We got a behind-the-scenes look at the preparations for the show. See the photo diary below.
ARIAS pays special attention to art not only in its design philosophy but also in the way it shapes its narrative world. Having collaborated with David Zwirner and Andrew Kreps on rotating gallery concepts, and even commissioning artist Amy Feldman to work on last Spring’s collection, the fashion brand has solidified itself as a multilateral name that prioritizes the intersection of multiple artistic worlds. This time around, ARIAS has worked with Claudia Wiesler, who is the creative mind behind the new silk organza print.
Attention to pattern is a strong suit of ARIAS, which also introduces floral embroidered pieces that are handcrafted in India. The collection also sees a skirt set and a gold floral-embroidered jacket. One piece that stands out as definitive of the collection this season is the gold floral-embroidered mini dress that includes organic ivory cotton denim. As such, the brand prides themselves in choosing quality materials backed by quality construction, not just focusing on the visuals but also giving special care to the internal workings of a piece of clothing.
How did the two of you meet, and what made you want to start an eyewear brand?
We met on the subway on the first day of our MBA at Columbia Business School. We were both German, both new to New York, and immediately bonded over fashion, humor, and the ambition to build something of our own. We kept coming back to sunglasses because one pair can completely change how you look and feel. At the same time, we were frustrated by the gap we saw in the U.S. market between inexpensive, mass-produced frames and luxury eyewear with hefty price tags and prominent logos. We wanted to create stylish, beautifully crafted frames at a more honest price.
Why was small-batch production important to you, and why name the glasses after New York City streets?
Producing in small batches allows us to be thoughtful about each frame and work closely with our Italian manufacturing partners on the details. The names make the collection personal. Each address is connected to a place that means something to us or to the early days of Side Eye. At 141 Waverly Place, for example, we sat outside over coffee and first talked seriously about building the brand. Together, the frames form a little map of our New York.
What is your favorite era of sunglasses, and what shape do you think defines today’s look?
Every era has its own attitude. We love the minimalism of skinny ’90s frames and the confidence of oversized ’60s squares. For today, we’d choose the wraparound shape of our 223 Butler St, which is our bestseller. You can throw it on to run errands or wear it for a night out, and it gives each look a completely different energy. That versatility feels very current to us. We’re drawn to shapes that feel familiar but have something slightly unexpected about them and to the freedom of changing your whole look just by putting on a different pair.
Celebrities from Laura Harrier to Bella Hadid have worn your glasses. Who is the Side Eye girl? What makes her stand out from the New York crowd?
There isn’t just one Side Eye girl, and seeing how differently people wear the frames is one of our favorite things. She might be dressed up or just heading out for coffee, but she has her own point of view. She doesn’t take herself too seriously, can laugh off the little mishaps of everyday life, and feels comfortable doing her own thing. In New York, that ease with your own style is what really stands out.
What pairs best with Side Eye frames? A trench coat, a pair of loafers, a good book?
All three sound pretty good to us. We love the frames with something effortless: a trench thrown over whatever you put on that morning, or a black dress after dark. They should be the pair you reach for on your way out and forget you’re wearing, until someone stops to ask where you got them.
ESQUE/BY relies on a more traditional approach to fashion by maintaining the idea that garments should evolve over time, just as tailors used to. Pieces don’t need to remain stagnant. The brand therefore uses techniques like generous seam allowances and deep hems, so that alterations can be made as one’s body changes and transforms. The brand is inviting of the fact that all bodies, but femme bodies in particular, go through a lifetime of adapting to their environment. And ESQUE/BY doesn’t want to shy away from this reality. In fact, they want to celebrate it.
Asking herself, “Why do we accept that our bodies are the problem when clothes don’t fit?” Lee began to question conventionality at its core. Using her background in computational and systems biology, she began designing while utilizing AI and other technologies. Her approach is grounded in a mathematical attempt at proportions and sizing. Committed to sustainability, ESQUE/BY’s garments are designed specifically for the wearer rather than mass-produced. In this way, technology is utilized for efficiency, but it does not replace tailors, artisans, or pattern makers. Actually, human contribution is an essential part of Lee’s ideology. In addition to her feminist, new age, and sustainable approaches to her work, she is also committed to passing down the knowledge of craftsmanship and to opposing the automation of fashion.
With all this embedded into their practice, the brand launches its first ready-to-wear collection, a lineup of classic and familiar pieces: trousers, a blazer, a button-down, and a dress. The brand also reimagines the traditional three-piece suit in its menswear by introducing The Three Piece, which showcases a corset rather than the expected waistcoat.
Lee is riding full force into the fashion landscape with this initiative, remaining loyal to femme bodies, the environment, the need for humanistic design, and even the informed use of technology in a way that doesn’t threaten the human hand’s role in fashion, but strengthens it.
