Creative and life partners–fashion designer Karolina Zmarlak and architect Jesse Keyes–drive the vision behind New York City design firm KZ_K STUDIO. Behind the concept-driven design, KZ_K STUDIO believes in the intention behind their pieces and a lifetime of use. Their portrayal of fashion uses advanced materials to yield them in minimizing excess–growing within the mantra of slow fashion in hopes of reducing its effect on the ecosystem.

Explain KZ_K Studio, your influence, and the purpose behind your work as creative director.
Jesse and I founded our clothing design studio on the principles of modernist architecture: to utilize technologically advanced materials, within creative, but precise manufacturing processes that maximize multi-functionality, resulting in a refined minimal aesthetic. Our first collection was covered by a chic French blog, called “Tendences de Mode” calling our pieces (most reversible and all multi-functional) Trois en un, or “Three in One.” Since we launched Jan 1, 2009, in the heart of the Great Financial Recession, they also called the collection “Rececioniste,” because of the practical way each piece could be multi fashioned. From this technical and reasoning starting point, my purpose remains to design and develop collections, in direct proportion to aesthetic and functional foundational needs of our clients

(https://www.tendances-de-mode.com/2009/04/07/1291-karolina-zmarlak-la-mode-3-en-1).

What inspired you to take part in slow fashion? How does this thought translate through your designs?
We started to think about the use of the term “slow fashion” (and how it related to us) after we studied and visited Bra, in the Piemonte region of northern Italy, the home of “slow food.” When McDonalds appeared on the Roman scene at the base of the Spanish Steps, there was an understandable Italian backlash against the mass manufacturing, overproduction, logo addled, and poor quality of fast food. In the small town of Bra, an institute was founded by local farmers, restaurateurs, chefs, and patrons, all to strengthen and further develop the deep, real, trust-oriented relationships amongst them, to engender a virtuous cycle: an entire cycle of “slow food,” based on quality, connection and purpose. Slow fashion is now used in a myriad of ways, but foundationally (to us), it means we trust, know and respect our mill and tannery partners (we know their fair pay and exacting environmental standards), our (all New York City based) local factory partners in the Garment District, and our extensive, growing and new and returning clients. That’s the closed, virtuous loop of slow fashion to us. When you know, trust and rely on all members in your productive value chain, the product is elevated and designed for durability, the treatment of all is fair and most reasoned, the outcome of satisfaction is high: you all know one another, so you’re going to do right by each other.

How does your COOL CYCLE_23 collection represent the city of Barcelona, and how did architecture inspire you?
Jesse earned his master’s degree in architecture and culture on a Fulbright fellowship at the Universitat Politècnica de Catalunya UPC in Barcelona, where he had the good fortune to study, meet, and learn from renowned architect, Oriol Bohigas. This was between 1995-97, right after the magnificent, extraordinary, avant-garde design and development success of Barcelona as it preceded and built up to its hosting of the ‘92 Summer Olympics. Bohigas was the director of the successful, multi-faceted urban development of Barcelona’s Olympics. We incorporated elements of what we found intriguing in the architecture and urban design of this period, namely: Res Publica Primaria (the primary focus should be the public good), Activity Motors (even great avant-garde artists realize that commerce is the engine that supports great design), Refined Minimalism (always a key tenet in modernist architecture, and our designs), and Civic Hedonism (there is no better City than Barcelona to take to the streets, for a pure and varied set of enjoyment purposes). The above Capsules comprise our Cool Cycle_23 collection.

How does KZ_K Studio approach the concept of minimalism?
Within minimalism, as a sphere, these are the shining mantras we follow:
“MINIMALISM IS A PURSUIT OF THE ESSENCE OF THINGS, NOT THE APPEARANCE.”
“MINIMALISM IS NOT ABOUT HAVING LESS. IT’S ABOUT MAKING ROOM FOR MORE OF WHAT MATTERS.”“MINIMALISM IS NOT A STYLE...IT’S A FUNDAMENTAL REACTION AGAINST NOISE, VISUAL NOISE, DISORDER, VULGARITY.”
“MINIMALISM IS NOT SUBTRACTION FOR THE SAKE OF SUBTRACTION. MINIMALISM IS SUBTRACTION FOR THE SAKE OF FOCUS.”

Though you focus on your cycles as evergreen creations, what has inspired them to change the most throughout the years?
Modernism in architecture –of all the creative fields that were torn apart by and then magnificently rebuilt using the progressive and radical tools of modernism– can be seen clearly in its outcomes, and still drives the field in its constant search for creative solutions to context, program, and volume. Given the many complexities of how modernism has played itself out in architecture in both time and place, we have an immense body of work to choose from as creative fodder, to dig deep into, to find morsels of technique, design and execution that we may incorporate (conceptually and technically) into the ever-evolving KZ_K design discipline we’ve founded.

What is the first step when approaching a new cycle?
The steps are the following: develop a concept steeped in modernist art and architecture, investigate the concept, connect to fabric swatch selections from partners, build out the concept via writing and images, visit on location the physical design elements of the concept, sketch looks, fit sketches within four distinct capsules that have essentially broken down the concept into sections relatable to clothing design (potentially), relate the sketches with the swatches, concepts, images and capsules, all in an iterative, dynamic, constantly evolving way. And once this first set of steps is complete, we have a strong starting spot to design and develop the new cycle.

You never mark down merchandise because each piece is designed to be timeless and seasonless. To you, what defines a timeless design?
We design so our pieces can be adapted to our clients’ own continuing development of style as it relates to a desired silhouette, integrated look and use case. Timelessness relates, in our view, to pieces and looks that you will continue to wear for a lifetime of use: the way the pieces fit together profoundly helps you express your vision of self-identity, to yourself, and the outside world.

Architecture and the community surrounding certain cities have inspired your recent collection. What is something recent that has inspired you?
We’re going next to research and learn in a focused way about the precepts and developments of Adolf Loos in Vienna, around and just following the turn of the 20th century. His vision of design was radical, shocking, and mesmerizing at the time; he and his projects remain central to the transition from tradition to modernity, and its set of honest, vastly complex and contradictory outlooks.

How do you build clientele relationships, and why are they so crucial within slow fashion?
One of our studio pillars is to employ an “architecture studio mentality.” Jesse is third generation in a family of architects, so he observed, as a young boy, when his grandfather was building a connection with a prospective client, that it took time, understanding, a melding of design vision to the client’s true design needs; and only after this coming together, a creative solution to the original spatial problem could be imagined. Only after listening, asking questions, and delving into aesthetics and purpose, can a designer, architect or fashion designer (in our worldview) truthfully get a sense of what the client wants and needs. We built our client relationships through my travels: I’ve run hundreds of client-facing events, where I work meticulously to both understand my clients and share how, potentially, our collections can be selected and integrated into their wardrobes for functional, ongoing, practical, aesthetic and joyful use. And the connection is real, it’s fun, it’s engaging, to know a client is to befriend a client. The relationship gives the clothing meaning through understanding. It’s a blast, both intense and bonding.

How has s Oriol Bohigas inspired your latest collection?
Besides a lifetime spent as an active architect and intellectual, including completing his last great work in Barcelona, just before passing, the Museu del Disseny (which we used as a cornerstone concept in the collection), Bohigas showed the world how building a serious, reliable coalition of actors (designers, community leaders, urban planners, engineers, etc.), working together to generate great political capacity, could translate into significant urban works, to change an entire City for the better. But this capacity was honed: in Barcelona, a series of smart, particular, unique and purposeful incisions spread throughout the City (modern parks attached to transport stations, a cadre of sculptures commissioned by well-known artists, contemporary renovations of public food markets, super cool new beach conversions to transform the grimy port into a mediterranean swimming oasis, and much more) all added up to an integrated whole. We designed our capsules and pieces therein, in a dispersed way, but all intended to work together, as one comprehensive picture, to imagine an interlocking, working wardrobe, or a harmonious whole. Of particular focus, conceptually inserted into the capsules, are design lessons found in: Bohigas’ Meseu de Disseny, Meir’s MACBA, and Isozaki’s Palau de St Jordi. And others, as we carefully planned out research and visits, to try to capture the bigger (KZ_K related) picture, from particularized urban incisions:

How can consumers who cannot afford slow fashion support its cause and purpose?
Elemental to the slow fashion movement is buy (way) less and buy (way) more quality. Of course, you need to know how to understand and appreciate quality (otherwise you buy pieces that don’t work for you, defeating the purpose). You must comprehend the aesthetics and fit of that quality-designed piece, that it will suit you for many, many years. Everyone can afford to buy less (that’s by definition), but to “afford” higher quality is not certain. The problem is that many don’t know how to determine quality, nor the fit and silhouette that best suits them, for a lifetime of use. We helped achieve this discovery at KZ_K, over time, and within and due to ever-evolving relationships with our clients, to help them help themselves to buy less, but of much greater design rigor and quality.

How do you define quiet luxury, and would you define KZ_K STUDIO as representation of this concept?
To put it very succinctly, quiet designs are not trend-driven but rather employ an understated consistency, and luxury, via means of very high quality in design, material and manufacturing. We certainly fall within this definition, though our particular modernist multi-functional approach (infused with stylized minimalism), may not fit one’s traditional views of design; traditional looks are often offered by other brands, considered in the quiet luxury field. We are essentially and always will be forward-looking in design, adherent to the avant-garde, while being pragmatic. We ask ourselves: what technologies can we use in fabric and fabrication that are mind-bending and exciting (and what can we ourselves innovate within in the latter), while remaining within our core design strictures?

Tell us about your personal style and what or who influences it the most.
In 2016, when we decided to pivot away from much of the standard fashion industry norms of behavior, especially working with department stores, and, instead, focus on a studio-oriented, client-facing business model, I agreed with Jesse that we would never design a single piece of clothing that I would not integrate into my day-to-day use. Every design had to work for me and stay within our design discipline. I, thus, have the amazing good fortune to have access to, and pull from every post 2015, (and, at times, earlier) KZ_K sample collection. What you see in each collection is part and parcel to my personal style, and what I’ve learned from clients over the years, most importantly, as design relates to comfort and fit. Of course, in addition, I am always on a constant, and concerted look at and understanding of other designers, of fashion, of accessories, of beauty products, of furniture, of places, of all that goes into the joyful, creative products that support the potential for a glorious panoply of modern living.

What is your process when curating innovative fabrics to use for your cycles? Which fabric represents COOL CYCLE_23 most authentically?
We have invested a great deal of time into our textile manufacturing partner relationships, a majority from Japan, and our tannery partners, in France and Spain. So, 95% of our new fabric and leather selections (we choose hundreds of swatches to begin with each cycle) come from our existing partners, as they know what we are looking for: innovative, multi-functional, environmentally thoughtful, supple, pliable, durable, substantive, textured, etc.

What was your favorite capsule to work on, and what is your favorite neighborhood in Barcelona?
The capsule concepts of Bohigas’ Barcelona did run the gambit of the exciting, cool, engaging, and beautiful elements of visiting (and in Jesse’s case, living in) Barcelona. They were all challenging and enjoyable to work on. But where do we like to spend the most time in Barcelona? Without a doubt, El Born: funky, modern, grimy, gleaming, historical, avant-garde, and a nonstop, genuine party.

What is it like creating and working with Jesse Keyes, architect, creative, and life partner?
Our working, living, traveling and being together is a life of connection-driven, creative production and problem solving. We are KZ_K, along with (and never to be left out) our studio shih-tzu, Kimono.

We’ve been asked, how do you separate your professional and personal lives; the decisive answer: we don’t. We live to be what we are designing and developing together, as KZ_K, for the awesome fun and creativity of it, to the pain and complications of it, in indivisible connection to our emotional and physical partnership.

Tell us something about KZ_K Studio we can look forward to.
Our “Renaissance's Mod” Warm Cycle_23 is an exploration of how Italy, with all its splendiferous and vast array of design history, has attempted to integrate modernism into its palette, prior to and after WWII. We found wondrous interpretations of this complex story, especially in Carlo Scarpa, so as to incorporate sleek and sometimes fanciful ideas into our collection. Also, we’ll be coming to host a KZ_K event near you, one day, on the horizon. Come visit and connect with KZ_K.

Social Media.
Instagram: @karolinazmarlak

Interview by Renata Salazar, Contributor, PhotoBook Magazine
Tearsheets by Paige Schubert, Graphic Design Intern, PhotoBook Magazine
*All images by KZ_K Studio.

KZ_K STUDIO Efforts With Slow Fashion in Hopes of Reducing its Effect on the Ecosystem