The Garment District.

Slow fashion is both an homage to a tradition as well as a living practice of production. 

We often mention the community and network of relationships we have here in Los Angeles

& the locality of the Garment District is what makes that possible.

Being able to create, collaborate, and manufacture in a central space provides the connectivity necessary for our industry to thrive. With the 2040 Community Development Plan putting our district at risk, it's important to know the history of our labor and industry.


Women working at sewing machines in a Garment District factory in Los Angeles, 1928.

The Beginnings of the Garment District.

While more commonly called the Fashion District now, for most of its life it was known as the Garment District.

Female workers assembling shirts at a Garment District factory in Los Angeles, 1940-1950.

Garment production began in Los Angeles in 1890 with the manufacturing of men’s overalls by Morris Cohn & Company, later named Cohn, Goldwater & Co. The founder, Morris Cohn, was only 21 years old at the time, and is rumored to have brought the first powered sewing machine to the West Coast. 

The business continued to expand, and in 1899, their production specialized in workwear like workmen’s overalls and trousers, but also included dress shirts and daywear. Though this was the first manufacturer in LA, it represented the demand and later development of a larger district and network of businesses.

Cohn-Goldwater Building, 525 East 12th Street, circa 1909.

In 1909, the company moved to the first modern steel-reinforced concrete factory building in Los Angeles, at 12th and San Julian Streets, now 525 East 12th Street.  What was once their factory floor of 50 factory workers, became a LA Cultural Historical Monument.

The Garment District truly came into its own in 1921 with the founding of The Associated Apparel Manufacturers of Los Angeles. This coalition was organized by apparel manufacturers and their collaborators and reached 130 members in the early years that followed. 

The Cooper Building on Ninth Street also began its construction in the 1920s. The Cooper Building marks the beginning of collaboration and interconnection between design, development, and production, as it quickly became surrounded by men’s and women’s showrooms. By 1937, Southern California was home to 250 buyers from the nation's largest department stores, and was considered the sportswear capital of the country. 

As the silver screen turned to color, Los Angeles continued to grow as a fashion epicenter with the pull of glamour and media.

California was popular for swim and sportswear as well as the costumes and garments for Hollywood starlets. This diversified the district from its roots in workwear and attracted a new wave of entrepreneurs and garment workers. 

The low start costs for entering the industry influenced the growing interest too. In the 1970’s, it was said that the network of the district allowed for quick turn around. With a type of buyer called a factor, under financed manufacturers would be paid for their garments as soon as they were shipped, rather than having to wait for retailers to pay. Some alleged that a husband and wife duo could start their own manufacturing operation with only each other and $10,000.

“The area is largely unknown to most Los Angeles Residents, and before they know it, it may be gone. Industry observers say that the unique close-knit cluster of factories may be moving on to other parts of the city and country. For now, it is the most exciting, painful, funny, tragic, cruel, and tempting business district on the West Coast.”

- LA Times, February 2, 1972

While the labor of the garment district has always been present, the property value and appeal haven’t been. A 1972 an article in the  Los Angeles Times titled “A Ravaged Street of Wear” stated that the district spanned from 3rd to 11th Street and was an estimated 2,000 workers strong, a number that now seems minuscule when compared to the 2023 Garment District workforce of 20,000.

Though it was then described as ravaged due to the crowded, noisy streets, pollution, and neglected buildings, the residents and workers themselves spoke proudly and highly of their district. One garment worker said “Here, we have a closely knit group,” and when asked about the differences of NYC and LA, “We socialize, see each other at lunch, with many there is a friendly atmosphere- congenial.” 

The Fashion District today is home to thousands of skilled workers, with 21 years average experience. Many of these workers have learned their skills through family businesses, and are inspired to continue these legacies and the generational knowledge of their crafts.

Why does the preservation of the garment district matter?

The history of camaraderie and community has always existed for our district, and we aim to keep that alive. It wasn’t until 1996 that the district was rebranded from Garment to Fashion in an attempt to improve the area and surrounding blocks. This was initiated by the first property based business improvement (BID) in LA. Called the LA Fashion District Business Improvement District (BID), it is a private non-profit corporation created and maintained by property owners. 

Though almost 30 years ago now, that rebranding of the district represents a greater conversation. The Garment District is still standing because of its industrious roots and intertwined community of laborers.

The Garment District is not a relic from a past industry, it is a living history of California Made production and generational labor.”

The work of this industry and unique qualities it holds, are only possible through our localized community of collaboration.

Existing in community with our partners allows us to strengthen our communication and camaraderie through a shared space. There is value in holding space together, and sharing a presence in the community. 

These values are richly entwined with the roots of the district and industry. Our team works with students, recent graduates, and designers who are new to the industry, all of who are eager to become a part of this industry and see their ideas come to life, together. 

We have seen firsthand that there is a demand for the labor of this district. There is a need and want for this community of workers and businesses to not only exist, but flourish. The Garment District in Los Angeles represents almost the entirety of domestic US garment production at 83% of the nation's cut & sew apparel sales, creating $1.5 Billion in sales.

However, plans for redevelopment put our industry and district as it stands at risk. 

“LA’s garment sector is at risk of displacement due to the The Downtown Los Angeles 2040 Community Plan. The plan, as drafted, will have a significant impact on the evolving Los Angeles garment industry and, most notably, the industry’s 45,000 skilled garment workers. It proposes a drastic shift of land use from largely manufacturing zones, to primarily ‘Markets’ and ‘Hybrid Industrial’ designations, both of which will significantly disrupt the balance of the irreplaceable Fashion District ecosystem. The detrimental consequences of the rezoning plan on the garment sector and its low wage workers cannot be understated.” - The Garment Worker Center

Across the country, we see this same disregard for labor and manufacturing result in the detriment of industry and production. The rezoning of New York City’s garment industry is a warning of what will happen to our own city if we do not unite against the 2040 rezoning plan. What remained of the NYC clothing manufacturing industry was halved between 2016 and 2020, and continues to collapse as it is rezoned and “developed.”

The Garment District is not a relic from a past industry, it is a living history of California Made production and generational labor. The district should not only be preserved, but nourished and enriched through thoughtful development.

What is 2040?

There is no Fashion District

without garment workers.

The DTLA 2040 Community plan does not serve as a plan for the Garment District, its residents, or its workers and will displace our industry, labor, and our own community as it exists today.

Being able to create, collaborate, and manufacture in a central space provides the connectivity necessary for our industry to thrive. 


The DTLA 2040 Community Redevelopment Plan.

DTLA 2040 is a community plan for Downtown Los Angeles that will establish development standards for the next two decades.

“The garment district redevelopment plan, also known as 2040, is a legislation that is currently in motion to rezone the Los Angeles garment district by 2040. The reformation plans currently laid out by the city zoning board would be detrimental to what remains of the garment industry and community in the area.” — The Garment Worker Center  

The plan is centered around the introduction of more housing in downtown Los Angeles through rezoning the permitted uses for existing buildings. The plan aims for 20% of the housing growth proposed for the city to be constructed in the downtown area.

The DTLA 2040 website centers prosperity as one of its pillars, with a goal to “Support DTLA’s status as a world-class destination for tourism, food and culture by supporting the hospitality industry’s growth.”

It aims to achieve this through allowing “new restaurants to provide beer and wine across DTLA to support small businesses and grow DTLA as a vibrant cultural destination,” and encouraging “hotel development across DTLA to support tourism and remove hurdles to new hotels in the Fashion District and Arts District.”


What harm will 2040 cause?

As members of the Coalition to Protect Garment Worker Jobs, we believe that the DTLA 2040 Community plan does not serve our district, which relies on the existence of industrial use buildings.

The locality and functionality of the Garment District is what creates the connectivity and scaffolding necessary for our work continue on as it has for the last 130 years

The actions proposed by 2040 will undoubtably suffocate our industry.

This displacement has already begun with stricter certification and license policies. Both of which have become arduous and nearly impossible to attain through insufficient staffing and few resources for businesses who did not previously require them. We have also seen firsthand, that permitted building uses have already begun to change, preventing the introduction of new manufacturing businesses in advance of the plan’s launch.  

"It's an existing industry that can't be ignored or dismissed or steamrolled for luxury development."Marissa Nuncio, executive director of the Garment Worker Center 


What can we do?

Organizers like the Garment Worker Center dedicate their efforts towards raising awareness and amending the plan to be inclusive of the industry as it stands. GWC is a workers' rights organization whose mission is to unite LA garment workers in the fight for social and economic justice.

GWC is at the front of this movement, and is spearheading the campaign and coalition to Protect Garment Worker Jobs. Anyone can show support for the cause through signing the petition, learning more and spreading awareness about the risks the plan poses, and by taking action. We encourage LA locals to learn the history, and come out to hear GWC speakers, attend demonstrations, and volunteer with GWC programming.

Thanks to the work of the GWC and the show of solidarity from the community, there have been some succeses!

As of May 2023, the proposed development plan has been adapted to include some vital alterations, like the prohibition of new hotels in the Garment District, incentives to build more housing if a property owner dedicates 50% of their building to manufacturing, a prohibition on conversion of viable industrial spaces into luxury lofts, and some protections against displacement of garment businesses in existing buildings.

However, there is still much more to fight for.


Stay informed about 2040:

We encourage everyone to explore the platforms of the Garment Worker Center and the Campaign to Protect Garment Worker Jobs.

Follow:

@GarmentWorkerCenter @Rule.DD


Student Designers: The Future of Fashion

Our latest project with nine LA student creatives

After a whirlwind of only five weeks, our team produced ten different looks by nine students in La for the debut of the Styled by CITI CUSTOM CASH Fashion Show.

In February of this year, Citi Bank announced an open call for students to submit their own designs inspired by one of the Citi Custom Cash Card spend categories. The winners of each category were involved in the production of a final look and saw their sketches and designs come to life on the runway. 

Much like the weekly themes of Project Runway, the 10 categories ranged from Live Entertainment to Restaurants, with each offering their own challenges and creative inspirations. 

There were guidelines and some exclusions within each category, but each submission rendered the provided themes in their own way. Our team collaborated to vote and score each submission with careful attention to creativity and plan for construction.

Our scorecards were averaged with those of Citi Bank’s panel of judges. Once the final selections were announced our team was able to get to work. The pressure was on as we tackled months of work in a matter of weeks in a whirlwind of fittings and  meetings.

We followed an accelerated rendition of our standard workflows, guiding each student through design and development for their final look. Each student came from a unique background and exposure to the world of apparel production. Some students even included prospective material specs, cost analysis, and further ideation in their submissions.

Our development manager, Abby, coordinated with each designer to render the garments as patterns and guiding them through alterations and fittings with models. Our sample makers worked quickly and flawlessly to provide the final pieces for the runway show, with accessories and shoes curated and provided by the designers themselves.


Meet the students.

Working with students and new talent is integral to the history of Rule DD.

Our passion is rooted in uplifting the aspirations of creatives, and working with bright minds from different backgrounds and universities was such a fun challenge to take on. 

Click through the gallery to read the bios from each student’s application!

 

& Their Designs.

Click through to see all 10 of the original sketches alongside the final looks.

 

Student Experiences


What’s next?

Education is a core value for Rule DD. We are passionate about working with students to promote their voices and educate the next generation of designers on ethical fashion. We are currently developing a special program for student designers - stay tuned!

A Brief History of Ready to Wear / Part 4: Fast Fashion


A Brief History of Ready to Wear is a 4-part feature exploring the events that led from made-to-order fashion, through the ready to wear revolution, and up to the present problem of fast fashion. 

Fashion is an international market of art, an exchange of inspiration, ideas, and industry.

While humans have always adorned ourselves in an act of self-expression, we have not always bought off the rack or shopped online. Fashion wasn’t always fast. In order to understand all of the complexities of the fashion world today, and the greater forces that shape our manner and means of consumption, it is important to understand how our garments come to life.

For the final chapter of this installment, we arrive at fast fashion, a phrase that aims to encapsulate the many complex and systemic issues of an accelerated and unsustainable industry. 


What is Fast Fashion? 

Fast Fashion commonly refers to low-priced clothing that is quickly produced to follow trends and is released continuously, rather than in seasonal collections. Fast fashion is used as a name for the systematically unsustainable practices we see in the modern production of ready to wear apparel. 

Ready to wear garments began as affordable and accessible alternatives to individually ordered or homemade garments. As we explored in the history of production, shopping, and sizing, fashion has left its roots in function and fit to become, in many ways, a commodity. The culture of clothing and consumption habits have changed as a direct result of decades of industry efforts to maximize profits.


In 2021, 400% more clothes were produced

than in 2001.


How did this happen?

Staying informed on policy changes and developments in industry standards is a key part of our sustainability mission.

Fast fashion is enabled by unethical and exploitative practices, to both the material resources it uses and the people it employs. While this didn’t happen overnight, it did happen fast. 
Government policy regulates industries, and throughout the 1990’s there were consecutive changes to international trade regulations in the United States. The release of the 1994 North American Free Trade Agreement (NAFTA) sealed the deal with the removal of most import restrictions and duties on foreign-made clothing. By manufacturing abroad, U.S. businesses were able to utilize the under-regulated labor practices available for a fraction of the cost.

Due to American corporations transitioning to international outsourcing between 1990 and 2011, the U.S. garment industry suffered a loss of 750,000 jobs, a decline of over 80% as reported by the Bureau of Labor Statistics. 


In 1980 70% of the clothes in American closets were Made in America. In 1990 that number dropped to 50%. In 2021, that number was 2%


A common misconception is that lower international wages are simply relative to their local economies, as the US dollar has more purchasing power than many other currencies. However, many garment workers are underpaid by the economic standards and poverty rates in their own nations. For example, the Asian Floor Wage Alliance stated that the living wage, or the wage needed to survive in India, is 29,323 Rupees a month. Indian garment workers are salaried at less than  half of that, making only 10,000 to 12,000 Rupees a month, ($133 to $160USD). 

Neva Nahtigal from the international office of The Clean Clothes Campaign attested that “The global economic model that drives down prices and pits low wage country against low wage country is too strong. It’s a fact that the workers who make almost all the clothes we buy live in poverty.” 

She’s right, fast fashion is a human rights issue. The labor practices are as unsustainable as the tangible resources that fast fashion exploits. Many experts argue that in order to tackle the fast fashion problem, we should start by addressing its labor practices. UC Santa Barbara Environmental Scientist Roland Geyer published the claim that “labor, rather than green products or materials, holds the key to social and environmental sustainability,” in his book The Business of Less: The Role of Companies and Businesses on a Planet in Peril. 

There’s a reason fair labor is embedded in the UN’s Sustainable Development Goals. By starting with fair wages and greater protections for garment workers, the industry will be forced to adapt. Fair wages and rights for workers would correct unsustainable production speeds, by ending forced overtime and 12+ hour workdays. Safer working conditions would also force regulations on hazardous chemicals that harm both workers and the environment.


Where do we go from here?

It might seem contrarian, but we go slow

Slow fashion is a counter movement in the apparel industry that stands for a return to tradition through conscious design and informed choices. Thoughtful and intentional design considers each element of the supply chain, from the source of initial materials to the conditions of its garment workers. Slow fashion is a broad term used to capture a rejection of fast fashion principles.

What does slow fashion look like for designers and brands? 

Slow fashion can be interpreted differently by every business and creative, but is supported by sustainable choices that align best with your own practices. Designing with greater intention creates products that last longer, are crafted from better materials, and are able to be repaired. Some brands are piloting repair services and resell programs to support the longevity and quality of their final products.

For our clients and our team at Rule DD, slow fashion means local production in small batches, made with carefully selected materials.  All our work is designed, developed, and produced here in California, and we strive to nourish and grow the local garment industry. 

Author of The Conscious Closet, Elizabeth Cline reminds us that “the most sustainable thing you can do is try to buy something you know you’re going to wear.”


Revisit our past chapters in the history of ready to wear: Production, shopping, and Sizing!

Community: Meet Our Makers

Creativity relies on community, that’s why we keep our process local & loved.

Our work is founded in exploring sustainable practices, bolstered by our essential principles: Craftsmanship, Coaching, and Community.

We celebrate connection throughout our whole community. Whether working hands-on with our extensive network of talented contractors, facilitating collaborations across client brands, or simply enjoying daily engagements with our team members. Our team collaborates with creatives of all kinds to deliver quality apparel products made in Los Angeles. 

Including varied, expert voices during each step of our process is important to us. This means that our sample makers offer feedback on initial patterns, and our production partners review samples to ensure efficiency. 

Materials alone do not make a garment, labor does. 

To us, sustainability represents the longevity and intentionality that is committed to each project we take on. The concept of slow fashion demands a commitment to reinvigorating the garment industry as a community operation. In years past, industries were localized, interconnected communities of diversified and skilled workers. Outsourcing and globalized production have segregated labor from its value and from the hands of the workers, leading to widespread exploitative practices and under-valued craftsmanship in the fashion industry. 

Sustainable labor practices go beyond the minimum of a living wage, and extend to nourishing continued partnerships and interconnectivity within the industry.”

With our office in the Los Angeles garment district, we are able to strengthen our roots and connections with the artisans and tradesmen that we partner with.

Since our start, we have developed long standing relationships with creative partners of all kinds.

Now, we are proud to work with a curated team of some of the most skilled and collaborative partners in the LA area. Working directly with our tight-knit network ensures that our contractors are properly respected, and maintaining an inherent level of sustainability.


Meet Some of the Makers in Our Community.


You can read more about our value pillars: Craftsmanship, Coaching, and Community.

A Brief History of Ready to Wear / Part 3: Sizing


A Brief History of Ready to Wear is a 4-part feature exploring the events that led from made-to-order fashion, through the ready to wear revolution, and up to the present problem of fast fashion. 

Fashion is an international market of art, an exchange of inspiration, ideas, and industry.

While humans have always adorned ourselves in an act of self-expression, we have not always bought off the rack or shopped online. Fashion wasn’t always fast. In order to understand all of the complexities of the fashion world today, and the greater forces that shape our manner and means of consumption, it is important to understand how our garments come to life.


Production Terms

We began to explore the foundations of sizing in our first installment of A Brief History of Ready to Wear, with the introduction of standard sizing. The standardized sizing in the fashion industry has a complicated history, so before we dig deeper, let’s revisit and highlight a few key terms. 

Straight Sizing - Also known as “standard sizes” (ex. from XXS to XXL) are used by manufacturers to streamline the production process and allow for faster production of what the industry considers to be the average or most common sizes. However, straight sizing is limiting and excludes a majority of American women, 68% of whom wear a size 14 or above. 

Size Inclusive - A collection of clothes is designed to fit and include a wide range of sizes and body types, rather than segregating extended sized garments into separate collections. 

Plus Size - At a glance, plus size refers to sizes larger than straight or standard sizes. The fashion industry generally considers size 18 and above “plus sized”. Though for some brands, plus size departments begin at size 12, size 14, or XL. 

Mass-Produced - This is the production of large quantities of a standardized article by an automated and fast paced mechanical process, often producing items by the hundreds or thousands.

Bespoke Tailoring -  A practice much more popular and commonplace in years past, bespoke tailoring is the process of making clothing to an individual’s specifications and measurements.


One size fits all?

Standardized sizing goes all the way back to the beginning of shopping as we know it. Once clothing stopped predominantly being locally made for individuals, and instead was being mass-produced for the market at large, designers and brands needed a way to produce garments on a recognizable scale to fit a wide range of consumers. This was the wild west of fashion, there was no reference for how to fit everyone. Even though there is no average body shape or size, that didn’t stop fashion from trying. 

The U.S. started seeing manufactured “standard sized” menswear as early as 1850, but the women’s market showed a consistent preference for custom clothing into the early 20th century. Dresses, blouses, and other garments up to the 1910’s involved many more pattern pieces and were much more fitted than the suit jackets and trousers men wore at the time. During this moment in history, some tailors experimented with offering ready to wear garments, but these pieces still required additional tailoring to fit the buyer following a purchase. The additional cost of tailoring pre-made pieces meant the final prices weren’t much different than those of custom made to order garments.

Fashion trends continued to evolve, and the American fashion industry sought a solution to streamline production. Winnifred Aldrich, author of Metric Pattern Cutting for Women’s Wear, claims that the most driving factor for this change was the more relaxed fit of women’s clothing at the turn of the century. 

You can see the difference between these two styles from 1895 and 1913, the cinched waist and corseted fit was traded for a more relaxed and cylindrical style. This evolution continued through out the early half of the 20th century, leading to the more recognizable silhouettes of the 1930s when standardized sizing began to be explored.

Since the foundational structure of fashion for women had shifted, crafting ready to wear garments became more possible, fueling the need for standard sizing. Two statisticians, Ruth O’Brien and William Shelton set out to answer: What size is the average American woman? 

They were supported by the U.S. Department of Agriculture to conduct a study from 1939 to 1941, collecting data and creating generalized averages. They collected data from 15,000 women and processed all the information by hand. 

The study failed to measure a sizable cross section of women for a variety of reasons. The majority of participants were poor working class women who needed the participation fee, and so the average size of those women were much slimmer than many other “average” Americans. Despite measuring women in 59 places on the body, and including measurements for both sitting and standing, the final results were focused on primarily bust and presumed proportions reflecting an hourglass figure. 

Did You Know: Sizes for children and teens used to be based on age? So a size 16 was meant to fit the average 16 year old! Age is not a clear indicator of size, just as a bust measurement is not a complete gauge for the full female figure. 

This wasn’t the only study of its kind. In 1958, a standardized metric reanalyzed the data and was supplemented by measurements of women who served in WWII, some of the most athletic and fit women in the country. These additional attempts to better understand the sizing of the average American woman were supported by the Nation Department of Standards, as garment production was already a massive industry in the United States. These research efforts attempted to better serve consumers and regulate the industry as a whole, promoting efficacy as well as profits. 


There is no Size 0.

Following this new study, sizes ranged from 8 to 38, with different indicators for length - Tall (T), Regular (R), and Short (S). A plus or minus sign was also listed to indicate girth. This system was enforced on garment patterns. At first, mail order brands were enthusiastic, as standard sizing and their relative size charts could be featured in catalogs. These regulations also removed the cost of tailoring and alteration, making fashion trends more accessible to a wider audience of consumers. 

However, the enthusiasm for an industry size standard didn’t last long. By 1970, the National Department of Standards no longer enforced the original Commercial Standard. They first retitled the metrics as a Voluntary Product Standard and finally removed the standards entirely in 1983. With this national guideline of standard sizing withdrawn, brands began to create their own sizing systems. This led to the introduction of vanity sizing.

Vanity Sizing: When a clothier intentionally marks a garment as a smaller size than it actually is, to help the wearer feel more slim and confident in the brand’s clothes. 

“In 1958, for example, a size 8 corresponded with a bust of 31 inches, a waist of 23.5 inches and a hip girth of 32.5 inches. In ASTM’s 2008 standards, a size 8 had increased by five to six inches in each of those three measurements, becoming the rough equivalent of a size 14 or 16 in 1958… We can see size inflation happening over shorter time spans as well. A size 2 in the 2011 ASTM standard falls between a 1995 standard size 4 and 6.” - Slate Magazine

Vanity sizing is ever present today, as every brand has their own size system. While you might struggle to fit a size 10 in one store, you can find a size 8 too big in another. This can make shopping dizzying and frustrating. While in-store shopping offers a dressing room, online stores have easily accessible size charts. With a size chart, you are able to reference the exact measurements of the garment or body associated with a particular size, and better place yourself within the context of the brand, rather than guessing or marking assumptions. 

In the end, it is so important to remember that there is no average size, proportion, or standard for our bodies, and there never will be!

At Rule DD, we encourage our clients to create sizing that is most compatible with their audience. Poppy Row and Reprise Activewear worked together to explore size inclusivity across their brands in an award-winning collaboration.

Is there a solution?

Bodies change! Learning to take your own body measurements and how to read a size chart are your best bet for ensuring the clothes you are shopping for will fit. Additionally, regularly reviewing your wardrobe, and your measurements, is a good way to stay informed. If you find that a piece of clothing no longer fits, it might be time to either alter it or pass it on - ultimately, the choice is yours! 


To learn more about how fashion became so fast, read Part four: fast fashion, coming this february!

La Planchada: A Custom Costume Project.

La Planchada.

This Summer, Rule Design & Development had the haunting pleasure of working on a costume for the Proof of Concept Short-film La Planchada.

Our Creative Director Corinne and the film’s Director and Writer Michael Snyder worked together to bring to life the costume for the titular movie monster, La Planchada.

Special FX Make-Up Artist Brittany Fontane and La Planchada (Kerstin Porter). Photo by Zach Harrison.


¿Qué es La Planchada?

“La Planchada is a well-known ghost-legend first recorded in Mexico, before making its way through the southwestern portion of the United States.

There are various tellings of the story, all of them revolve around a woman scorned, a nurse who was the patron saint of the hospital where she worked. 

Patients often remarked on how her uniform was always pressed and how she seemed to wield otherworldly powers of healing. After witnessing horrific torture being carried out by the doctors and staff, who she long trusted, she was murdered and left for dead in the desert. 

The story says that she can still be seen haunting the hospital grounds, now using her powers to both give life back to those in need...and to take life away.”

La Planchada is not yet a feature film, but a proof of concept short film. Michael K. Snyder wrote and directed the feature alongside Cobey Cobb as Producer and Editor. With inspiration drawn from horror legends Michael Mann and John Carpenter, it has been described as a piece that has both frightened and intrigued its audiences. 

In Los Angeles, there is certainly no shortage of costume pieces available on the rack, but for Michael it was a priority that the dress be authentic and true to his vision. He wanted something period appropriate and distressed to suit the narrative of La Planchada herself, which is why he chose to work with our team of creatives here at Rule DD. 

Their vision for this creature feature was honed with an incredible attention to detail. This custom design project was a stand alone creative collaboration. Rule DD was able to bring something from imagination to reality with our design and development services

Actor Joey Stotts and La Planchada. Photo by Zach Harrison.


A Dress to Dye For

La Planchada’s stitches and seams designed by Corinne, and went from sketch to sample in just 2 weeks! Rule DD was contacted about the project over the 4th of July weekend. Due to the fast production timeline, Corinne started research and sketching on Tuesday, with Abby starting the pattern next day Following an expedited version of our full-service process, Corinne completed sourcing on Thursday, and the sample was started before the end of week! 


Finding the right materials for a project is one of our passions, and it's important for us to get it right every time. For this project, we found an ivory polyester plain-weave fabric. This was period-specific to the late 1970’s, and was appropriate for a nursing uniform of that time. Even the smallest details were curated with intention, as we used a mix of marbled ivory and white buttons to aid in the effect of aging the garment and give it a faded and weathered look. 

Distress Tests & Dye Work

The dress was distressed using tea, coffee, grease, and cocoa powder over several days to make it appear like it had been lying in the desert for over 30 years.


The second week of work was experimental and fun, with lots of distress tests and dyeing to learn what would work best for the perfect level of decay, before altering the garment itself. The costume was picked-up the following Friday, and used the next day on set in Palm Springs.

The La Planchada costume, before dyeing and distressing.


“If we had more time, there were things I would have done differently. But it was super satisfying for the team to come together and turn this piece around in less than 2 weeks. It took concentration and commitment from all those involved, including the talent who quickly produced her accurate measurements to help ensure the fit.”

- Corinne’s closing thoughts on the design 

An original concept sketch of the La Planchada costume.


What Is Full Service?


An introduction to our Full Service process

At Rule DD, the design and development process is the conscious craft of bringing ideas to life through careful planning and just the right amount of experimentation. We work hand-in-hand with our clients to meld their creativity and passions with our experience and methodology.


Our process is evolving

Since our start, we have specialized in design and development. Today as a full-service studio, we aid brands of all shapes and sizes from initial ideas to complete collections, by providing comprehensive guidance throughout the Design, Development, Pre-Production, and Production processes. With the release of our latest Client Roadmap, we aim to lead our clients even more seamlessly from start to finish, and back again.


Design: The Who (4-8 Weeks) 

We work exclusively with mission-based brands, so it's important to us that each of our clients have a strong foundation and clear understanding of their values and goals from the start. 

In the Design phase, we begin by onboarding your logo and other supporting brand assets to ensure that we understand how you intend to visually communicate your brand’s message and aesthetic, in addition to reviewing the mission statement and core values of each designer. This can come from their root of inspiration, driving personal passions, or what matters most to their audience. Each designer is as unique as their designs, and by establishing a main brand priority we are able to re-visit their foundation and refine their direction as needed, ensuring that their products are aligned with their beliefs from conception and through delivery. 

At Rule DD, sustainability is one of our foundational pillars. We believe in meeting each brand where they are by following a “good, better, best” approach to sustainability. We guide and coach our clients through actionable goals for immediate implementation and measurable improvements over time. This coaching process is directly aligned with our materials sourcing and onboarding process. There is no right way to seek sustainability; while for some designers, a low carbon footprint might be a priority, and for others it may be using only organically-grown materials. Whatever it is, we are here to explore and connect our clients with the best fabrics, trims, labels and packaging to completely meet their individually identified needs. 

The Design stage closes out with reviewing the specifications of each style, in addition to completing sample size measurements and size charts customized for your brand. Once we have laid this strong foundation, we are ready to move on to our next step - Development. 


Development: The What (8-12 Weeks) 

In the Development phase, the abstract becomes tangible. Here we begin to execute on and experiment with the ideas initially originally outlined in Design. 

With materials sourced and styles reviewed, we initiate 1st patterns and individually sample each style. Our Development Manager leads the way - producing the relative drawings and patterns, and working directly with our sample makers to create each piece. Here we guide our clients through testing and improving their designs. Often we will recommend field trials for the garment, to ensure it performs as desired when out in the world. Garments undergo fittings and changes where necessary. We repeat this stage until the sample is fully revised and approved by the designer. 

Final Approved Sample: A sample representing all final design details across fit, function, and aesthetic, including all materials.

Once we have a Final Approved Sample for each style on hand, and we are ready to advance to our penultimate stage - Pre-Production. 


Pre-Production: The When (4-8 Weeks) 

In the Pre-Production phase, we finalize all essential planning - reviewing all details relative to the style as represented in the Final Approved Sample and imperative to the production. 

Now that the style, or collection, is tried and tested, we double-check all of our hard work to ensure the garment is production ready. This process includes grading per the size chart and marking per the materials specs, as well as completing tech packs specific to each style. 

These steps provide the foundation for a smooth production run, and are essential to securing final product perfection. All that said, we understand that this is where things get technical, and possibly a little confusing. Check-out the definitions below if you find yourself unfamiliar with any of the terms featured above! 

Grading: This term refers to the process of scaling patterns to create different sizes; we can grade up or down from a sample size. With our experience in size-inclusive collections, we work with brands to enable the exact ratios and specifications they want to offer to their audience. 

Marking: This term refers to the process of plotting pattern placement relative to the final fabric, while taking into account fabric width and shrinkage (verified by vendors, or through shrink tests) to ensure the least amount of waste. A finished production marker is a long and seamless piece of paper that the cutter will use as a template when cutting production. 

Tech Pack: This term refers to the comprehensive document containing all information relative for a production-ready style. These files include technical sketches, bill of materials, pricing, color-ways, construction call-outs, cutter’s musts, graded specs, and placement for labels, etc. 

Once we have completed these important Pre-Production elements for each style, we are ready for the final stage - Production!


Production: The Why (8-12 Weeks) 

And at long last, we enter Production - the reason why we began this creative journey! It takes a lot of work to get here, but this is where it all pays off. Our established relationships with our production partners are fueled by trust and constant communication. This final stage may vary in length, with factors like dyeing or printing, playing a role in the ultimate timeline. The nitty-gritty of production includes onboarding all production materials, cutting and sewing, inspection for quality control and repairs, finishing and packing, all before fulfilling your order - shipping to you, or directly to your customers. 

When you are ready to begin work on your next style or collection, we start again at Design! We recommend completing the Development phase for each collection, before beginning on any consecutive collections. Our Full-Service process is meant to evolve with your brand to best support the goals and growth of your company.


Rule DD: A boutique Apparel Studio

From start to finish, we are here for you! We are always excited by new projects, especially with like-minded brands looking to learn more about apparel production in Los Angeles. 

If you’re looking to connect with us to learn more about any of the phases mentioned above, get in touch with us for more information!


A Brief History of Ready to Wear / Part 2: Shopping


A Brief History of Ready to Wear is a 4-part feature exploring the events that led from made-to-order fashion, through the ready to wear revolution, and up to the present problem of fast fashion. 

A postcard of the Garden Court in the Southdale Shopping Center in Edina, MN.

Fashion is an international market of art, an exchange of inspiration, ideas, and industry.

While humans have always adorned ourselves in an act of self-expression, we have not always bought off the rack or shopped online. Fashion wasn’t always fast. In order to understand all of the complexities of the fashion world today, and the greater forces that shape our manner and means of consumption, it is important to understand how our garments come to life.


Intro to Shopping

In Part One of this series, we explored how production and the industry of creating fashion has changed. Fashion began in the hands of local and skilled tradesmen, and gradually grew into a much larger industry for individual consumers, where that relationship between maker and buyer is more distant. In this next segment, we want to explore the history of shopping and its hand in shaping the modern fashion industry. 

Where and how we shop is influenced by the marketplace and environment of our community. From posh downtown boutiques to forgotten shopping malls, the way consumers access fashion and garments has been in a constant state of evolution ever since the first department store was opened in France.


The History of Shopping

1852: The first department store was opened

If the glimmering department stores of the late 1800’s and early 20th century come to mind when we think of early shopping - you are correct. The first department store Bon Marché opened in Paris, though department stores didn’t begin to open in the United States until the 1870’s. While sprawling open air marketplaces have always sold textiles, trims, and details, department stores offered everything from hats to shoes in a single location. This created a holistic experience for the shopper, where they can compare styles visually and make more personal purchases with confidence.

A key feature of department stores that subtly influenced fashion were the new sales methods. Clothing and accessories were no longer commissioned, though alterations and tailoring were still the norm. Patronizing department stores was seen as a leisure activity for the upper class and marketed towards unchaperoned wealthy women - this lead to window shopping!

With restaurants and restrooms in the building, shopping became a leisure activity. Formerly, it was etiquette that you would only enter a store if you had the intention of making a purchase, out of respect for the shopkeep or artisan. This is when shopping as we know it was born - rather than patronizing a shop explicitly with a particular purchase or need in mind, shopping became a pastime all its own.


1920’s: the introduction of Credit cards

The ability to purchase on credit, along with the 1883 invention of the cash register, allowed customers greater ease of purchase. Without the need for exact cash, and the ability to make purchases out of desire rather than need, shopping was forever changed. It's important to note that credit cards were first issued by hotels or private businesses, exclusively for use within their company. This encouraged brand loyalty and helped keep shoppers as repeat customers.


1950’s: The teen clothing industry was born

While teens both then and now wield less purchasing power than their parents, teenagers are a market of their own right. Post World War II, teen fashion was on the rise, with many teen girls personalizing their clothes with alterations, accessories, or by pairing them with boy’s clothing pieces. As these personalized styles erupted, designers saw the demand for a new industry of fashion, styles that weren’t for children, but were more youthful than the clean and mature styles of their mothers. This led to teen magazines, new stores, and the industry of fashion undergoing a complete metamorphosis. Function and necessity were fading fast, and with the post-war economic boom, shopping soared.


 
 

1956: The first mall was opened

Department stores were centralized and while they often towered in buildings with multiple floors with restaurants and banks, the shopping mall was so much more. The first shopping mall was technically opened in 1922, but was open-air and very different to what we think of as a mall today. The Southdale Shopping Center first opened its doors in Edina, Minnesota in 1956. This was a new shopping experience that was encouraged by the development of suburbs and widespread ownership of cars. People moving out of cities were interested in the department store experience, adapted for suburbia. By 1960, it was estimated that there were 4,500 malls.

the turn of the century: Online Shopping 

It can be hard to pinpoint when e-commerce first began. Online shopping became an option in the 1990’s, but the early world of digital shopping is very different from our experience today. 

Online shopping offers 24/7 service, easy returns, lower prices, product specific reviews and feedback from other consumers (rather than just from retailers). Without the need to maintain physical storefronts, prices can be lower with orders shipped directly from production partners. With lower prices, consumers can buy more. 

Today, 44% of all online purchases are made on mobile devices. 

Online shopping is here to stay, so it's important that we shop consciously. Online retail allows us to carefully select what brands we give our business, but it also can be more wasteful with the considerations of individual packaging and shipping. Thanks to the ease of online shopping, it is more important than ever that we invest mindfulness into our purchases - considering the item for it’s full style, function, and longevity rather than only it’s ease of access and price tag.


To learn more about how fashion became so fast, read Part Three: Sizing, coming this November!

Summer Leilani

Meet Summer Leilani

Summer is one of our favorite models to work. We sat down with Summer to talk about her own experience as a model on the West Coast and how she feels about sustainability.


Zel: It's so awesome to finally meet you. I have seen so much of your work with us [Barbra Lorain], and I know you’ve been working with Rule DD for a while now. I’m so excited to talk about your experiences as a model, your background, and your time in LA. Do you want to go ahead and introduce yourself?

Summer: Thank you for having me! So my background, I’ve been modeling for 3 years now across fit and print. It's been an awesome way to learn more about fashion - I would not know everything that I know now, if I wasn’t so involved. I [used to] fit with brands like Skims and Forever21, and going from that to sustainable brands, just wow. My experience with it all has shown me who I want to choose to work with, what I really want to represent and share. 

Z: That's so cool, we love to hear it. Having your own values is important, in all types of work. Do you remember when you first came to LA? 

S: I do! It was for a leisure shoot, and we were in a studio. Being exposed for the first time is so starry-eyed - you're like ‘wow this is amazing. I get to try on all these pretty clothes’ - but as I got further into it, I noticed the overall waste. It's been positive and negative together.

Summer wearing the Rosie Turtleneck from Shop Figge.

Z: So would you say that she is your biggest supporter? Or does someone else come to mind as your biggest supporter?

S: A few come to mind. A woman named Joanna, she does the social media coordinating for me and Yensa Beauty, a phenomenal beauty brand which I highly recommend. They have been such huge supporters since I started working with them in this small, woman-owned boutique in Long Beach. So many different women, I’ve been lucky to have mainly worked with women-owned brands. It's such a strong collective around me, uplifting each other. 

Z: That definitely sounds like an amazing community to be a part of and surrounded by, with these brands that you really believe in. It sounds like a step beyond, like networking doesn't seem to capture the kind of connections and relationships that you're making in the industry.

S: Exactly, I get to form a relationship - a genuine relationship - with the people I am working, and vice versa. It's a two-way street, I support them as much as they support me. It's great.

Summer wearing BabLo by Barbra Lorain

Summer in Camo Foil in Curvy by Show Some Leg

Z: So far you’ve told us a little about your portfolio and modeling experiences, but do you have any shoots or shots that stand out as favorites that you’ve done?

S: Hmmm. The first beauty shoot that I did with Purlisse, just because I did not know how to do makeup and I still don't - I’m learning. It really took me out of my comfort zone and that stuck with me. One of the first athleisure shoots I did with Show Some Leg taught me posing. Every shoot I have with them is always an elevation, but the very first was all beautiful women, and that experience of just having a good time together - being done with beautiful hair and beautiful clothes. It's much better working and learning together. For me, that's such a big part when I go places, I love being able to meet people.


Z: That sounds like such a wonderful mix to have, as an experience as a model. In addition to growing your portfolio, you’re able to grow as a person as well. Is there a type of dream shoot as a model that has been on your bucket list that you’ve always wanted to do?

S: I don't have a certain brand I’d want to work with or anything. Once you have the ability to know the team, you can give some insight and also represent and show a different perspective.

Z: Yeah absolutely, I think there's definitely a change happening, at least from what I can see as a researcher, looking into the types of approaches that a lot of other brands are taking. There is gradual change happening throughout the industry, maybe that's me being optimistic, but you always wish to see that kind of progress! 

S: Yeah! There has definitely been that kind of positive shift, it's kind of undeniable because of all the things now. It’s cool to see how much further it can go. I am so all for it, 100%!

Summer wearing the heather fleece from Shop Figge.

Z: Back to modeling as a career and industry - would you consider yourself a creative person?

S: You know, I really don’t think I'm that creative, when it comes to a concept or creating a look or something like that. I grew up very athletic so I grew up with sports and I was always active, and now having to change gears it’s a whole mental shift and it becomes this whole flow.  

Z: And with that flow, does it make modeling feel like more of a transformation or how would you describe that feeling of the process?

S: Yeah I would! I'm that type where I’ll be laughing and then *shoots model stare* so I do definitely feel like it’s like an act or it's a total shift. 


Z: What would you say is the biggest challenge that you face in the industry? 

S: I would say the negativity that comes with it. It has this weird stigma for being a kind of vain profession, but I have met a lot of models who use their looks and profession to promote amazing causes.

Z: It sounds like you're doing a bit of that yourself - from what you've said about carefully choosing the brands that you work with. Do you feel that you are cause driven as well?

S: I am pretty cause driven. Like if you come to my house I have no paper towels - it’s all cloth towels and rags. It’s awesome when I get to work with people who are like-minded because you don't seem crazy when you're using reusable sandwich bags and having to wash them, some people look at me like I'm crazy for that! 

Z: Ha! In my neighborhood, there's a lot of food stands. I would eat off their styrofoam plates until one day my housemate said ‘it’s totally normal if you bring your own plate’ and I DID IT, BUT it was totally not normal. The cook was like ‘uh sure we can put the food on that, I guess?’ and after I did it once I was like ‘oh well, I'll just keep doing it’ and then it was easy.

Summer wearing BabLo by Barbra Lorain.

Summer in Cloudy Day set by Show Some Leg. 

Z: What would you say is your biggest motivation in the industry, what keeps you passionate?

S: Honestly, it comes from an appreciation for, not validation from, the responses I've received. Seeing yourself with that brand has been cool, or even people saying ‘wow you're doing that! I'm going to go do this [too].’

Z: To follow that thought, what would you say you love most about your body?

S: I love that I am strong! I never realize how strong I am until I am put to the test, like when you're at a shoot and they're like alright hold that pose! You can do a lot of things! And that's what I like - there’s a lot of things that I could say are my favorite or least favorite, but I feel like functionality is where it matters most.


Z: Would you say that modeling has changed you at all?

S: Yes and no. At first, I didn’t know how to do my hair or makeup, so I didn't think I looked as put together as other women. Now I've learned my niche is being the natural girl next door. It helped me realize who I am, what I look like. This is me and that's fine - some people are going to find the juiciest peach, but they don't like peaches! It’s all shown me that rejection is a part of the business and it’s a part of life. It helps you grow, and I love to take that away from it.

Z: That's a great way of looking at it, and removing pressure from yourself in this profession. For my last question, what are your aspirations for modeling in the future? 

S: I would love to explore my creative side more. I do have that creative side but I don’t lean into it or really do anything with it. If I were to be given the opportunity to do it and influence sustainability, helping share and push for that mentality in tiny ways that you can change - that's my goal: self-sustainability, how can I help share that image or that way of life.

Z: Wow, I love those aspirations, so cheers to that! I hope you achieve it all! Best of luck in everything you do, and thank you so much for taking the time to meet with me. 


Rule Breakers: Deb Uglem


Meet Deb, Founder of Jane 1530

How did you get started? 

I've been golfing for 25 years. When I started I couldn’t find golf clothes that fit me and non-golf clothes didn’t function well while on the course. It hit me that I can’t be the only woman worried about my shirt flying up when I swing or sweating when she golfs. So I decided to solve the problem.

I launched Jane 1530 3 years ago with the goal of creating golf clothes that fit well, functioned and looked good on the course.

It started simple but has evolved into something more. It’s housewares, accessories and casual wear all inspired by the course and focused on how women golf and live.

To me, home is where your style and comfort find the perfect mix. Jane 1530’s products are focused on just that.

 
 

What makes you a Rule Breaker?

I believe in universal design. To me that means clothes that fit, function and flatter all women at any size. I believe fashion, style and confidence is for everyone, and I keep that in mind with each design decision. If it works in a size 2, it should work in a size 16 as well. Jane 1530 started with a simple idea that women’s golf clothes should fit women but it has evolved into something more than just that. My goal is to instill confidence in women by creating inclusive, problem solving designs that look great and work in real life.

 
 

What design are you most proud, or excited by? 

The Doris Pant. It is our best-seller. I spent a great deal of time on the material, the perfect waistband and the cut. These details make the difference. They look great on everyone and they function for golf and life. Anyone who tries them on is instantly in love and that makes me extremely proud. It is an amazing feeling when I see the smile on their face. They are also named after my mom.

 

What are your favorite materials to work with? 

I believe my design story is different from others. My experience in the fashion industry is just starting and I am learning a great deal about materials. My favorites are still developing. I try to surround myself with people that know more than me, so they can let me know if what I like will actually function. I am soaking up every bit of information I can. 

 
 

What defines your style as a designer? 

I believe in design that stands the test of time. Quality over quantity, classic prints over trendy fabrics, black over flashy colors, comfortable over formal. I love effortless, easy to wear pieces that you will have for years, the perfect blend of luxe and casual that looks put together and super comfortable.

 

What interests you in fashion? 

Everything. I have always been intrigued by design and I don’t think of fashion as just a trend - I prefer the definition: a matter of doing something. So to me it is everywhere. Your clothes, your accessories, your home, and even the company you keep. It changes as you change and your surroundings change, which makes every day an inspiration for the next big thing. 


5 Photo Secrets From Our Photographer: Nicki Contreras

 

Meet Nicki!

Hello, my name’s Nicki! I’m a photographer and designer in Los Angeles. I got my first gigs working for various music magazines after college and slowly started to pivot into fashion over the last 4 years. 

I first met Corinne from Rule DD while we both worked for a designer about 3 years ago (thank you AQC!). Corinne noticed the product shots I was taking and - bada-bing, bada-boom - I started to shoot for Rule DD! It’s so fun shooting collections, and everyone involved behind the scenes.

Nicki Contreras

1) What makes a good product photo?

This can be SO many things, but the top 3 I always look out for are:

  • Displaying the brand’s personality

  • Keeping concepts new and refreshing

  • Building the set around the product

2) What is most important in your studio space?

Besides a good lil’ speaker, what counts the most is having an overall setup I can groove with. Even with all the equipment you need, if the space is too tricky or just doesn’t flow, you may still not get what you’re looking for. It’s about making the studio work for you, not vice versa.

3) What is most important in a setting?

I’d say no rules really apply, if it captures the brand’s personality and ultimately doesn’t distract from the product. A reliable go to is always a solid colored seamless, but lately I’ve been seeing a lot more props and diorama inspired mini-sets coming into play which is fun.

4) Do you have any tips for makers photographing their own content?

Find what works for you and shooting new concepts will be a lot more fun. I already mentioned this above, but being comfortable with your set-up goes a longgggg way. Something as silly as a tripod you prefer can make your workflow so much easier. I’d also say... Take it easy? ☺

5) Any advice for using A phone camera? 

Try and make all the other variables like lighting, backdrops, etc etc. as consistent as possible. If you’re using an iPhone, the AE/AF lock to keep lighting/colors consistent can be a huge help.


Poppy Row x Reprise Activewear: An Award-Winning Collaboration


This month we connected with Crystal Cave and Mary Bemis, the collaborative designers of the Poppy Row x Reprise Activewear award-winning collection of size inclusive activewear.

Crystal and Mary were recognized by Self Magazine in February when they received the 2022 SELF Certified Activewear Award acknowledging their efforts and successes in designing a groundbreaking and sustainable line of size inclusive activewear.

Read the original feature.



“Going back 5 years ago when we each started our brands, we both wanted to create products that had a positive impact on the world + the humans who wear them. Being recognized by one of the leading health + fitness magazines for our size-inclusive collaboration feels like the most amazing recognition we could ask for…

And we’re just getting started!”

- Crystal Cave of Poppy Row


Zel: Thank you both so much for coming to this call. First and foremost, congratulations on winning a Self Magazine award for your collaboration together, that is a really amazing achievement. We wanted to take this as an opportunity to feature this collaboration and success of two of our clients here at Rule DD. Could you each begin with a brief introduction to yourself and your brand?

Crystal Cave: Hi, I’m Crystal Cave and I started Poppy Row. I created Poppy Row after working as a stylist. I realized after running my award-winning online style school a lot of my clients were on the cusp between straight-size and plus-sized and I was having a hard time finding great staple or basic pieces. There were only one or two brands where I could send everyone. When I was the one personally styling for clients, it was so easy for me to go and search for those pieces for the individual, but to systematize it and work with hundreds of people across the globe, I realized that actually there is a big need. 

C: While I was in design school, I had this idea for a two-piece jumpsuit. It was through working with Corinne and Rule DD that I sketched out the idea and expanded from there to tops, dresses, and bottoms that could all go together. Corinne introduced me to the term modular which has been around for centuries, and we worked together to launch Poppy Row with a line of modular mix-and-match staples, starting with our five piece Fab 5 Collection!

Our founder Corinne defines modular design as:

 “an approach to design which creates a single complete product by integrating or combining smaller pieces that are independent of each other.”

Mary Bemis: And I’m Mary, the founder of Reprise Activewear, a line of activewear and athleisure made using Tencel. I started the company at the same time as Crystal and launched the kickstarter in April of 2018. I actually had zero background in fashion, or in any kind of creative field. I was working in finance before, but was going through my closet and looking at all my clothes. I noticed everything was polyester, and I had no idea what that was. I Googled it and was surprised to learn that it was essentially a plastic. Even after switching to natural beauty products and eating healthier, I was still dressing in something essentially toxic.

POLYESTER IS A SYNTHETIC FIBER. IT IS A KIND OF PLASTIC AND IS USUALLY DERIVED FROM PETROLEUM. ALTERNATIVES TO OIL-DERIVED POLYESTER EXIST, INCLUDING THOSE MADE FROM RECYCLED PLASTIC and AGRICULTURAL CROPS.



Z: You have known each other for a while now, right?

M: Yeah, almost five years. 

C: We first met in the Facebook group for Factory45, and then in-person at a female-founder focused event in New York. We became real friends after that.

Z: So have you two collaborated back and forth for the five years you have been operating?

C: We definitely started out as full supporters of each other's campaigns and brands. Mary and I were both at Rent the Runway Project Entrepreneurs Class of 2018 together, and I got to try on the Reprise Activewear leggings in the largest size she had. I am just about the average American woman’s size, or was at that time. We talked about doing other sizes together, but it was right before the pandemic started that we talked about doing a size-inclusive legging. Through the work with Poppy Row, we had developed an expertise in this area.

Size Inclusive: to size 18, but true inclusivity goes beyond size 18. According to the International Journal of Fashion Design, Technology, and Education, the average American woman wears a size 16 or 18. Therefore, referring to these sizes as “plus” is no longer current. For a brand to be inclusive, it means they would cater to the needs of customers that are a size 24 or greater. 

M: [This] is something I always wanted to do, because I knew straight sizing wasn't enough, but as a solo-founder who had no idea what I was doing (and I still feel like I don't!) I had to start somewhere. I had people reaching out saying that: you know I love what you're doing but I don't fit into this sizing. It was something I knew I wanted to do, and Crystal had put a lot of time into building an inclusive size chart. So I felt instead trying to approach this from scratch, why not collaborate on a product that Crystal loved and wanted to introduce to her audience? It was a natural blend of both our interests. 

STRAIGHT SIZING: OR “STANDARD SIZES” (EX. XXS TO XXL) ARE USED TO STREAMLINE THE PRODUCTION PROCESS OF WHAT THE INDUSTRY CONSIDERS TO BE THE AVERAGE OR MOST COMMON SIZES. HOWEVER, STRAIGHT SIZING IS LIMITING AND EXCLUDES A MAJORITY OF AMERICAN WOMEN - 68% OF WHOM WEAR A SIZE 14 OR ABOVE.

Z: That very organically answers my next question which is: what sparked this collaboration, but it sounds like you have been in the process of creating this line since the beginning of both your brands. How awesome to see an idea like that come to fruition and work so wonderfully - and to be recognized for how successful it is!


Z: What were some of the original goals you had or shared for this collaboration?

C: For me it was about collaborating on product development for things we didn’t have for Poppy Row. Being able to tap into my favorite legging, and make it size inclusive was a huge plus for me. I feel that the athletic world is really fat-phobic, and that is actually what led me to running my own company. For me it wasn't just about style, but also about self-love and empowerment too. A lot of that came because I was [previously] in the health sector.

M: I think we created the goals together. My goals were similar: bringing more size-inclusivity, and creating more products that people could love. Everyone seems to love the leggings and so just trying to just get them into the hands of more people, and also raise awareness and support. I think right now the goals are to support other creators in this space who are trying to raise awareness to general health and wellness, creating a more inclusive space. 



Z: For the next question, could you share a little bit about the process of collaborating between two brands. Did Rule DD factor into that process or was it more independent?

C: I would definitely say that working with Corinne was an integral part of the process. Basically we took Mary’s initial legging and sent it to Corinne and gave her some reference photos for adding a pocket, as there had not been a pocket previously. We got our first samples with the pocket in Mary’s size, and because the pandemic going on, we got on FaceTime. Corinne also helped with the dye process. Mary, let me know if I have this wrong, but it was just prior to us starting the collaboration that you started introducing new colors, and had some disappointment within the dye process? So we worked with Corinne to find an alternative and we figured out a compromise. We had to figure out what would work between both brands as we each have slightly different clients, and shall we say, aesthetics?

M: Nope you got it, I think that's everything. 

Z: Crystal has been with Poppy Row and Rule DD for 5 years; Mary when did you come across Rule DD and start working with Corinne and her team?

M: Through Crystal, that was the first exposure that I had to working with Corinne. I had worked with a similar company in New York when I first started. As I don't have any experience working with technical design, I felt like it was really helpful to have someone there who had all that knowledge. I had someone there when I first started my Kickstarter, but then tried to proceed on my own and I found it really difficult. It was a really seamless transition - it felt natural to continue the work together. It has been so helpful to have someone on the ground and can help with all the stuff I have needed assistance. 

C: I want to add that Corinne also helped us with the production. We did use Mary’s manufacturer, but Corinne helped us making sure everything was ready for production. 


Z: That’s great! Now that you are post-production, with the collection reaching its one-year anniversary soon, how does it feel to be nationally recognized for this collaboration? 

C: I think it is really awesome to be recognized, and amazing that there are a lot of major brands like Dick’s Sporting Goods, Spanx, and others that we were recognized alongside. Plus the fact that we were one of the most inclusive brands on that list. It feels like all the work has actually been worth it. There is real progress happening. 

M: Definitely, I am usually a one-person show. With the collaboration and help from Corinne, there's a lot of people who have assisted and worked with us. To put in all this work and have something I've grown from scratch, to see it alongside these big brands, it felt really awesome. We put in so much work on this collaboration. Being a small business you run into problems everyday, that definitely happened to us. Persevering and seeing this collaboration through, and seeing it recognized, really made all those issues worth seeing through to the end.

Z: Looking to the future do you have any future plans that you'd like to share?

C: Oh, I have so many future plans. I am working on more product releases with Poppy Row and Rule DD. We are working on incorporating dead-stock and releasing some new, exciting pieces!

M: Yeah, of course! We just released a bunch of new colors and styles that Rule DD helped with - it was the biggest collection that I've done so far.


Z: This is all so exciting! For my last question, why is sustainability important to you, and why is working with a sustainable focused design team a priority to you?

M: So many reasons, how to even answer? I grew up very environmentally-minded, in a family that was conscious and did a lot of work with it. It is something that has always been a value of mine. Some of the macro reasons would be, I am someone who's always felt like I need to be doing something that is contributing to the greater good, working with other brands that are like minded, and working together. You're able to get a lot farther with your goals in that way.

C: For myself, I had a chronic pain condition for 20 years, and was looking for health solutions. Similar to how Mary realized her whole closet was polyester, I realized I was plus-sized, in part because of the health challenges. I didn't have many options as a plus-sized consumer. My big thing is being conscious of what I am creating as a designer and business-owner. I truly believe that we are the stewards of this earth and that is our responsibility to take care of her. I think it's our obligation for the next generation. If I can be on the solution side, I'd be a part of that.


Z: That is very good motivation for anyone who is just starting out, whether it be as a creative or entrepreneur. I think you both are such great role models for anyone else with ambition and a determination to begin towards a sustainable future. Thank you both for your time today!


A Brief History of Ready to Wear / Part 1: Production


A Brief History of Ready to Wear is a 4-part feature exploring the events that led from made-to-order fashion, through the ready to wear revolution, and up to the present problem of fast fashion. 

 
 

Fashion is an international market of art, an exchange of inspiration, ideas, and industry.

While humans have always adorned ourselves in an act of self-expression, we have not always bought off the rack or shopped online. Fashion wasn’t always fast. In order to understand all of the complexities of the fashion world today, and the greater forces that shape our manner and means of consumption, it is important to understand how our garments come to life.

Where to begin?

Before we can understand what it means to “buy off the rack”, we have to understand the means of production that bring garments to life. Though the question “where do our clothes come from” is much more expansive, we can begin with the foundational blocks and history of clothing construction. 


some Terms to Know

Handmade - Garments made by hand mean they are hand-sewn, have hand-sewn elements, or are made with a hand process, rather than in a factory. Handmade garments take longer, but are made with more attention to detail and care. 

Bespoke Tailoring -  A practice much more popular and commonplace in years past, bespoke tailoring is the process of making clothing to an individual’s specifications and measurements.

Ready to Wear - Made in standardized sizes, is usually mass-produced, and is meant to be purchased and worn immediately, often without alteration. Haute couture refers to high-end, custom clothing made and tailored exclusively for the wearer.

Small-Batch - This is how we produce here at Rule DD. Small batch means producing less than 500 units of an item, but most of our work is in batches of 25 to 200 pieces. We work to minimize waste by producing only what our clients anticipate selling and planning as accurately as we can.

Straight Sizing - Also known as “standard sizes” (ex. from XXS to XXL) are used by manufacturers to streamline the production process and allow for faster production of what the industry considers to be the average or most common sizes. However, straight sizing is limiting and excludes a majority of American women, 68% of whom wear a size 14 or above. 

Mass-Produced - This is the production of large quantities of a standardized article by an automated and fast paced mechanical process, often producing items by the hundreds or thousands. 

Factory-Made - Similar to mass-produced, and often can be applied to the same processes, factory made means that the garment production occurs in a mechanized factory setting where the garment is made in large quantities, rather than in a handmade production setting. 


The History of Modern Production

For the wealthy, prior to the 1800’s, bespoke tailoring for men and seamstresses for women were the norm. Meaning, garments were custom-made to fit individuals and were constructed to the client’s specifications and style, if they weren’t handmade at home. Though tailoring and homemade garments continued to be the standard for decades to come, the first glimpse of mass-produced clothing was in 1812, when U.S. military uniforms were factory-made to meet the demands of war time. The ease and success of creating men’s wear with uniform sizing and materials continued after the end of the war. 

The clean lines and construction of men’s wear suited large scale factory production. Men were able to find suits that fit well based on simple foundation measurements, like waist, shoulder, and pant length. Womenswear featured many more complexities, embellishments, and details, along with a more structured style that needed to be fit to each body’s unique measurements, making it incompatible with the manufacturing abilities of the era. 

Typically, working class women worked in their free time to craft their wardrobes with pride, and owned very small collections of dresses. Consumption as a whole was incomparable to the unsustainable supply and demands of today.  Historically, fashion was slow, with new styles changing by the year, or even slowly over a decade, rather than by the season. Now, we can see fashion change by the day, with some online shops releasing thousands of new styles every day. Not only was production itself slower, but wardrobes were smaller and changed much less frequently. 

​​Ready-to-wear is clothing sold “off the rack” - which means that it is typically mass produced in straight sizes, and can be worn as soon as you buy, without need for personal alterations.

As women’s clothing styles became more simple, without fitted sleeves, waists, and necklines, or the layers and lavish styles of the past, women’s clothing production became significantly less involved. Due to the simpler and more relaxed silhouettes of the mid-19th century, garment workers were able to produce more product, faster and with more ease, causing a shift in the market. Economic hardship and global war time delayed this change further, until 1966 when Yves Saint Laurent released a collection of “standard size” ready-to-wear pieces, in addition to the bespoke couture collection, changing the game for designers across the globe. 

The new approach to mass production encouraged the use of cheaper synthetic fibers and with no need for tailoring, more styles became readily available for lower prices. This delivered fashion to working class consumers in an unprecedented way, and led fashion designers to produce more styles for the growing market every year. 

Peering into any garment worker’s studio, you can find a variety of specialized craftsmen and tools. From the foundational work of pattern-drafters, sample-makers, and fabric cutters, assembly-clothing production takes time and specialization. Though many garment workers are familiar with each step of the manufacturing process, each step requires careful attention to detail and consistent work. At Rule DD, we return to the tradition of made with care, by focusing on small-batch and localized production right here in Los Angeles. We sew slowly, with consciousness for our workers and our planet. 


To learn more about how fashion became so fast, read Part Two: Shopping!

Rule Breakers: Bridget Dillon


Meet Bridget, Founder of Nine Lives Motowear

what makes you a rule breaker?

The days of the motorcycle industry being male dominated are ending. We’re seeing more and more women learning how to ride, working as mechanics and building their own bikes, riding professionally and racing, and creating motorcycle gear for our bodies. After all, we know exactly what we need on the road, so why leave it to the male designers? There is still so much room for innovation and creativity in the world of women’s motorcycle gear. We’re also excited to bring something new and different to riders who are looking for an alternative to leather gear. We wanted something very specific with minimal branding; a stylish and safe design that can be worn on and off the bike, and that is exactly what we made. 

We didn’t have funding to produce a small initial run, let alone launch the full brand, so once the Juliet Jacket was ready for production, we took our idea to Kickstarter. The outpouring of support was overwhelming. In less than 30 hours on Kickstarter, we received the funding to actually launch this new, very small business with big dreams and we were able to create the first small run of the jacket that we had poured our hearts into. We are confident that we’ve created something unique, stylish, and safe that women will be able to wear on and off the bike for years to come. Truth is, we couldn’t do this without the support of the community.


What was the inspiration for starting your brand? 

As someone who commutes by bike, I wanted a protective jacket that would pass as a “normal” fashionable jacket at work or in my casual life. After days of searching, I felt frustrated seeing SO many versions of exactly what I wanted made for men, but hardly any made for my body. I began jokingly thinking “at this rate, I might as well create my own instead of waiting on someone else to do it!” Eventually, I gave up my search and ordered a denim moto-jacket designed for men. I had the arms and waist tailored, but the jacket was still boxy and not what I was looking for. Still, other women who ride began asking me where I bought my jacket, and then I realized it wasn’t just me who wanted more options. That’s exactly how the concept for our first product, the Juliet Moto Jacket came to be.

What is the thing you want your brand to express?

Nine Lives Motowear is a motowear brand with an emphasis on safety, sustainability and style. Cats are known for their ability to always land feet first, withstanding falls and accidents without being fatally wounded. Women who ride motorcycles deserve access to gear that helps them feel just like that, without sacrificing style or comfort. 

Felines and femininity have long been associated, and Nine Lives Motowear embraces that similar to cats. Women exhibit dexterity, agility, and independence - on and off the motorcycle. Created by women with a passion for riding motorcycles and fashion design, we combine these skill sets to create gear with your best interests in mind. 

What are some of your favorite materials?

Our past struggles with other moto-jackets brought us to the Juliet Moto Jacket’s design and it’s materials. The jacket pattern is comprised of 36 individual pieces, and cut from 4 different fabrics, including a tough 12oz denim shell, an abrasion-resistant Kevlar lining, and mesh pockets for armor inserts.  The internal TENCEL™ Lyocell Twill lining keeps it soft and comfy, while the back features 6" air-vent zippers for warm weather and reflective piping to increase visibility. 

We’ve lined the high-risk abrasion areas with half a yard of 9oz Kevlar. One of the strongest fibers in the world, Kevlar is also heat-resistant. And fun fact: Kevlar was invented by a woman!


Why is sustainability important to your brand? 

As longtime human rights, animal rights, and environmental advocates, we saw a need not only for women's gear in the motorcycle industry, but vegan-friendly, sustainable options, too. Leather doesn’t need to be the default choice for safety in the motorcycle world. There are other abrasion resistant materials that can protect our skin and let animals keep theirs too.

We're proud to guarantee that our products are made in the USA, under ethical working conditions. We take pride in creating gear that minimizes harm to animals and the planet, and does not exploit the hard-working people creating it.

What elements of SUSTAINABility are in your brand? 

We used dead-stock (rolls of fabric that are leftover after a production run) denim in our first small run of the Juliet Jacket and will continue to use it whenever possible. Making use of dead-stock is a popular choice for designers wanting to make their products more sustainable, or for those who need a limited amount for a small run. We also use a TENCEL™ Lyocell Twill lining, which is a super soft material made from transforming wood pulp into cellulosic fibers, with high resource efficiency and low environmental impact. 

Investing in higher-quality motorcycle gear that you’ll wear more often and hold onto for longer is a great way to combat the carbon footprint made from your garments. We've designed the Juliet Jacket to be tough by using extra-durable thread and double-stitching in high-risk impact areas, a thick 12oz denim shell and quality hardware so it’s built to last.


Rule Breakers: Jessa Hollowell


Meet Jessa, Founder of Jessa Grace

Jessa is a self-taught designer who started her own brand to accentuate individuality. From her Gumdrop pants, to her SCRUNCHIEz and graphic tees, her pieces are vibrant, funky, and simply jaw-dropping.

What are some highlights about your brand that you may not find in other brands?

My designs are born from what I personally seek in a clothing item - undeniable style, comfort, and versatility. A piece that can be worn all day, dressed up or down, and is ethically made.
What else could you ask for?

What do you want your brand to express?

Individuality is power.

 

What makes you a Rule Breaker?

My personal saying is: I do what I want. I play by my own rules and act based on what feels right to me and never what I ‘should’ do.

Tell us about your creative space.

I’m so fortunate to have my own dreamy little studio full of plants, family heirloom knick-knacks, a couple sewing machines, fabric galore and a massive amount of inspiration.