Músed Spring ’16 Lookbook
When designer Lindsay Jones first broke out onto the fashion scene seven years ago with her husband-and-wife label, Outlaws of the Border, she was in love. Though the brand was short-lived, she managed to attract the attention of countless celebrities and publications in just a few seasons. After a series of heartbreaks, several major career moves, and one “mini-retirement” later, Jones is back, this time solo and stronger than ever.
Debuting her new label, Músed, tonight at the World School in a group show, the NY-based designer is joined by fellow Snowglobe Incubator brands Whatever 21, Sext Pixels, Something Happening and Snowy Wilderness. In the heat of prepping for her brand’s launch, Jones sat down with us to talk about the debut collection, her personal muses and how she got her nickname, Diamond Bones.
Who was your muse for Músed?
“My friend, Labanna Babalon. She was my muse behind the birth of the label. When I was going through this heartache about two years ago, we were making phone calls to each other about 3,000 miles apart. She was going through something similar and we had these nurturing calls with each other and it really did inspire me to shift my focus back to creating again, and doing something for myself. She was really there for me during that time, and it was then when we really started dreaming up some of these ideas over the phone.”
What inspired you about Labanna?
“She was this strong, feminist artist who was empowering herself through her art and it made me remind myself that I don’t really need anyone. Independently as a woman, I’m very capable and powerful. I can succeed if I really nurture myself and the women around me. I like the idea of the Goddess. There are three women in my brand’s logo and they stand for inspiration. I kind of see the goddess in Labanna also; she’s a very powerful woman. She’s not afraid of nudity, and she’s really rebellious to the past culture that was oppressive to women.”
How has your design style evolved since Outlaws of the Border?
“You know how you look back at your style over the last five years and think, ‘Why was I doing that?’ I sometimes wish I could go back and wash it all off the internet and start fresh, but I’m still grateful for the process. When I look back, I have to remember that everything is a stepping stone. At the time I was so young, and [Outlaws of the Border] got the cover of WWD and then we got a write up in Japanese Vogue and we didn’t have to work too hard to get that attention.
It would be difficult to pinpoint how my style has changed, but my past collections seem a little bit naïve to me. I think my style has evolved. I think that will happen to any designer, especially if you start designing young, and I’ve been designing over decades. I started designing when I was in high school and then have been working in the industry for the last 10 years.”
How did you jump back into the industry after leaving Outlaws of Borders?
“I ended up leaving Outlaws and going back to work for Zac Posen as a gown designer because I realized investing so much money in a brand was silly for me at that time, when the economy was crashing. After working on Zac Posen gowns every night until 4 in the morning and going back to work at 10 am, I took a little break and went to Malibu. It was a mini early retirement. I fell in love, lived by the ocean, walked the beach, watched dolphins and really was living the good life.
Even though my intention was to get back to my artwork, I ended up getting a little stir crazy because I wasn’t designing. I ended up working on a shoe line for a private label, so even when I tried to quit designing, I couldn’t really quit. I moved back to New York and I started designing again. I’m working at Gypsy Sport as a designer right now and they just won the CFDA and I’ve started creative consulting at Whatever 21. The fact of the matter is that I have this restlessness when I’m not designing and I’m happiest when I am.”
How did you come up with the concept for your Fall ’16 collection?
“I think the feel of the show came to me subconsciously. This beautiful expensive fabric was given to me as a gift from this Italian mill, and it reminded me of blood, bruises and heartache. Then I found this Massive Attack song (that I’ll be playing in the show), that was kind of a throwback for me. I realized the song had these really sad ‘love song’ lyrics, which is so weird because I wasn’t even consciously channeling that. I thought the collection would end up looking like what I put into my mood board, but it ended up being influenced from all of these little things that leaked from my subconscious. I guess it’s the idea of pouring your own heartache into something, but by the time you use your own hands to create something with it, it becomes positive and happy.”
What inspired this collection?
“My inspiration for this upcoming collection is a rebel love story. It’s the idea of this refined woman who meets this rebel lover. It’s kind of this cliché typical love story where he breaks her heart. I’ve had a series of heartaches recently to the point where I haven’t really tried to date at all in the last year. This is the first time really since I was a teenager that I’ve kind of put a hold on dating, and just really focusing on me and creating. I’m almost making my work my lover right now and I very literally put that into my collection, but it was a very subconscious choice; only just a few weeks ago did I start seeing it. I was putting it into the work unknowingly, and I would come back to the work to see what was cohesive and it was this heartache love story.”
How did you channel the “rebel love story” through clothing?
“Instead of having separate lines for men and women, essentially each model is wearing pieces that reflect both characters, the refined female piece with the rebel dude like piece, taking both aspects of the story and mixing it into one look. That’s how I really dress. I blend the high-end with the low-end. I own a lot of refined high-end designer pieces, but I mix them with a bomber jacket or something that feels tough. I like encompassing both of those aspects of my own personality, being both the refined woman and the tough boy. It makes the collection relatable. It allows a variety in the pieces depending on who’s buying; it can appeal to a guy or a woman or someone who’s androgynous and has both of those qualities.”
How does your background in art affect your creative process?
“I have a sculptural background, which is something that’s very important to me in everything I work on, whether it’s for another designer or for myself. Ultimately I want a lasting piece, even if there is some kind of trend here or there. I put a lot of emphasis on draping and a lot of emphasis into elegant lines, even when I’m hired for these other labels. It’s something I pay attention to because of sculpture; I feel like it’s a three dimensional and an intuitive process.”
In the past, you’ve modeled and acted. Do you prefer being the artist or the muse?
“I prefer being the artist definitely, but at the same time it’s almost like taking a break. I don’t want to stop being a muse; if I was offered a film role I would take it for sure. Would I take a film role if it was conflicting with my collection this week? Definitely not. Whatever projects I have going, I’m going to make it my priority because it’s such an investment of time, money, love and passion. If it’s not interfering with my deadline, I still love to model and act, but it’s much lighter weight for me. It’s a week off for me. I think a lot of people see me as someone that would play more the muse or the person in the foreground because of the way I look, but what’s truer to my heart is really staying behind the scenes and creating everything from A to Z. It’s this unexplainable feeling for me, taking a vision and turning it into a reality. I almost can’t sleep at night until I create my vision.”
How did you get your nickname, Diamond Bones?
“Basically right when I started college, I was over-loaned money to pay for my books and instead of just paying for my books, a friend and I decided to open an art gallery in the East Village. It didn’t last very long— we didn’t have much funding. We called the gallery Diamonds and Oranges because it used to be an old bodega. I paid for my half of the partnership of the gallery with my student loans. Diamond Bones rhymes with my name Lindsay Jones, so somewhere from Diamond & Oranges and Lindsay Jones, came the name Diamond Bones from one of my friends. The gallery didn’t last longer than a few months, but the nickname stuck.”
Check out the World School’s multi-label presentation tonight or stream it all online, here.