During New York Fashion Week, we had the privilege of meeting with designer Clark Sabbat, whose unique Caribbean heritage deeply influenced his new fashion collection.

During New York Fashion Week, we had the privilege of sitting down with fashion designer Clark Sabbat, whose unique background in architecture and Caribbean heritage deeply influences his aesthetic. Known for his mastery of clean lines and fluidity, Clark&rsquo;s designs exude a timeless quality, avoiding fleeting trends in favor of enduring style. In this interview, Clark opens up about his journey in fashion, the challenges he&rsquo;s faced as a Black designer, and how his philosophy of personal evolution continues to shape his collections.

L&rsquo;Officiel:&nbsp; Clark, could you tell us more about your early life in Brooklyn and in Queens and how your Haitian heritage has influenced your designs?
Clark Sabbat: Luckily, my family happened to be very stylish. My mother, aunts, grandmother, etc., always dressed well, and we were expected to do the same. Their sense of style and quality definitely rubbed off on me and left its mark. I grew up between Brooklyn and Queens. We moved to Queens when I was about 10, the picture of me in the white jacket and tie was shot at&nbsp;Newtown High School.&nbsp;

L&rsquo;O: You initially pursued architecture before transitioning to fashion. How did your architectural background shape your approach to fashion design?
CS: I have always been fascinated by the idea of lines and how they interact with one&rsquo;s environment. My fashion is driven by lines and perspective. People who recognize my work can see the direct influence. My goal is to draw the eye and to have it follow where the lines go, the same thing that happens when you look at a building. You follow its outlines to figure out how the building is designed. Done right, it evokes emotion.

L&rsquo;O: What was the pivotal moment that led you to enroll at Parsons School of Design?
CS: When I applied to school, everything was done by mail correspondence. There was no internet. I knew Parsons was one of the best fashion schools, and I wanted to apply to the best school. So in order to stand out, I knew I had a lot of work ahead of me. My friends didn&rsquo;t, at the time, believe that I could get in. I was surprised by the lack of belief, and I was upset that these were people I grew up with, who instead of being supportive, were doing the opposite. It lit something inside of me, and I decided one of the most important things in my life is that no one can decide my future except for me.

L&rsquo;O: What are some of the challenges you&rsquo;ve faced as a first-generation American designer, and how have you overcome them?&nbsp;
CS: Growing up in the industry as a Black designer, we were practically invisible. In order to succeed somewhat, you had to fit into some sort of mold that was made for you. I refused to fit in the mold, and I was tired of being rejected. I knew that I had talent, so I decided that I would go into business for myself. I have owned a successful store in the East Village in the &lsquo;90s, AG / Argentium, and have had two fashion companies, Voudoo and Friends with Benefits.

L&rsquo;O: Can you share a bit about your creative process from inspiration to final product?&nbsp;
CS: My creative process varies. I sometimes will just drape a dress, top, skirt, etc., directly on the mannequin. From the drape, I will develop a final pattern and sample. This process is my favorite as it is the interplay between the fabrics and my hands. It is about instinct, confidence, and trust. I also now believe that my story as a designer is one who also creates by evolving. There are designers that create great backstories for collections. I don&rsquo;t have a backstory; I have an aesthetic, and my challenge is to push that aesthetic forward. My questions to myself are: How to keep it modern, sexy, and simple?

L&rsquo;O: How do you incorporate elements of your Haitian heritage into your designs?&nbsp;
CS: This season, I am using the hibiscus flower, which is the flower of Haiti, but I also have been using lots of Boro (Japanese technique of mending). What we do is use leftover fabric and create a patchwork of fabrics to create new fabric. This idea is inspired by the fact that Haitians are tremendous at upcycling. Spending time in Haiti, I remember seeing many toys made from recycled cans, boxes, etc.

L&rsquo;O: What advice would you give to aspiring designers, particularly those from underrepresented backgrounds, who are looking to break into the fashion industry?&nbsp;
CS: Find mentors, explore programs for designers of color. More exist now than ever before. Surround yourself with people who inspire you. Build friendships and collaborate.

L&rsquo;O: Can you describe the evolution of your design philosophy and how it reflects in your current collections?&nbsp;
CS: Honestly, when I look back, I can see my designs were somewhat complicated. My seams were doing the &ldquo;most.&rdquo; I felt like I needed to prove that I can cut and drape, so lots of my designs were unnecessarily complicated. I was a lot less confident. As I kept designing, I started to feel as if less is more and wanted to make more subtle design statements. I am now more confident in my design as I trust myself more.

L&rsquo;O:&nbsp; Your work features clean lines and exquisite drapery. How do you balance structure and fluidity in your designs?&nbsp;
CS: It&rsquo;s a process that has taken me a long time to figure out. I have been working for many years on this aspect of my craft. There has been a lot of trial and error, but I am happy to say I have figured out techniques that work.

Doing what you love is not easy. There are so many times you ask yourself why? I read something recently that stuck with me. &lsquo;If you are fighting through difficulties, it means a hero is being born.&rsquo; It reminded me to keep going... &ndash; Clark Sabbat

L&rsquo;O: How has your love for travel and different cultures influenced your fashion creations?&nbsp;
CS: It&rsquo;s one thing to see a faraway place in a magazine or online, but it is another thing entirely to see the world in person. Experiencing different cultures, people, food, art, etc., is &ldquo;food for the soul.&rdquo; As a designer, it is one of the most important things you can do besides drawing, draping, and sewing.

L&rsquo;O: You&rsquo;ve stated, &ldquo;Design doesn&rsquo;t mean anything if it doesn&rsquo;t have style.&rdquo; Can you elaborate on what this means to you and how it guides your work?&nbsp;
CS: I don&rsquo;t focus on trends and don&rsquo;t try to create trends. I want to make clothes that can be worn without anyone looking and knowing the year or the season they came from. So I design from intuition and do what feels right. I design pieces that will be worn for a long time.

L&rsquo;O: Your son Luka Sabbat is a very successful fashion influencer, and you managed his career for many years. How did it enrich your practice as a designer?&nbsp;
CS: The one thing that I raised Luka with, which I myself forgot for some time, was that there is nothing you cannot do. There was a point where I was sort of in a rut. Watching him explore his creativity reminded me of who I am and reinvigorated my artistic energy.

L&rsquo;O: You created the Rosette Foundation together with Luka, aiming to mentor and provide opportunities for people of color in the industry. Can you tell us a bit about the foundation?&nbsp;
CS: For now, the Foundation is on hiatus. We both have launched our lines (Luka Sabbat&rsquo;s new line Marking Distance)and have gotten very busy pursuing our careers. I still receive applications, and there are a few people that I try and help directly. As I get more settled in my business, I will explore the opportunities in how to help with the Rosette Foundation.

L&rsquo;O: You have an upcoming collaboration with &Aacute;wet, a store that focuses on working with Black and People of Color. Can you share more about this collaboration?&nbsp;
CS: We were introduced by Lisa Lockwood from WWD, who did an article separately on each of us. I took a look at the store and the message. I liked the fact they are working with Black and People of Color. It is a segment in fashion that is vastly underrepresented considering how much we as a community spend on fashion.

L&rsquo;O: How do you see the fashion industry evolving in terms of diversity and inclusion, and what role do you want to play in this movement?&nbsp;
CS: I think the industry still has a long way to go. One of the main issues is perception. We cannot really be grouped, as we are so different in terms of taste and style. When the industry can stop looking at color and really deal with individuals, then we will have made progress. Fundamentally, we need to all get to know each other better and not let the first impression be what we think we know about a person. I will continue to work and help spread knowledge and understanding with my peers and associates so they learn to keep an open mind and open heart. I will also continue to excel in my craft to elevate what people think they know of the quote &ldquo;Black designer.&rdquo;

Clark Sabbat Pop Up at &Aacute;wet From October 13th, 2024&nbsp; clarksabbat.com @clarksabbat awetnyc.com @awetnyc

NYFW Rendez-Vous: Clark Sabbat Designing with Purpose and Perspective

Tags

Articles associés

Fashion Week

Tommy Hilfiger’s Nautical Preppy Vibe Makes Waves at NYFW

Art

Oli Epp’s New Unrealism

Fashion Week

Back to School : The Perfect Mules for Fashion Week

Recommandé pour vous

Art

Enth Projects, the platform redefining the art of collecting

Beauty

The art of choosing yourself

Woman

Summer Bottled, Creed’s Universally Adored Fragrances

Food

Bagatelle St Barth, à Gustavia, l’art du dîner qui se prolonge

Art

Summer Exhibition at Space Gallery St Barth

Food

GYP SEA Beach Club: A tropical oasis in Saint-Barth

Woman

Commodity: A New Dimension in Fragrance

Pop culture

L’Officiel St Barth x Le Domaine Padel