Sartorialoft
Tucked away on a small alley in an industrial area of downtown Los Angeles, Sartorialoft has been quietly making its entrance onto the city’s retail market. With a strong aesthetic focused on artisanal garments, the boutique has gained the attention of avant garde fashion enthusiasts both in LA and abroad.
Proprietor David Choi is the driving force behind Sartorialoft, which began as an online retail project, but took its physical form in early 2009. With a long time interest in a sartorial approach to garment making, Choi has been able to perfect the concept for the store which is close to his heart and to those of like minded. Prompted by his enthusiasm, Choi has developed very close relationships with the designers he works with. In Sartorialoft, homage is paid to visionaries like Geoffrey B. Small and Maurizio Altieri, whose now defunct label Carpe Diem is shown through archived pieces along Altieri’s latest project, Avantindietro. The store has also been a forerunner of it’s own sort, introducing the likes of Alessio Zero’s label Layer-0 to the North American market, and being the first retailer abroad to carry Japanese label Individual Sentiments.
How did your interaction with garments and style start out?
It really started out in junior high school. Music was an integral part of my life and style became a direct extension of that. I listened to a lot of punk and post punk music. I guess you could say a lot of it was pretty depressing. I found myself looking for things that matched my moods. Pieces that fit but with odd proportions. I remember frequenting “big and tall” shops and getting stared at while hunting down button shirts that were fitted yet really long.
That actually sounds quite familiar. So how did this interest develop?
By high school, it reached a point where I was really unhappy with clothing that was easily accessible for me. I was just a kid and though places like the Gap are great for some, it really wasn’t an option for me. This prompted a natural progression, where I started deconstructing my clothes. Jackets were typically cut very full through the body around that time and I really liked a more tailored look so I would have the body taken in, altering hem openings, a lot of recuts. Then I started looking at my father’s suits. He had his suits made by a bespoke tailor and I wondered why he wouldn’t just buy off the rack and have it altered. This really gave me a whole new appreciation for garment construction.
Did you find that some designers, maybe ones that you are working with now, sort of filled this void so to say?
In terms of designer’s I work with now? I never really thought about it, but I guess in some ways they do fill a void. Bearing that in mind, I guess Label Under Construction comes to mind first. Luca is a designer today that really blows my mind – I guess because I’ve always been fascinated with the kind of aesthetic representation that he gives us today. He really takes his concept in clothing to the next level. Rarely have I encountered such refined knits so aggressively deconstructed and still the artistry of his work is palatable for such a wide range of people.
Laurini’s approach to deconstruction is one that truly requires a thorough understanding of his medium (the workings of which he was exposed to very early on in life through his father). The work is very intelligent. There is an inherent and asymmetric harmony established in the dichotomy of opposition found in his body of work. He creates flawlessly knit “fabrics” with constituted deterioration, that when found in its natural state, would unravel in senescence. Yet he manages to suspend that deterioration to be preserved in time. His patterns in 2 dimensions are inductive and architectural. It is very logic driven. You can see that the formulaic logic of fabricating knits really fuels his passion for creating and seeking to discover new equations. The thing is, from its inception, his approach to design is a science. But its the creative aspect, the artful disjointing and dismantling in all three dimensions, which breathes life into his pieces, that really gets me excited. The way he encrypts history into the pieces and gives it a soul by “fabricating” a life lived is really special. Its an art.
I’m glad you bring up Label Under Construction as it’s a label that I’m very fond of as well. The aspect of giving a life to garments shows not only through the refined deconstruction of garments but also in some of the material choices, such as vintage military fabrics.
Exactly.
The reason I wanted to ask about your background was to also show what level of appreciation and in-depth relationship you have towards clothing, which is very evident. But how did this take you to the world of retail?
Well, my father is an entrepreneur who dabbled in the retail sector of the apparel business, so its something I’m no stranger too. I can honestly say that the opening of Sartorialoft would have been unlikely had I not gained the experience of opening and running stores under his guidance.
Ultimately though, I think everyone wants to be a part of something they love and believe in. The work of the designers with whom Sartorialoft have an accord are designers who have something to say. Through their work, they introduce individuals to a new dynamic where layered emotions become a factor in considering a piece. Yes, they produce exceptional clothing, but at the same time, with their garments, they challenge people to see things in a different light. Once you scratch the surface, there is a story being told and it provokes a deep seated visceral response. That moment of “impact” is something that I like to experience, whether it be personally or vicariously. When this happens, there is an almost tangible energy and I like to be around for it. I guess that was the most appealing aspect of it all for me.
You operated Sartorialoft as an online store, the decision to open a physical outlet was a very difficult one for you though.
Yes. I can honestly say that it had to be one of the most difficult decisions I’ve ever had to make. The realization of ambitions such as this, is one that is never taken lightly. It makes it that much harder when people you respect are telling you how foolish it is to even consider such an endeavor with the economy sitting where it is. But when the heart weighs heavy, you listen to what it has to say. I did listen and I’m happy I did. Its funny, when I was initially considering the opening of the physical location, the prospect of introducing people to these lines made me really happy. But I’ve come to find the most rewarding aspect of this undertaking is being here for those who already have an understanding and appreciation for such works and having the opportunity to work with them. I guess I’m a simpleton, because I never thought that a venture such as this could be so rewarding in so many ways.
I remember discussing the store location with you late last year when you were still in the planning phase. Those familiar with LA know that it’s very scattered and the downtown area, though emerging, isn’t the most popular retail area.
Very true. Initially, Downtown Los Angeles was last on my list in terms of a location for the store. But the more I looked at potential locations throughout the city, the more it made sense for what I wanted to do. Its not easy to escape the heavy hand of developers who seek to update and remodel buildings by tearing down structures and facades which already possess great intrinsic beauty. Los Angeles is full of “modern chic” locations, but I find them to be sterile and lacking in character. For better or for worse, I wanted to be somewhere real and the space I was fortunate enough to find was completely unassuming. There is something very genuine about it that really appeals to me.
The space itself is very unique as well.
The space is housed in a turn of the century, industrial warehouse. Its very old and as soon as you walk in, you know it. It possesses a quiet charm that I didn’t want to dilute by tampering with it too heavily. So the work that went into it was minimal. Its constantly evolving, but the evolution is rooted in the principle of preservation.
Moving on to some of the designers you carry, the selection is obviously very refined. What are some of the things you value in a label/designer?
When I look at a label, choice of fabrics and quality of construction are very important. It really conveys a sense of pride and passion for what they do and is the first indicator of what the label is all about. There are a myriad of criteria when looking at things from a design perspective.
One thing I really enjoy is an innovative spirit. For instance, Amadei’s reinvention of the 5 pocket pant. Everyone follows the basic pattern of the traditional pair of jeans with its cut and sew patch pockets. The curved seam design that Amadei employs with the pockets worked into the seams is brilliant. It’s such a fresh take on a tired concept, which sat stagnant because there aren’t enough designers out there thinking to rework a classic. His aversion to patchwork is evident throughout all of his pieces, from the inside out. Even the pockets themselves are constructed in unconventional ways by today’s standards, signifying that he has taken into consideration the functional longevity of his creations for the end user. These are the kind of details that aren’t seen when worn, but it is there. His work seems simple, but it takes much more thought and experimentation to manifest than a glance would imply. I really admire a willingness to completely redesign standards, down to the refining of internal components, even if others may not appreciate it or even take notice.
The subtleness of the detailing is very true especially with labels like m.a+, do you think this affects how people view or react to the garments?
I like to think the subtleties have a dramatic effect. But our emotional state is a variable that frames much of our perception of things in any given moment. It’s a pendulum swinging in all directions from one day to the next, so it’s really a matter of timing. Sometimes you seek more effusive design, sometimes a sleek and simple silhouette is the ticket. Whatever the mood, the response is always overwhelmingly positive as people browse through the store. There is much consideration that goes into the curatic process. Not just to present a kind of anthology of the designer’s overall vision while aiming for cohesion with the store’s aesthetic representation, but to cater to the diverse nature of an individual. We are multifarious beings and it is definitely something to be celebrated, not restricted.
Having spent time with you at some showrooms, I’ve certainly learned to respect the thought that goes into the buying process. What has the response towards the store been like then?
You know, this is something I think about quite often, as there are reactions to the space itself and reactions to what the space embodies. Lauren Larsen of Loft Life magazine wrote: “the space begs for the sparse, rough-and-ready décor given to it”, to which the people over at m.a+ say, “It’s raw, just the way we like it.” It’s great when people find an appreciation for what the space has organically grown into.
In terms of the spirit of the space, Natsuyo of Julius once said, “”It’s very warm. I can see your heart in it”. This is something we also hear from designers and clients alike and it is a very gratifying sentiment. It really warms the heart.
And clients?
I guess the most common reaction from our clients is “I’ve never been in a place like this before! This place has got to stay around! Oh look at this!” as they run around grinning form ear to ear. Though it has been written that the store “is far more clothing art gallery than a mere boutique”, it really brings me immeasurable joy to see people having such a positive experience in what is essentially a place to buy clothes.
visit Sartorialoft at 1820 Industrial St. #103, Los Angeles
www.sartorialoftla.com
interviewed by Arto M.