In Medias Res: Emily Bode
- Words Christopher Fenimore
- Date October 15, 2019
“In Medias Res” is a column in which photographer Chris Fenimore links up with some of fashion's most interesting people to see what they're wearing throughout the week.
At a time when American fashion feels more in flux than ever, there’s no questioning Emily Bode’s meteoric rise—firmly planting her eponymous brand at the center of the fashion conversation happening in New York, Paris and around the world. Known for her crafty, cut-up and highly referential style, Bode’s designs are as prized for their homespun quality as much as they are for their unique approach to fabrication and silhouette.
We caught up with the designer as she explains her history with fashion, the heirlooms she reworks with new life, and what’s next for her brand as it eyes a greater European presence.
Follow Christopher on Instagram here.
I've already asked in the past, but for those who are unfamiliar with that piece that I did, can you tell me a little bit about your childhood, where you grew up, and what you studied in college?
I was born and raised in Atlanta, Georgia. My aunts and mother are quite into the arts, crafts, and antiques. I grew up antiquing in and around Atlanta. We had a couple antique shows like Scott's that was once a month, and it just kind of informed my childhood. I remember picking out my high chair when I was a kid from my parents’ best friend's house. There were a lot of Southern traditions that we followed. You know, going up to New England in the summertime was just as informative because of all the quilts that adorned my aunt’s house, and the craftsmanship in and around New England homes. Both of my parents are from Massachusetts, so I spent most of my summers in Massachusetts. Because I was always intrigued by fashion as a kid, I went to Parsons for menswear design and Eugene Lang [at The New School] for philosophy, so I did a dual degree. I always wanted to have a liberal arts education, but I knew that fashion was going to be my career, or at least I hoped it would be my career. It made sense to go to a trade school and then get a dual degree in philosophy as well.
How did you start your brand, and has anything changed since its inception?
On the initial launch, I just rented a space on Walker Street in the back of an architecture studio, and it was pretty serendipitous. I was working as a buyer at the time and doing a few freelance projects, and I took a photograph for The New York Times for an article. The writer of that article then proceeded to look at my Instagram and asked, "Are you working on something? Are you launching a menswear company?" At that time, I knew that I had wanted to launch Bode, but it was a little bit of a different idea. It was not necessarily grounded in antique textiles, like making from antique textiles. When she alluded to that opportunity I quickly ordered Bode labels, and I got my business plan together. I was working with a Masters student at Berkeley to write my business plan, who had previously worked at Levi's. I launched to time a T Magazine article with Men's Fashion Week and I launched with Ad Space on Walker Street. I took showroom appointments, and had friends and family come over, and industry people who I had met through interning and working.
I'm sure you've had to scale your brand with all your recent press and increase in wholesale accounts; what have you learned in the process? And has it changed how you design and source?
I feel like I've always designed the same way. I just think what I've noticed is that I've reverted back to ways from college a bit. When I first launched Bode, I didn't really utilize the methodologies that I learned in college or at my internships as much, and now from an organizational structure I've reverted back to some of those ways. Like… actually creating a mood board for the team, you know, fabric boards. I didn't do that when I first launched, so it was just me so I like had my book of swatches and embroideries. The way that we source, yes of course it’s changed. Upon launch, it was just one-of-a-kind objects, and now, like the second season I made my own textiles and embroideries in India. It’s definitely become a bigger part of the narrative, preserving those historical techniques with reproduction, but the foundation of the brand still is one of a kind.
How often do you travel for sourcing pieces of inspiration and fabrics? Do you have a favorite place to go?
Probably constantly. I mean even when we're in Paris for market or for a show, I’m sourcing there, and obviously [we still have a budget to work within]. It used to be I'd buy where I'd find something, but now maybe during Fashion Week, it's more buying for inspiration and less about material. My favorite place is definitely still New England just because I enjoy searching for those products, and hearing the history and the narrative along each of those found historical textiles or antiques.
Do you have any interesting stories from your travels in search of fabric?
I mean it's always interesting to me, but going to people's homes when they allow me to go through their own family heirlooms. Often times I'm buying from someone who bought it from an estate sale, and then I'm buying from them, or from a house call. It's always interesting when I buy directly from a source who’s had it since their parents immigrated to America in the late-1800s or the 1920s. To buy and to be allowed into someone's home and to watch them encourage me to buy something, that's what's always so fascinating, is for families to let go of their heirlooms because they see what it could become, or what it can inspire.
I'm always encouraging them to hold onto them, like, “You don't want this? You can frame this; you can make a bedspread." I did a house call in the south of France and there was a kid there who was my age, maybe a little bit older. They probably hadn’t ever opened the chest and it was from the woman's parents from the 1940s, when she was a little girl. You know, all the table cloths and things still had cigarette holes and everything. It was totally untouched. Then I did a house call in Atlanta, this trunk had some letters in it and they didn't even want the letters from their great grandparents. It's crazy because for me, I would save everything that goes along with that, but objects mean different things to different people. In their eyes, no one has touched it since 1920, so why would they keep passing it on if their family is not as interested? You might as well put it to good use.
How do you find these people that you go on house calls for?
Usually through a network I've already created, or through my parent's friends. If we get [a new press] piece, we'll definitely have organic outreach.
People say, “Hi, I have my grandmother's this.” I think it's just happens, being in this network of vintage dealers and antique dealers. I have a lot of friends who work in vintage clothing and they'll say, “oh, there's a lot of fabric at this house,” if I'm not buying it from a market.
That's what's always so fascinating, is for families to let go of their heirlooms because they see what it could become, or what it can inspire.
How often do you travel for sourcing pieces of inspiration and fabrics? Do you have a favorite place to go?
Probably constantly. I mean even when we're in Paris for market or for a show, I’m sourcing there, and obviously [we still have a budget to work within]. It used to be I'd buy where I'd find something, but now maybe during Fashion Week, it's more buying for inspiration and less about material. My favorite place is definitely still New England just because I enjoy searching for those products, and hearing the history and the narrative along each of those found historical textiles or antiques.
Do you have any interesting stories from your travels in search of fabric?
I mean it's always interesting to me, but going to people's homes when they allow me to go through their own family heirlooms. Often times I'm buying from someone who bought it from an estate sale, and then I'm buying from them, or from a house call. It's always interesting when I buy directly from a source who’s had it since their parents immigrated to America in the late-1800s or the 1920s. To buy and to be allowed into someone's home and to watch them encourage me to buy something, that's what's always so fascinating, is for families to let go of their heirlooms because they see what it could become, or what it can inspire.
I'm always encouraging them to hold onto them, like, “You don't want this? You can frame this; you can make a bedspread." I did a house call in the south of France and there was a kid there who was my age, maybe a little bit older. They probably hadn’t ever opened the chest and it was from the woman's parents from the 1940s, when she was a little girl. You know, all the table cloths and things still had cigarette holes and everything. It was totally untouched. Then I did a house call in Atlanta, this trunk had some letters in it and they didn't even want the letters from their great grandparents. It's crazy because for me, I would save everything that goes along with that, but objects mean different things to different people. In their eyes, no one has touched it since 1920, so why would they keep passing it on if their family is not as interested? You might as well put it to good use.
How do you find these people that you go on house calls for?
Usually through a network I've already created, or through my parent's friends. If we get [a new press] piece, we'll definitely have organic outreach.
People say, “Hi, I have my grandmother's this.” I think it's just happens, being in this network of vintage dealers and antique dealers. I have a lot of friends who work in vintage clothing and they'll say, “oh, there's a lot of fabric at this house,” if I'm not buying it from a market.
I wanted to congratulate you on winning the CFDA Emerging Designer of the Year award, but I also wanted to ask what the process like for the LVMH prize?
Basically, the way it works, you apply just like any other fund—or they invite you to apply—as per all funds in fashion. You go through the process of sharing your portfolio, your images, your mission statement. It's like a mini business plan for LVMH. They're looking for something wildly different than the CFDA. We went to Paris and set up a mini showroom. It feels like an exhibit mixed with a trade show. You have a rack of clothes, and you can adorn the walls. We built out a wall with wood and brought stools that we make with Green River Project. I brought a lot of family photos and knickknacks, tried to make that space feel as much like Bode as possible. We had something like 63 interviews in two days that were official. In addition to that, it must have been like another 60. It's everyone from Johnathan Anderson, to the CEO of LVMH, to the Arnault family—the dad and the daughter. It’s everybody that you could imagine living and working in Europe in fashion.
Back to the CFDA award; did you know beforehand you won?
No, I didn't know, but you have to prepare a little blurb if you were to win and that's always very terrifying. That was crazy just to even be grouped. We listened to the CFDA awards and waited to see who won throughout college. It’s like fashion’s version of the Oscars or something. It’s such an honor.
Why did you choose to show in Paris [for Spring/Summer 2020] instead of New York?
The way that the menswear industry is working right now, Europe—more specifically Paris—is where the international buyers and press go for menswear. That's just something that has changed season to season, and it's for now; it makes the most sense. When showing in New York we were showing for friends, local buyers and local press—sometimes international press. If you look at who was sitting at our show in Paris, we had an entire room full of international press and people that were never able to see our shows, and the American press goes as well—the whole GQ team is there and so was Grailed’s team. It just makes sense to show in Paris, because it also backs up to our market. We would have a month difference showing in New York and then going into market would also be a month in, whereas in Paris it backs up to a day. You end up going to market when all the buyers are around, instead of having two separate cities.
Most designers start off designing for an established company, or for somebody else before starting their own brand, but I've also seen the inverse. Could you ever see yourself designing or stepping into a creative director role for another brand?
Yeah, of course. In college, I was recruited for companies before even graduating, and for me it made the most sense to launch Bode first. I was always really interested in working at specific companies, but it made the most sense for me to launch right out.
Now, we're reflecting on what that meant to show in Paris and how we can do it even better next time—how to still stay an American designer.
I think Bode operates outside of the realm of what is popular and trending in fashion currently. If you agree, and with this sentiment in mind, why do you think your brand has taken off and received as much press as it has?
I think it's because of the narrative, and I think that people really respond to the emotive quality of Bode, and the closeness it has to one's self. With the fabrics coming from a historical narrative and from domestic spaces, the way that people respond to the clothing is in a different way than most menswear brands. I think it’s a strength that it's coming from a female perspective as well. It's just a different kind of voice.
Have you designed any women's pieces, or do you have any desire to in the future?
Not necessarily. I won't say never. I mean, half our customers are women, which is typical in menswear. They're buying for their partners and their spouses, and sometimes themselves, but it's most important for me to design for this other person which is the “male.”
Has your personal style changed since starting Bode?
No, I feel I don't dress as much, though. I wear the same thing every day, so yeah, maybe that's because of exhaustion, which happens. I mean that definitely happens. I think all my friends who have their own brands, you just kind of—I don't really buy clothes for myself as much.
Do you have any style do's and don'ts?
I don't. I'm not the biggest fan of socks with loafers, but maybe that's a Southern thing. It deeply bothers me. White socks with loafers which is such a trend, and it's so crazy to me. I really don't like critter socks, like socks that have kitsch. Anything kitsch on footwear is really bothersome.
Do you have a favorite piece in your wardrobe, and does it differ from any other pieces in your wardrobe?
I think all my favorite pieces in my wardrobe are my mother's sweaters and shirts that she saved over the years. I have two pairs of corduroys; the same corduroy in two colorways. It means so much to her that I wear it, and the fact that she saved it is incredible. I think people often regret getting rid of some of their most favorite garments over the years, even if they don't fit.
I have a cowboy shirt of hers. It's probably from the ’50s and she probably wore it in the ’70s. It differs in that it has a narrative that is part of my family history. A lot of my clothing, more than 90 percent my clothes in my closet, are probably vintage. Of course they have a narrative and a story, but what sets those pieces apart is that it's a family narrative.
Do you have a family heirloom you cherish most?
Oh my gosh, yeah. Well, I have my great grandparents’ chair that keeps moving from studio, to house studio, to house—that's probably one of my favorite pieces. My family photos are probably my favorite heirlooms.
Do you have a favorite restaurant and store?
EB: Okay, favorite restaurant is just a neighborhood spot. It's Supper, it's owned by Lil' Frankie's and Sauce. It’s definitely my favorite because you can go there in any mood that you're in and it's just like a family dinner. I like their black salt caesar and their spaghetti limone.
And then favorite store? I mean Paul Rubenstein has always been one of my favorite stores. I love the way that John Derian merchandises, but Paul Rubenenstein is probably number one.
What do you do in your spare time when you're not working on Bode?
Right now, there's not much spare time, but recently I just was in Cape Cod spending time with family, and in Massachusets just trying not to work.
I feel like when there's nothing to do, there's always something to do.
What's next for Bode?
We are closing market right now and I think looking towards this move—I mean, the official move to Paris after having our first season there. Now, we're reflecting on what that meant to show in Paris and how we can do it even better next time—how to still stay an American designer.
I think that's something that has been on the forefront of a lot of the studio’s mind, and especially mine, is how to be showing our collection in Paris, but still be an American designer.