On my mission to find the newest nonpreppy designers (as I sit here in my Brooks Brothers salmon-colored pants), I came across Jona (one name only, thank you), who launched a rather elegant, romantic, and dark collection for S/S 2011, InAisce, based in Brooklyn.
Every garment is produced here under Jona’s supervision, resulting in top-drawer quality. I sent my courier pigeon over to Brooklyn with a few questions for the designer, and here is what I got back. Oh, and it’s pronounced “in-ask-ee”!
What is your background?
I was born in the Colorado Rocky Mountains. I’ve spent a substantial part of the past ten years living abroad in Italy, Taiwan, Indonesia, and most of all Japan. Over the past five years I have worked with some great pattern-makers and tailors in New York and Japan, and since starting my own line I have begun to innovate new techniques while continuing to refine my traditional knowledge.
Why start a line now?
Good question! For me it was the natural next step in my creative evolution. I was strongly encouraged by a designer I admired to go out on my own. I hope I bring a new angle on menswear and typical unisex offerings.
I’ve heard your line has become popular with the ladies. How did that come about?
It began with stores reporting interest from women and my female friends getting pieces from me. The cuts are appropriate for women also, so two seasons ago I decided to shoot some of them on women for the look book. And beginning with F/W ’11 I’ve made some women’s pieces as well as shown the unisex versatility of the menswear as more than just boys’ clothes on girls.
What inspired the spring/summer 2011 collection?
Inspiration for S/S ’11 was largely botanical.
What are some of the fabrics/techniques that you are most excited about?
I like working with unlikely compositions and textures, especially when they serve a purpose. I like structured fabrics, leathers, and other materials that emulate elements of nature, unusual fibers like ramie, paper, rubber, steel, etc.
In terms of techniques, there are several that I’m particularly fond of. One is something I call an extended French seam, where the edge of the fabric instead of being cleanly enclosed in the seam actually extends to the outside of the garment, giving a controlled frayed effect. I like engineering reversible garments, which have completely different feelings depending on the side you wear them, clean vs. deconstructed.
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