FL: So tell us how you ended up at J. Mendel.

RC: Well I’m originally from Iowa but I went to school for fashion in Cleveland for one year, and then moved to New York and went to FIT for one year. While I was at FIT one of my professors introduced me to someone who owned a coutour house. In two weeks of working with him, I learned more than I had in two years of schooling. Instead of returning to school, I began working with him full-time. After 9/11 he introduced me to someone that worked for J. Mendel. I was referred to the Design Director and started working about four days after the ready-to-wear collection had launched. I was excited about working with J. Mendel because it was my first time working with a company that had a show at Bryant Park. Having a show at Bryant Park pretty much signifies an established fashion house. Still, I’m a little apprehensive about not getting a degree just because I’m not sure how that will affect me in the future.

FL: Did you always dream of being a designer?

RC: No, I didn’t know anything about fashion before I entered the industry. I was never one of those who sketched as a hobby. I kind of just stumbled on this career. I’ve always loved to design different things: furniture, layouts, etc… But the fashion shows, with the lights, the clothes, the girls on the runway, the audience and the music made me want to pursue fashion. But once into it, I realized that the fashion show is just the face of a chaotic make up.

FL: What role does the Associate Designer play within the design studio?

RC: Basically, we do everything. The design team is the “problem solver” of garment production. Each garment begins with a concept and we have to see that concept through to the finished product. J. Mendel clothing is largely about doing things with fabric that is normally done with fur and vice versa. So a lot of draping and swatch sampling is involved. What generally happens is we’ll drape half of the garment to show the patternmaker to provide an idea of how we want the finished product to look. We walk through it and try to solve the “how-to’s” before it is presented to the patternmaker. However, even when it goes off into production problems arise that need solutions. For example, a garment may not be able to be constructed in a certain way, a new machine may be needed, or we may need to find ways to lessen the garment price. The design team is involved in all ideas and research until the finished sample. An average day incorporates all of the roles of an associate designer. There aren’t some days when you do a sketch and some days that you drape. Everyday you do everything.

FL: Is there ever any “down” time?

RC: There is always something to do in a fashion house. It’s not about making one sketch and giving it to someone to create. It’s about making thousands of sketches, draping hundreds of dresses, speaking with vendors, going through trims, etc…

FL: There is a common misconception that the Designer is the sole creator of every collection. How many people are on the design team at J. Mendel and who usually comes up with the ideas?

RC: There are five of us on the design team including J. Mendel, the Design Director and myself. All of us come up with different ideas and concepts and then J. Mendel makes the decision about what goes into production.

FL: Where do your inspirations come from?

RC: Everything is an inspiration: different genres, collections we’ve done in the past- anything and everything can be an inspiration.

FL: How would you describe the J. Mendel collection?

RC: Expensive, high society, exclusive…something super original that only very few people can have.

FL: As you stated earlier, a lot of people are blinded by the glamour of the runway shows and don’t realize how much work goes into creating it. Tell us what it’s like behind the scenes.

RC: Chaotic! You rip the clothes off the model and put her in something else. You are tying up straps as she is walking on stage. But you can hire production companies that help you. It’s a lot of excitement and a little nervousness before the show. But soon after the show, there’s a period of depression that’s common in the fashion industry because you are dedicating so much work and time to something that only lasts for about 10 minutes. Weeks before a fashion show we often work seven days a week with very long hours. Afterward, you have to figure out how to make what was on the runway real.

FL: What do you love most about being an Associate Designer?

RC: I love making something from nothing and knowing that it exists because of you.

FL: What do you hate?

RC: That fashion is sort of like a big “girl’s club.” You need to cater to different women in the industry so that you will be publicized as the “it thing.” I hate the petty things. But, I would rather cater to those people than create clothing just on the basis that it needs to be sold.

FL: What are your aspirations in this industry?

RC: If I could have it my way I’d like to run a house that already has an established name and just revamp the image so I would still be able to show a lot of my own ideas and have creative control. It’s so hard to get a name for yourself; it’s at least 20 to 30 years of work.

FL: What advice do you have for students and aspiring designers trying to break into the industry?

RC: First you should realize that design houses depend a great deal on interns. To set yourself apart, just be smart and pretty much be willing to do anything. Someone once told me that you learn something from every situation even if you learn something you don’t want to do. I always try to remember that, especially because I’ve blown a couple of internships. Basically, just don’t hold any judgments and try to do what you’re asked. Also you have to really love what you do. Because of the dedication it takes as far as time, labor and chaos, you have to love it. I mean you do get perks such as parties, the fashion shows, and so on, but you can’t be in it for that because that’s only a small part.