In the vintage fashion archive

“I have a great memory of being in downtown Manhattan with my mom when I was six or seven years old, and I saw a woman wearing a full-length, red, Mongolian, hooded hat,” Gabriel Held said of the scene. His story. He sits in front of me wearing an Emilio Pucci x Supert silk collection, glass of Prosecco in hand. “I turned to my mom and said, ‘Mom, dress me up nineties.’ She said, “Well, Gabriel, that’s actually an over-sixties look, but with a point.” During the collection process, the archive always had such a directional tendency. More than 2,000 pieces and curly Mongolian hair are surprisingly similar to his other cultivated interests, including early Aunts logo mania (of the bootleg and designer variety), an obvious reverence for hip-hop icons of the same era, and “all that Italian chic junk” like ’90s Versace, Emilio Pucci, As Moschino and Roberto Cavalli explain. “I always say to myself, vines are better than anything else right now,” he explains. “You can buy anything now if you can. You have to have the skills and resources to make the wine look good.”

Delve deeper into Held’s Williamsburg archives and you’ll be met with racks of bold prints, glittering rhinestones and glittering logos. In addition to the brands mentioned above, he also collects Christian Lacroix, Blumarine, Jean Paul Gaultier – are you getting the picture? I like Prada too, but honestly sometimes it’s a little too much for me. One of his first discoveries was seen as a sculpture: Converse covered in a (bootleg) Gucci logo print, which he commissioned for himself as a high school graduation present. In our current seating area, genuine Versace cushions stand next to a fake Versace tablecloth. It’s this high-camp, understated luxury mentality that inspires the collection and its loyal fans. The holdover offers its resources mainly to rent-a-kindred spirits, particularly celebrities and editorial stylists. In some cases, he turns the titular archivist into a stylist as he extends his creative ideas to the subject at hand. (You can follow his mental moodboarding process on Instagram.)

The catch is Bettey Johnson’s Top for Rihanna (Remade). Wild thoughts Music video. He consulted on Remy Ma’s “prison release”. “I finally met Beyoncé after all these years,” he boasts. The client list extends beyond this. “If they pull up, I consider them a customer. Whether they wear it or not is none of my business,” he said. From presentation to styling, archivists include Nicki Minaj, Celine Dion, all the Kardashians, minus Kendall Jenner, Ariana Grande, Cardi B, both Hyde sisters, Lizo, Megan T. Stallion, Rosalia and more: the Polaroid “Wall of Fame” in person. It pays tribute to guests who take the time to visit and simply send their stylists (preferred line of work).

The storage facility itself sets the scene for Held’s own creative origin story. It’s where he grew up (where his mom still owns and works for free). Born into a family of artists, Held describes himself as a failed Nepo child, at least in the art world. But the Easter eggs of his future work were even in childhood. The grown-up vintage savant would take his weekly allowance of $20 to Doomsey’s thrift store across the street, dig up the treasure he carried, and sell it to girls at school. (It took place at the Upper East Side school where Gossip Girl was partially filmed.) From there, his genius blossomed. “Even if I couldn’t wear them, I wanted to buy really nice things,” he explains. “And I’ve always had a knack for getting things beyond my means without going into debt, putting those things through some place like the Salvation Army or Goodwill — and patience.” His stylist friends started borrowing from him and didn’t stop. “I realized at some point I had enough money to make me a cashier if I didn’t turn it into a business,” he laughs. “It’s kind of smart.” Tourism record below.

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