From IU to NYC: Apparel Merchandising alumnus describes position at Ralph Rucci
Before he came to Indiana University, Justin Stutzman had no background in fashion design -- unless we count "messing around" with clothing and image during his childhood in Syracuse, Ind., where he grew up alongside eight siblings. Stutzman decided to study business at IU after his fine arts portfolio didn't win him enough scholarship money to attend the university. But the Kelley School took a back seat when Justin discovered a latent passion and talent for fashion design.
"I think he first learned about fashion design at IU because of the Bill Blass exhibition I curated at the IU Art Museum in 2002," said Kate Rowold, an IU professor in the fashion design certificate program. Rowold says Stutzman introduced himself at the Blass exhibition and soon began taking classes in the Department of Apparel Merchandising and Interior Design (AMID). He completed the Costume Construction Technology program (now the Fashion Design Certificate) and was accepted into the Individualized Major Program as a fashion design student.
Rowold says Stutzman was always intrigued with designers of the past, what characteristics were common to aesthetically and commercially successful designs, and how those characteristics change with time. With an interest in designing for women, Justin was fascinated not with trendy styles, but rather with the evolution of designs through variation of cut and tailoring.
"Justin stood out among his peers by virtue of his quiet, unpretentious confidence and his drive for perfection. His goal was simply to make women look beautiful," remembers Rowold.
When Stutzman graduated, he interned with Ralph Rucci and Bill Blass. He returned to work in the studio of Ralph Rucci. In an interview with Live at IU, Justin reflects on his time at IU and shares his thoughts on fashion.
Live at IU: What was your favorite place on campus at IU?
Justin Stutzman: I had two favorites: the first was the Sage Collection, full of amazing archives detailing the past work of masters who gave fashion its vocabulary. It is the place where I found energy and absolute pleasure. If I return to IU, it will be one of the first places I go. The second is the sewing lab in Memorial Hall -- especially late nights or early mornings when it's completely silent with the only noise being you and your machine with breaks in between to work out concepts on the chalk board. This is the place I value the most because it is where the garment was studied and Justin was found.
One of my favorite experiences was when we had the huge ice storm and the campus was closed. I could work on my flannel wool hip day dress without taking breaks to study or attend my other courses. Also, late night walks through campus really helped relieve anxiety.
LIU: What other activities were you involved with at IU?
JS: I helped build costumes for the operas, musicals and ballets in the costume shop for the Jacobs School of Music to earn a little extra money to help with living expenses. Really I think they helped me more than I helped them. I peppered those wonderfully talented ladies with many questions and they always took the time to explain -- I will never take this for granted.
LIU: How did you get started in fashion?
JS: An obsession with materialism and an unquenchable desire to see concept become reality from a very early age got me started in fashion. I think most people who find themselves in this business can give many accounts of childhood stories that exhibit these traits. My entire life I have been messing around with clothing, cloth, accessories, image . . . It was not until I learned of the rigor of the haute couture and the beauty of the craftsmanship that I became energized and saw that this was the direction my life needed to go. This was when I enrolled in Costume Construction Technology, met my muse, Kathleen Rowold, and started spending time at the Sage Collection-- watching DVDs, reading old Vogue magazines and going through brilliant pieces of clothing!
LIU: What are your inspirations?
JS: First, the designers and their vocabulary of work; names such as Balenciaga, Madame Grès, Bill Blass, Charles James, Alaia , Halston, Geoffrey Beene, Christian Dior, Yohji Yamamoto, Norman Norell, YSL, Mdme. Chanel, Jimmy Galanos. The list could go on and on. The point is that God has blessed us with these brilliant masterminds who have interpreted an aesthetic that has evolved the lifestyle of so many. I am thankful for them and what they have taught and will teach me -- I get so worked up just saying all those names together, so powerful! Then there is the cloth, presentation and proportion that always inspire and lead one to a greater understanding of the form beneath. It's very, very important that one must never forget that what is beneath is really what matters.
And yes there are the muses -- Kathleen Rowold, Diana Vreeland, Pauline de Rothschild, Eve Orton, Amy Fine Collins, Gloria Guinness, D.D. Ryan, Alec Wek, Babe Paley, Mary Mcfadden, Kitty Miller, Annette de la Renta, Deeda Blair, Coco Chanel, Chessy Rayner, Audrey Hepburn, Daphne Guiness, Casey Ribicoff, Madame Grès, Martha Graham, Betsy Kaiser, Louise Nevelson, Anne Slater, Lee Radziwill, Carmel Snow, Jackie Onassis . . . I know I am missing a few.
I also believe that most inspiration comes from the subconscious and the result of work. I do not believe you can really define inspiration and apply it to a garment. If one does decide to use direct inspiration to determine the outcome of a garment, I think one has a hard time defining his/her identity. I love to work, and I have found with work that things happen that are special and cannot be explained and those things which are special lead you down a very fresh, energizing road.
LIU: Who is your role model?
JS: I love my parents and the priorities they blessed me with. Mr. Rucci has become very important to me -- it's like spending time with my obsession, Balenciaga.
LIU: When did you just know that this is what you wanted to do with your life?
JS: When I fell in love with the craftsmanship and pride of the couture -- I prayed and still pray that my life be blessed with the ability to contribute to this prestigious craft. I vividly remember a deep crimson red silk shantung day dress by Givenchy that seemed so subtle, yet there were a million tricks lined up beneath the surface. I still smile when I think of clever subtle clothing; it always carries an element of surprise that I adore.
LIU: What are you doing now?
JS: This business is full of surprises, so my tasks are never the same day-to-day. I wish I could tell you I work as a designer evolving concepts (I do but only after hours for myself and my sanity), or developing the patterns. While at Rucci I spend the majority of the day allocating supplies for the work room and production studios. I purchase trimmings and specialty fabrics while maintaining our fabric inventory; this is during production season, when we take orders that the new collection received and produce them for customers. During collection season -- the month prior to the showing of a new collection when we develop new samples for a fashion show -- I am much more involved in the creation of the samples. While patterns are being developed I will assist in the cutting of patterns, toiles (a version of a garment made to test a pattern), and help mark toiles. When the garments hit the machines, I assist in hand work and sewing assignments. It really becomes a team effort, and if you acquire skills you will put them to the test during collection. I wish we were in collection mode 12 months a year -- I really love the intensity of it and what you learn about yourself during this process. I love working for Mr. Rucci -- he is such a mentor. Just through observation, I learn from him and am inspired, to say the least. He is energetic, a very hard worker, an intellect, and one who really cares about his employees and the craft of the work. I could not ask to be with anyone better!
LIU: Is there anything you learned at IU that you use every day?
JS: How to handle stress and deadlines. Yes, it all applies. I think it is the fascination with learning that one really must take from the collegiate experience to move forward with happiness and success in any venture. The secret is finding what fascinates you, and I am blessed to have found that.
