre) and Lenzing Tencel, which is harvested sustainably from Eucalyptus trees.

The pieces are highly wearable, timeless, yet fashion forward. The geometric shapes, lace-like textures and elegantly paired colors work just as well for day as for night. The rich earthy tones and vibrant shades of blue, purple, and teal are universally flattering and goes beyond seasonality to suggest a style of “elegant-femininity-meets-majestic-warrior-goddess nuances.”

We think we can identify with that.

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It has been a long distance sprint to the finish line. You know when you think a reprieve from the hard work is just around the corner, so you run your hardest thinking the finish line is coming up? Alas, it’s just a mirage and there are more hills to climb.

It has been a very difficult month, but today I woke up before my alarm clock which I haven’t done in weeks. I’m guessing it’s because this past week I actually finished my collection in the tiny home studio I like to call Armageddon (because that’s what it looks like in here). I made the deadline with six hours to spare.

I woke before dawn, packed my collection and hailed a cab into Manhattan. I was filled with fear that perhaps I had made a body of work that wasn’t me and wouldn’t work. Had I forged a new path with blinders on?

But I arrived to smiling faces who were eager to play dress up and cheer me on. The wonderful photographer made me feel like a “real designer.” The Green Beauty Team (of course, I used an ethical girls dream team) was ready to make my vision come to life on a model that was sweet and different than the “MothLove” girls of yesteryear.

Everything about this day was new. I had never worked in an environment with a professional team. It made me feel like Super Woman, but Super Woman after a long battle. At one point I almost cried. The model was dressed, her hair and make up finished. The lighting was ready and music played the anthem of the day. Then my concept came around the corner and looked better than I could have imagined. It was like a phoenix rising from the ashes. The new Gretchen Jones appeared.

And just like that it was over. You might think I’d be relieved, yet my to do list seems larger than ever. The next leg of this race involves branding and launching, with a turn-around-time that seems impossible to achieve. But again, impossibilities seem to knock on my door more often than a friend these days.

As I wrap up one project and move onto the next I wonder when it will hit me, just how far I’ve come.

The day after wrapping my shoots I was at New York Fashion Week (NYFW) presentations watching Bliss Lau’s artful show of ballerina dancers entangled in the most incredible leather and chain garments. A designer I’ve admired for so long, right there in front of me, pushing herself the way I hope to. Making me want more, never looking back except to appreciate where I’ve been.

This season I find myself submerged in the scene, rather than looking through the window. Fearing I still don’t speak the language, I have to jump in. This game isn’t for the light at heart.

My dance card is full this week and NYFW beckons me like a moth to a flame. I may be a whole new me, but I’m just learning how to spread my wings.

Image credit: Gretchen Jones

This is the sixth piece in a new series at EcoSalon with Project Runway winner and sustainable fashion designer Gretchen Jones. For Jones, her daily apprenticeship with the “school of life” has been her guiding teacher and we look forward to bearing witness to her weekly inspiration collages, featuring ideas and scenes from the streets and parties of New York City, where she recently located. As well as her innate sense of style she’ll be pulling from a world of patterns, textures and all the designers who have preceded her.

The post Week 6: My Designer Life By Gretchen Jones of Project Runway appeared first on EcoSalon.

The price of fashion, at least the price of being a designer, costs a whole lot more than any dollar sign could ever quantify.

I’m exhausted mentally and physically. My brain cells need to be fully restored. Emotionally, I feel withered away. The last time any friendly interactions were had without that ever-present subconscious awareness of deadlines looming seems so far away.

To be honest, I cannot remember the last time my pace was slowed – perhaps it was as far away as the summer of 2009. Having the opportunity to smell the roses and truly relax, relate and replenish has taken a back seat to ambition, desperation (at times) and timing. Yes, I’m sure you think that with all my opportunities life would be nothing but cheery – but it’s actually the opposite. Added pressure, not enough time, new found stigmas attached to my personality, pressure, exhaustion in the idea realm – shall I go on?

The glamorous facade we all see in magazines and red carpets is truly the smoke in mirrors that barely reflects the realities of playing fashion hard ball. It’s a labor of love, nothing more. No one should work 18 hour days, six days a week while basically playing a risky game of roulette.

Did you know that the average start up cost for developing a single collection is over $30,000?

The estimated funding/backing needed to launch a label is 1.5-2 million, with a solid $250,000 in the bank ready to pay out for first collections – just to develop samples, shoot them and prepare for sales (all this with no guarantee of success). Plus, the time lines for developing and preparing collections are usually at least four months. I’m working on about two months and much less than $30,000. It’s as if the drug is the stress and the high is the finished body of work. It’s never finished until the deadline hits, when you go dark for a second and then pick yourself up by the (hopefully chic) boot straps and prepare to do it all over again.

So I find myself wondering, at the final hour with three garments to finish, two to edit and 23.5 hours to go – is it worth all this stress and sleep deprivation, lost relationships and risk of ending up broke?

Yes. Of course.

The least I can say is that I can’t get enough of it and it has always been that way. Fashion chose me, not the other way around. As I progress as a designer, I’m finding that I would like to refine the approach.

And I hope that in 24, excuse me, no, 23 hours, the cost of everything I’ve put myself through will come to fruition. It’s never good enough, I always wish I could do things better, I always walk away with a million ideas that didn’t get the time to be developed…but that’s what the next collection is for, right?

This completed collection – the one after I show you what I’ve created in a tiny room on the floor – will deliver some free time to embrace where it is I have come from. It will give me a momentary respite so I can take a long walk in the park, be proud and get back up again to try to one up myself next time.

The learning curve is just too fun to ride. I guess I’ll just stay buckled in.

This is the fifth piece in a new series at EcoSalon with Project Runway winner and sustainable fashion designer Gretchen Jones. For Jones, her daily apprenticeship with the “school of life” has been her guiding teacher and we look forward to bearing witness to her weekly inspiration collages, featuring ideas and scenes from the streets and parties of New York City, where she recently located. As well as her innate sense of style she’ll be pulling from a world of patterns, textures and all the designers who have preceded her.

The post Week 5: My Designer Life By Gretchen Jones of Project Runway appeared first on EcoSalon.