Lazaro Hernandez and Jack McCollough burst onto the New York fashion scene as the good-looking fashion duo who famously sold their Parsons senior thesis collection to Barneys New York. Ten years later, the designers have proven to be no novelty act, maintaining their title as fashion’s reigning cool kids while establishing a growing business. WWD’s executive editor Bridget Foley interviewed Hernandez and McCollough about their decade in fashion and their talent for finding the right partners, both creative and financial.
WWD: You’ve been in business now 10 years, after a meteoric rise. What’s been the single biggest surprise for you along the way?
Lazaro Hernandez: I guess the biggest surprise was maybe the success of the leather goods. That took us by surprise. For the first maybe five years, we were focused exclusively on defining the ready-to-wear, and then we had an idea for a bag. We were like, “A lot of these designer companies have a really successful bag business; let’s attempt that. Let’s try to take this to another level.” We wanted to introduce a very specific bag. Just one idea, and that really hit.
WWD: Talk a little about the PS1. It’s very interesting to me that when you were starting out, it was at the height of an “It” bag moment.
Jack McCollough: We didn’t want to put a bag out there until we had something to say with bags. As you said, it was at a time when it was very much about an “It” bag, and aesthetically those bags were very much covered in hardware and buckles and logos, and we kind of wanted to do something that was the antithesis of an “It” bag in a way. Something more stripped down and incognito, easy wearing. Something that could stand the test of time and not just be of the moment. And we chose not to show that bag [on the runway]. We wanted to keep it not of a season. When you show a bag it kind of becomes old news the next season, and we wanted to do this classic item.
WWD: Do you think there’s a cool classicism to it? That’s what made it click?
L.H.: We had just come off that Target thing and that did really well. I remember the Target people saying it was one of the most successful collaborations for them. They were really psyched about it, and that showed us, all the press that we had gotten, that people were really interested in the product. So if we offered something that was more accessible, such as an accessory — one size fits all — hopefully that would stick, and that was directly after the Target thing when we started to develop the bag.
WWD: When you came out of school, you came out to tremendous acclaim. Barneys bought your senior projects. Many of us mark your ascent as the beginning of this next generation. Why you? Was it a combination of timing and talent? Why do you think the moment was right?
J.M.: I think it was very much a mixture of timing and talent. It was at a time when all the different generations of fashion were shifting. The Calvin Kleins and the Donna Karans went from designers to these megaestablished brands. Michael Kors and Marc Jacobs became the establishment and it opened up a gap. People were just ready for some new blood in the game.
L.H.: You were the first person to come to us in our apartment. We were still in school. We had wire hangers. No wire hangers! So it’s a question for you, I guess. You were seeking out new talent.
WWD: Talk about your creative partnership. I’m always fascinated by designer partners. I think, Lazaro, you once said, “If one of us wants black and one wants white, we do gray.” How does that work?
L.H.: It’s such an abstract process. No one designer works in a vacuum. Every designer has a team of people they have a dialogue with through the season. We’re no different, we’re just sort of a public duo. Our collections aren’t about equestrian one season and hippie the next season. It’s not so basic. It’s a six-month process. We try to engage in the world as much as possible and absorb as much information individually. Throughout the season, we bring different ideas to the table that end up merging and becoming one thing. If I was doing it alone, it wouldn’t look like Proenza Schouler. If Jack was doing it alone, it wouldn’t look like Proenza Schouler. What makes it look like Proenza Schouler is the combination of our two ideas.
J.M.: I think the seasons where we’re arguing the most or a little off tend to be the most successful collections. It’s more layered. It’s not so one-dimensional. It’s about the mixture of many different elements that create something that hopefully no one’s ever seen before.
L.H.: We work so much together and we’re always traveling. We’ll be like, “Remember that car we saw in Nepal last year? That pink color? Yeah, that’s the color.”
WWD: You are the creative partners. You’re the front people, but there’s another partner. Talk about Shirley Cook’s role and this idea of younger designers finding the right business partner to work with.
J.M.: Shirley has been with us since the very beginning. We met Shirley through Kate Fleming, who we went to Parsons with. She was roommates with Shirley, who was going to NYU. She was a religion major. She graduated a year before us and was doing p.r. at Helmut Lang. After we graduated and Barneys bought our senior collection, we had to kind of scramble and get this thing rolling. I think our strengths are our design and, especially back then, in the beginning we had weaknesses. Shirley was a good friend and would come over after work at Helmut and help us organize receipts, or Barneys gives you this big book of all these things you have to follow in order to ship, and we were like, “What the hell is this?” Shirley helped us figure it out, and eventually she left Helmut and joined forces with us. She’s our ceo and our right hand. It’s so important for a designer to have someone like that on your side.
WWD: The escalation of your business has been incredible over the past few years. Let’s talk about the growth of the business. I know Shirley brought on your first backer and now Andrew [Rosen] came on in 2011. Talk about your various backing situations and why you feel Andrew Rosen and John Howard are the right fit.
J.M.: In the beginning Shirley brought on this guy Markus Höfels. He came in on a personal level, and we have a lot of respect for him. We were right out of school and had nothing to show.
L.H.: He was a true angel investor.
J.H.: He helped jump-start the business and get an influx of cash, and then we got to the point where we wanted to take this to the next level, and he just didn’t have the means. We started talks with Valentino, which was really instrumental in growing our manufacturing capabilities in Italy, specifically.