Rachel Comey started her eponymous label through genuine curiosity about how people communicated through their fashion choices. It was a foundation rooted in the designer honoring her instinct rather than the product of formal learning in fashion school. Nearly twenty years later, the label remains a solid favorite in the fashion world in spite of its independent origin. Hosts Susan and Todd speak with Rachel about engaging the label's cult following in the midst of the COVID-induced push toward e-commerce, what fashion can learn from the food industry, and how following her instinct shaped her much-loved brand.
Show Notes
I'm Susan Barrett, and I'm Todd Thomas. At Barrett Barrera Projects, we believe that ART IS A VERB — it’s the ongoing process of de-constructing and re-constructing our world.
This season, we'll delve deep into the creative processes of some of our most inspiring friends and collaborators, to understand how they are navigating this pivotal moment and working to transform our existing systems, reimagine the status quo, and support each other across disciplines, in order to create a more sustainable, and equitable future for us all.
Welcome to ART IS A VERB, a Barrett Barrera Project.
In this episode, we speak with our dear friend, fashion designer Rachel Comey. Rachel carved out her own path in the fashion industry with a fierce independent streak, and no formal training in fashion design.
Today, Comey's designs have a cult following and have been described as empowering, comfortable, and unexpectedly glamorous-- beloved by some of our favorite creative people, and female leaders.
We discuss Rachel's work to build dignity and transparency into her supply chain, the potential for a slow fashion movement, and how COVID has created an impetus for important conversations to occur within the fashion industry.
Rachel, thank you for being here. It's great to speak to you again.
Rachel: [00:00:00] Oh, thank you so much for having me. Yeah, it's great to be here. I'm honored.
Todd: [00:00:05] We've talked to a lot of different creative people in this series and we've been talking about people's work and their career and the trajectory of their career, and it's been a little difficult to speak about people's work and what they're doing now, what they've been doing and what will be done because of the uncertainty of where we are.
You know, it's an emotional place too, but for a point of reference, can you speak a little bit about how you began your career in fashion?
Rachel: [00:00:40] Well, it's nearly 20 years old, my business. Next year, it'll be 20 years since I had the company, which is pretty much the start of my career in fashion, because I didn't go to school. I didn't study anything in a fashion industry, I really just kind of was super naive and learned on the go. So I think I started in my late twenties, I was experimenting for most of my twenties with just what to get into, what was going to work-- from everything, to working in galleries, to working costumes and theater, to working in a graphic design firm, working production on things, and eventually, you know, after the first couple of years of moving to New York, where I was doing a little bit of everything, I decided to experiment basically, and started making some shirts for some young men in New York, more than anything else. I think--was I doing any women's wear at that time? I mean, I was doing costumes for theater, which were somewhat related to real clothes, but I think I just, my curiosity got me and I wanted to learn about the fashion industry and how it all works and the business part of it. And so I started with men's shirts.
Susan: [00:01:54] Did you sew?
Rachel: [00:01:55] I sewed, like experimentally sewed when I was younger, you know, customizing things and taking things apart. I mean, I could say that I've always loved clothes. I've always loved textiles. I always loved how people communicated through their styling and their choices that they made. I was just so passionate about that. And, in our young days, like pre-internet, that was just so exciting in this way, that when you met people from even another town, they had a different way that they dressed, you know, that was just really thrilling to me.
So, you know, as I got older and met people that lived internationally and things like that, I just always, really, had a passion for that. I think that's the root of my interest in it, I think, is how people communicate through their clothing and the choices that they make, I think.
Todd: [00:02:50] You also have an appreciation for the making process. I know that from our friendship, and your work has taken a path that's very authentic to you. And I think that you are somebody that people look to as an example of a” self realized template” to a certain degree. You identified early on the importance of doing a show and attaching to what was then Style.com, which would be the precursor to the social media platforms that we have now, where you were consistently exposed and promoted there. And you've kind of done things instinctually and trusted your instincts over what might have been like the right or appropriate step to take. Just wondering how you kind of carved out your niche that way, and then also, has that in any way been hindering for the commercial fashion community to embrace or promote you? AKA the Vogues of the world or…?
Rachel: [00:03:59] Well, I think the instinct stuff,, yes, that's true, but I guess that's also being naive or whatever. Um, and curious, but yeah, when you say the manufacturing and the process, I mean, that was definitely an early kind of realization in getting into fashion and moving away from some other types of creative expression, just a passion for fabric, materials, the three dimensions, the communication, but then also the manufacturing process, like all the craftspeople involved from the pattern makers to the cutters and the sewers, andven just the pace of how that item gets out into the world and then somebody buys it and wears it and then they're wearing it and it's got this additional life cycle. So that whole kind of cycle, as soon as I realized how complicated and vast it was from like a business side, from a manufacturing, from, you know, a sustainability side to the finance portion, to all the creativity and the fit and all of that, I knew that I could have like a lifelong kind of puzzle ahead of me, I guess.
Susan: [00:05:14] It sounds daunting. Oh my God. I'm so impressed.
Todd: [00:05:18] That's one thing that I really admire about your approach is that you kind of acknowledged early on, the human element. You see so many emerging designers that do this for, you know, proclamation’s sake, for image sake, to make something fabulous, that really is fabulous--and it says something, but at the end of the day, it doesn't really speak to the responsibility of the other cycles in the system, which are, you know, the big picture of crisis in the fashion industry now.
And you know, now that we've experienced COVID and all of the circumstances that have come with that, the veil is lifted and the crisis is exposed and we're left completely bankrupt and scratching our heads as to what to do next. And people are dropping like flies and I'm just wondering how you're doing. And I know you're talking with a lot of peers, and the CFDA what's the word on how this will affect already archaic systems of showing, of production?
Rachel: [00:06:30] Yeah. I mean, for the first time I've actually talking to my peers, which is highly unusual. I mean, Somehow in our industry, I don't know why, but we're just not that connected to each other, other designers or other businesses. And I guess that's just sadly how it's been. And now for the first time, there's like, you know, like the Business of Fashion, the CFDA and different groups that are making the effort to connect with each other and talk about the real struggles. And I mean, everybody's is a little bit different, but it is nice to be able to have that open communication. And that is certainly something new. So I guess the idea of not feeling totally alone in this situation and knowing other people are going through it is a minimally comforting, but at least something...it's also really shed the light on the difference here in our country versus Europe, which is interesting [Todd: How so?] because, um, some of the calls are international and you know, the whole markdown life here that we have, where people are conditioned to wait for sale and buy things at discount, rather than paying full price for anything, where in Europe it's regulated, you know, that they don't do sale until July and in January, which, here the department stores and the online selling, it's just one promo after another,and we’ve educated our consumers to buy everything on sale, you know?
Todd: [00:08:05] To devalue it in a way, really.
Rachel: [00:08:08] Yeah, to devalue it. And I mean, one example that I keep trying to spread the word on and share is like, if we compare it to the food industry, you know, what's happened in the past 10, 20 years. efore it was all ready-made, premade, fast and cheap. And somehow the food industry has rebranded itself and pretty much the whole world has learned to understand that actually fresh foods, local foods are highly valuable to our health and happiness. And I just wish that we could get that way with clothing, you know, and get away from fast and cheap and disposable.
Susan: [00:08:48] Is there a slow fashion movement?
Rachel: [00:08:51] I, I don't know. I want to say that there is, but I think that a lot of people share this feeling, but how we are going to get that into the mind of the consumer, I guess, is the trick, you know?
Todd: [00:09:07] Let me ask you about the different systems that operate and the kind of hierarchy between, where does it ultimately come down from? I mean, if you are saying that this doesn't work and local designers and small designers are saying this doesn't work, and small European designers are saying artists systems don't work, we're asked to make too much stuff, we're asked to make too many collections, we're asked to deliver things on a schedule that doesn't make sense in the way that people buy things anymore.
But then you have huge conglomerates, like LVMH that are driving things that are like, Nope, we're good. We're ready to keep cranking out those $10,000 handbags at the cycle we've been going, like at what point is there a separation from that? At what point do people become autonomous or do they? And is that a conversation that's being had?
Rachel: [00:09:57] I think that is conversation that’s being had, especially when I encounter with the Europeans... for me, it's more about the American department stores, which definitely affects the Europeans too, because obviously they sell here quite a bit, but yeah, the LVMH carrying things of the world, I think that is a very big deal to lots of designers. For me, I just try to ignore that world a little bit. I don't have those same values in terms of luxury as those luxury brands. Do you know? I don't think it's luxurious to like buy a new $500 key chain every two months, you know.
Todd: [00:10:41] I remember you one time said that you weren't interested in making anything that you wouldn't wear on any given Tuesday.
Rachel: [00:10:51] [Laughter] Thank you for reminding me.
Todd: [00:10:53] Yeah, steel trap.
Todd: [00:10:57] I'm wondering if that's your notion of luxury and what is your idea of luxury, and beauty because you're also known for diversity in your casting and the way that you present your collections and the people that you involve and age and race and gender, and present something alternative, fair. Wear it on a Tuesday.
Rachel: [00:11:22] Yeah. Wear it on a Tuesday. Um, that's so funny. I like to have like a, yeah, an exciting Tuesday, I guess. [Laughter] yeah, I mean, my idea of luxury, I think is probably one that many people share where at this point, we're all kind of evaluating that, I think. I mean, time with friends and family and nature and health and well, those seem like human rights, right? But somehow those feel like luxury right now, which is crazy.
I don't know. I think it's like if in terms of product, I mean, things that are well-made that are timeless, that you're where you're connected to the person that made it all the way down the line, you know, that where the fabric came from was ethically sourced. The people that made it, made it with intention for like that saying that you need in your life or in your day or in your Tuesday, I guess.
Susan: [00:12:22] I was going to say that when we were doing our sound check and you were asked what you had for lunch, that to me sounded so luxurious because they were things that you grew, which is exactly what you're talking about in terms of your creation, and in terms of the ethics of knowing sort of who's working on your ultimate product.
And that of course, sounds like a slow food movement too. So it’s sort of like, taking inventory of every single person that is touching this garment, you know, is that part of a new luxury? Or is that part of a new awareness, that we should be looking toward as opposed to just the fast capitalistic dictate?
Rachel: [00:13:07] Yeah, I think so. I mean, like with the food thing -- I think people are getting more savvy and understanding. Even with the, we buy Black movement that is just starting, and people are sharing ways that you can hire or buy products made by Black owners.
Consumers are starting to understand that they have power with the choices that they do. And if you just buy, whatever Clorox on Amazon or whatever you want to do, you could be making a different choice. So I think that there is a movement towards that, and I really hope it continues.
Todd: [00:13:45] I think so too, Rachel. Yeah.
Rachel: [00:13:47] You know, that's hopeful, I think. I mean, for me and my team, um, the past, I would say like five years since we opened our retail stores, we’re much more connected with our actual customers because they're coming into the store and it's not only through the wholesale format, you know? And because of that, we're able to really think about them and design for them, so that has been so fulfilling and enriching. And I'm just so, like, wow. By our customers and who they are and their lifestyles and what they're doing and I'll get a message like, “I wore this, you know, dress when I went to the UN to talk about reproductive rights and it made me feel so great.”And I'm just like, that's all I need to hear. You know? I mean, if I can make something that makes somebody feel, you know, empowered or whatever, the thing that they're trying to do on their Tuesday, then, then that's so valuable. That's meaningful.
Todd: [00:14:49] You're also known Rachel, and this is very much “Art is a Verb,” where things intersect and where we draw on the friends on parallel creative paths to realize our full visions. You are known for your experiential shows and you got kind of a little bit off calendar you eschewed the typical runway show and did these things that were really celebrations of people's lives. And like you just said, and empowerment and all of these things that we've spoken about on Art is a Verb, whether it's been with the photographers or with producers or artists, it's really about a lifestyle in the fullest idea.
And that's what you've done with your shows and kind of have become infamous for that. And other people have followed in that path.
Rachel: [00:15:51] Thank you. And you know what I would say that you kind of influenced me there, Todd, too. [Todd: Please.] No, for sure. I mean, I think that you have always encouraged me and you are so brave in the choices that you make and that has definitely influenced and inspired me to, like, be daring. And, you mentioned earlier, not having the support of the Vogues of the world.
Now, I feel like that's somewhat of a good thing. [Todd: Right.] Like, now I'm afraid to get in Vogue. Like what'll happen then, you know? But in the early years I always like, why don't they notice me? You know, what am I doing it wrong? But, I never had that type of access or connection or whatever. So, following your instincts is really the only option. And, you know, you gotta take the risks. And I remember when I was just doing the first time, I decided to do a show that was going to be over a dinner party, I thought, well, you know, I liked dinner parties. So, everyone was like, you're crazy. There's no way someone's going to come. People want to be at a show for four minutes and that's it ‘cause they've got to rush onto the next show.
Todd: [00:16:58] Or would they schlep out to Greenpoint to Pioneer Works.
Rachel: [00:17:02] Yeah, it was in Red Hook.
Todd: [00:17:04] Three hours.
Rachel: [00:17:05] Totally. There they'll never come out there. You can't have it in Brooklyn. And then I said, you know what, you know what else, I'm going to invite everybody myself directly without the PR agent. And my PR team was like, no way you can't do that. You can't do that. And I did, I wrote, I just sent an email to Kathy Horne. The first one, I always really admired her fashion criticism. And I mean, this is after 10 years of being inbusiness, at least. So I said, Hey, Kathy, I'm having a show over this dinner and dah, dah, dah, just like an email. I'd love it if you could come. “Well, it sounds great! I look forward to it,” was a response.
I thought, Oh my God, like, why is everything so complicated all the time? So, yeah, taking some chances. And we had my friend Julia Ziegler Haynes, a mutual friend of Todd and I’s who’s a great cook and was doing these separate club-type events and Brooklyn around the same time. And she served something--I feel like there was a fish or something.
It was, it was a September show. So it was like, kind of harvest time, you know, there's a lot of good--And I remember we also did like a pavlova cake, one for each table, with all this fruit on top. It was so beautiful. And then we put a knife on the table and made the guests, they had to cut it themselves.
Todd: [00:18:24] And you incorporated entertainment and music into your events.
Rachel: [00:18:27] Yeah, Vivian played at that show. Yep. And I mean, all these models that are like real interesting people. I mean, not that people that are only models are not, but like, you know, real people that have careers and performance, too, is always fun. I mean, dancers, actors are always great models, too.
Todd: [00:18:49] well, I mean, you've, you've kind of shown something outside the normative gaze in what you've done. We just spoke with Antwaun Sargent earlier today, who was talking about his experience with, the work that he's doing and promoting photographers and artists that have never been part of that, as all of those people are scrambling to be a part of that, to be relevant.
Susan: [00:19:17] Well, it sounds like you create community, and that's whatI think everyone's dying for right now. We're all like missing our friends, and sitting around a table and going back to that, sort of, simpler time. And that's what it sounds like you're creating, how you present your work.
Rachel: [00:19:36] Yeah, thank you. I know! How funny to like, not meet anybody new, in all of these months... I mean, yeah. What a weird time.
Todd: [00:19:49] So Rachel, one of the people that we've spoken with is Brittany Escovedo, who you've worked with and just speaking about creating an experience. What are your thoughts on the way that you present things now? What is the experience, now, emerging from this?
Rachel: [00:20:08] That's a good question. I mean, people are being so... performers in particular, are being really creative with using the video and Zoom... and that will probably last a bit, but I think people will certainly crave in-person experiences as soon as they're able.
Susan: [00:20:28] You know, I've heard that the “new luxury” is going to be those in-person experiences, but they're going to be privatized, so that you can buy the whole restaurant. You can buy the whole salon, so you'll be safe, but you still... it's so strange to me. It's like we want person to person contact so much that that's going to become a new luxury item. I hope not.
Rachel: [00:20:57] I mean, we opened our stores a couple of weeks ago and people are coming in. You know, most of the time you mentioned hair salons, it's like they're coming in, because when the hair salons open, because in Manhattan, it's so quiet there. Now, it's really unrecognizable how quiet it is. And.
Todd: [00:21:15] you have stories in both LA and New York.
Rachel: [00:21:18] Yeah, but people are wanting to come in, but now they stay for like an hour when they come in, you know? Where in the old days, you rush in, rush out, it's your lunch break, iIt's after work and now people are coming and they just stay an hour looking at everything, talking with the sales team. I mean, I think people are, yeah, obviously... like what you're saying, needing connection.
Todd: [00:21:40] One thing we've learned, I think in experiences that COVID has provided for us is looking at how our supply and distribution chain. With that being farther away from us and more out of our hands, how complicated and how messed up that makes our ability to do work, effectively, as people who produce products.
Is there anything different that you think you'll be doing as far as that concerns? I mean, is it a matter of like, being more self actualized in the way that you show things and the way that you sell things?
Rachel: [00:22:21] I mean, I am thinking about how I want to do more made to measure work. It is giving us time to think about how we can do things differently, but it's like you said, every day, I think it's a kind of a new brainstorm right now.
Todd: [00:22:38] Is there something equivocal to that, Susan, and the kind of art product, as far as transmission and distribution?
Susan: [00:22:48] Absolutely. Because part of what happened in the art world, Is that the galleries formed these art fairs so that it would make it a little bit more of an even playing field for those galleries that weren't in New York. But then the art fair started taking over so much that everything was geared toward art fair, which became a much faster experience.
And you look at a gazillion pieces of art and you pick things out quickly, quickly, quickly. So it's like, t expedited everything. Now that everyone is not able to have that in person, relationship to the art, we have to figure out ways to show it, you know, on Instagram or on these different platforms, having virtual galleries, which is not really the way you want to show art, just the same as that's not the way you want to buy clothes, because you want to try it on. You want to see how it feels, or, you know, even on a film it's still two dimensional and art and clothing are three dimensional and they take on a whole new form that you're not able to get at. So, it's interesting trying to figure out, how do you give that personalized experience without being somewhere in person?
But at the same time, it's made things kind of a level playing field too, because we don't have to be in the same city, all of a sudden, and you can start to partner at least in a virtual reality with people from around the world. So, you know, I think the art world is scrambling. We're trying to figure out how to get art out, I'm assuming the same as everyone else, but it's a little bit, like you were saying, how do we make community? How do we continue our community and make it better and more meaningful as opposed to these false communities that were business driven?
Todd: [00:24:52] Well, I mean, I think one thing that this experience has shown all of us has just felt one commonality. You know what I mean? That's a pretty basic fundamental building block of community that X like you said, Rachel, that you're like in communication with people that generally, you know, we all work autonomously. There's little time for intersection, for interaction, and you know, maybe that's one place where community can come out of.
What will be next, Rachel, for you? Have you thought about theoretically there's another season to show in September and that whole cycle? What's happening next there. What are your thoughts?
Rachel: [00:25:34] Well, we're revisiting all of our schedules and everything. We already actually did a big change in the early part of this COVID, where we pushed out our deliveries through the rest of the year, as opposed to them happening so soon. And now they're going to deliver more in season, which is going to be interesting to see how that goes, and kind of a positive change.
And because the business has been kind of dramatically hit, I'm trying to be creative with how we can get through it, you know, using up our liability fabrics. You know, slowing down our resources a little bit, or our outsourcing... and eCommerce is becoming so much more important. It used to be kind of the last thing that we worried about, and now it's trickling up to the top in terms of its needs and function and everything. So we're doing, you know, this trying at home and, you know, just new ways to connect with our customers that is in their safe space, really. We have a shoot we're doing this weekend for our November delivery. So that's a little bit different schedule, and instead of September, we're going to get our spring collection ready for October, which is somewhat exciting because it's a month later than usual.
Todd: [00:27:02] Well, didn't all of that September thing sort of start on like one designer sort of like...
Rachel: [00:27:07] Yeah, I think it was like Helmut Lang, or somebody like that.
Todd: [00:27:11] It was Helmut Lang who, like said, no, I'm not going to participate in a system. I'm going to do my show in September. And then everyone in the American fashion system, which, you know, isn't as large as the European fashion system and relied on him as a Keystone, then jumped to follow. So is there a way that, like all of those systems will become irrelevant? That people will just be autonomous and just like make and distribute on some real time or…?
Rachel: [00:27:42] I mean, I think it's going to be a little bit of chaos, in a way. And it already has been, so it's just like every brand needs to do what is right for them. You know, I'm interested to see what this feels like for October. I'm interested to see, in terms of lifestyle, if that changes my experience for myself and my team, usually we're working so hard in August all through labor day, you know, I'm like, wait a second.
What about if we do it in October? And we do our sales on the same time as the Paris schedule and, you know, we gain a little time and development and we're still going to meet our deadlines for the spring deliveries...anyways! So it's that kind of shifting, and seeing if there's things that we can do that improves the quality of life for my, my team and myself really.
Susan: [00:28:31] It's interesting that New York was always such the epicenter, but does it matter now? I mean, could you take cues from, like, the LA timetable or LA being a different sort of center? And I mean, I'm just wondering that the lifestyles are so vastly different. Is that something that could be freeing or is that something that's like way too out of the system?
Rachel: [00:28:58] I mean, I think right now it's like anything goes. I think this is the time, right now, which is a little stressful because considering the stress and what's happening with the economy and everything, and how that's changing our business structure etc. Like, at the same time, now is the time for reinvention.
So... figure it out!
Susan: [00:29:28] Do you have children?
Rachel: [00:29:29] I have two, yeah,
Susan: [00:29:28] How old are they?
Rachel: [00:29:29] Nine and seven.
Susan: [00:29:31] That's the same age as my kids. And what makes me so crazy is that everyone sort of says how much time we have, and use this time to go ahead and rethink! But if you're having any sort of the same as I am, I'm having, it's more like, how do I keep them from being bored? How do I keep them from not just picking up computers, how do I keep them educated? It's sort of like, Oh my God, how on earth am I supposed to rethink new systems? I'm chasing around kids that are dictating what needs to happen? Yeah.
Rachel: [00:30:07] I mean, I'm very lucky. My partner, my husband, is home with kids already full time. So.
Susan: [00:30:14] Oh, that's awesome.
Rachel: [00:30:16] He is really leading all of that, and it's really impressive. And he's like keeping it all together here at home for the kids and for, for me. [Laughter] So I’m very lucky in that way.
Susan: [00:30:25] Yeah, It’s a whole other conversation about choices that we've made in terms of how we prioritize family. You know how it does disproportionately fall on women. And, you know, I think people are finally starting to say, I don't have time and I am going crazy and I can work, or I can be a mom right now, but I can't do both.
Rachel: [00:30:52] Yeah.
Todd: [00:30:53] Right. Again. I mean, it's really about like the big picture of “lifestyle.”
Susan: [00:30:58] Exactly.
Todd: [00:31:00] How we all make these things. We're all in these systems, we're all doing work that says things that adds, hopefully, something to culture, to our communities, but at the end of the day, what our own personal lives like. I think that's one thing that our recent experiences have shown us is that we need to take a little moment to evaluate how all of these things that we do and make affect even ourselves personally.
Susan: [00:31:29] That's the true luxury.
Rachel: [00:31:31] Yeah.
Todd: [00:31:31] So. For that reason, Rachel, it's really been great to have you speak with us and be part of this. I mean, you know, our conversations are really brief and age seemed to just really get going when it's time to stop. So, maybe this is something we should continue sometime.
Rachel: [00:31:47] Yeah, that would be great. Totally. I can't wait to hear all the other interviews too!
Susan: [00:31:52] So great to meet you. And it's so inspirational. I just can't believe that you are this successful in fashion by doing it your way. That's amazing.
Rachel: [00:32:05] Thank you.
Todd: [00:32:06] It's a lot of hard work.
Rachel: [00:32:08] Yeah. Yeah. If I knew that...
Susan: [00:32:11] [Laughter] Good thing you didn’t. I know there's some, are you saying for not knowing what you're getting into?
Rachel: [00:32:21] Yeah, I know. That's why I keep bringing in my early naîveté because, you know, I had to have that, otherwise, you know, how would I have that ambition? But yeah.
Susan: [00:32:31] Well, now we all have naîveté with what's going to happen in the future.
Rachel: [00:32:36] True. Yeah. Well, I hope these vaccines come through soon and the creative energy that's been created these past couple of months by people and their resilience and all, especially, I feel like the performing arts will come through for us.
Susan: [00:33:00] Absolutely.
Todd: [00:32:55] Thanks, Rachel.
Rachel: [00:32:56] Thank you. TT. It's so nice to meet you, Susan.
Susan: [00:33:00] You too.
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