The Future Perfect’s David Alhadeff Tests Out Fashion’s Waters – Architectural Digest

The Future Perfect is synonymous with contemporary, collectible design. But until now, David Alhadeff’s business has exclusively traded in finely crafted pieces of furniture and lighting—avoiding any products in the wearable-design category. That changes this fall, as the Future Perfect partners with Natalie Bloomingdale’s online fashion platform, The Sil Shop, for the gallery’s first fashion capsule collection.

To make the line come to life, Bloomingdale—who, Alhadeff emphasizes, deserves a ton of credit—tapped Cynthia Collins, Devon Pavlovits, Julie Harrah, Keehn Deutch, La Vie Style House, Scott Nelson, Sue Sartor, and Tish Cox to participate in this unique undertaking. In a moment of fashion-design synergy, the line’s caftans, clutches, and more incorporate exclusive fabrics and textile inspiration from the Future Perfect’s own vendors. (Think Scott Nelson’s purses, which make excellent use of two of Kvadrat and Raf Simons’s most recognizable fabrics.)

While the collection does not officially debut until December 1, it’s kicking off with a Casa Perfect LA trunk show this week. Below, Alhadeff gives AD PRO the scoop about the new venture.

AD PRO: Why did you want the Future Perfect to go into fashion?

David Alhadeff: I wouldn’t exactly call it that, but I think the opportunity for this type of collaboration was really interesting. And working with emerging talent—that’s my sweet spot, that’s what we do.

When Natalie [Bloomingdale] proposed that “the future perfect” become a design brief, I was like, That’s super interesting. I’m not overseeing this creatively. Fashion’s not my forte and it’s not my business. This is really just utilizing our DNA.

AD PRO: Are you looking to expand the brand in more such ways?

DA: I think Casa Perfect was the first thing I did that really expanded the brand to new opportunities. Fashion is part of how all that works, but not so much design. In design you don’t have someone who doesn’t know about shoes designing for Adidas, let’s say. Our field is about reputed artists and makers. But it’s fun to have the chance to utilize the brand as a concept.

AD PRO: I would guess that you’re in favor of the fact that, as you say, the design field tends to be made up of reputed artists and makers. Or is it not that simple?

DA: I think it’s not that simple. It’s not so easy for an outsider to come in and create. Making furniture and lighting is very complex. Being cool isn’t enough to make an incredible collection of ceramics. But certainly, if you are cool and know everything about ceramics, that helps [laughs].

Become an AD PRO Member

Join now for unlimited access and all of the benefits that only members get to experience.

AD PRO: Have any of the specific pieces from this collection really surprised you?

DA: Surprised, blown way, shocked, or even made me think, That’s not my taste—all of the above. I wasn’t even aware of some of these names beforehand, and because [The Sil] does mostly women’s fashion, I didn’t really get too obsessed. I care about it from a brand point of view, but I’m not looking for a handbag for myself, per se.

AD PRO: It seems like right now fashion designers are increasingly going into design. But what you’re doing is almost the opposite of that shift.

DA: What I like about that is that it’s all about sharing. It used to be more isolated. It used to be I had competition and I worked against it. But I think especially in fashion, people have paved the way for the idea that there is no competition. That’s extremely appealing to me—collaboration instead of competition. It aligns with my spiritual ideals: We have an abundance, and therefore we should share.

AD PRO: So will you do more lending of ”the future perfect” as a design brief?

DA: Totally. It’s really about diversification—business-wise, brand-wise. There are no Diptyque candles in the works. But I’m very open-minded.

Let’s block ads! (Why?)