Jenny Herbert — Late to the Party
Interview by Karrie Witkin
Instagram
Fashion and textiles are really in my blood. My mother’s family were Greek immigrants living on the Lower East Side and almost all of them were involved in textiles in some capacity. My great-grandfather had a small textile company on Forsyth Street where he sold bedding. My grandfather had his own fur shop where he did repairs and reworked fur garments. But the person I feel most spiritually connected to is my great-aunt Billie. She owned and operated a bridal shop on Grand Street for more than 30 years. The pieces she made were works of art, often costing upwards of $5,000, which at that time was A LOT of money (and still is).
The bridal shop that belonged to Jenny’s great-aunt Billie (left). Jenny’s grandmother Mary and her sister Billie posing in front of the bridal shop (right).
Aunt Billie was an incredibly striking looking woman and even though she was married to a small-time gangster she was fiercely independent for her time. She was a business owner, hung out with a lot of gay men, and did things like attend moon meetings (all of which were unusual for a woman at that time). Truly a vision of creativity and independent spirit. I channel her often when I’m sewing and feel her energy with me.
Jenny channeling her great-aunt Billie (left) with that pose.
My mother would hang out in the shop after school and play with fabric scraps and watch Billie in action. I think it helped shape her world around creativity and beautiful fabrics. She later went to the Fashion Institute of Technology in New York City and worked as a textile designer. Her early career focused on menswear knits, where she spent a lot of time on a loom creating samples for production. I remember her telling me how exciting it was when she would see her designs in department stores.
Growing up, my mother exposed me to fashion and style in her own way. She valued quality clothing while also loving a deal. This led us to spend many afternoons together combing through racks at thrift shops and Salvos (Salvation Army stores) where we would find so many incredible things: beautiful wool sweaters and coats, dresses that were impeccably made. This was pre-internet and pre-fast fashion; the golden years of thrifting that I honestly long for now. I talk about these times spent with my mother often because not only did they help me develop my own personal style, they really helped shape my core ethics around being resourceful and valuing second hand.
Jenny’s mom seated at her loom.
I was an only child and a very visual kid who spent a lot of time alone, generally trying to escape reality. I can remember watching “The Incredible Shrinking Woman” on a shag carpet, running my hand through the long strands while I was completely mesmerized by this strange lady hanging out in a dollhouse. Both that tactile feeling and Lily Tomlin really sealed my love of playful absurdity.
I grew up wearing a lot of calico prints and patchwork. My mother loved a romper with a bib. She went through a phase where she was buying me these plaid button downs with elaborate collars. That sounds great now, but back then it was “a lot of look” for a kid. I guess that trained me from a young age to be comfortable wearing some dramatic looks. I often get people saying, “Only you could pull that off.” So, I guess I have my mother to thank for that.
Jenny working a frilly collar game.
I’ve always noticed visual things that were slightly strange, a little peculiar, or exaggerated. I was very into anything miniature or oversized. Other influences of note: Holly Hobbie, Karen Carpenter, Carol Burnett, the muppets, my imaginary friend “Bina” who suddenly died one day because a dog bit her leg off, 70’s game show set design, Judy Blume, and all the patchwork sheets, dresses, bonnets, and curtains that made such an impact on me.
Late to the Party quilted denim jacket with detachable faux fur collar.
I went to Syracuse and got a BFA with a major in surface pattern design. I then spent most of my early career working in interior design. Being an interior designer for the New York elite was interesting for a while in the sense that I interacted with lots of eccentric people, had endless budgets, and worked with some really beautiful materials. But I knew it wasn’t for me long term. I just never really felt at home there.
I shifted gears and worked as a freelance designer for a while until I landed at a small textile company in Brooklyn called AELFIE. I spent the next few years helping to expand the brand. I was the studio manager along with doing design work. The owner and I really clicked and I had a lot of opportunities to be creative. It also gave me the confidence and knowledge I needed to go off and start my own small business, and here I am.
1) “Kissed by a Rose" for AELFIE 2019, 2) “Horseshoe Belly,” 2016, 3) “Heads will Roll,” 2014
I think having worked in interiors and home decor for so long has really influenced my decision-making with clothing. I don’t think about wearable colors or prints that are made for apparel. I often see wallpaper or upholstery prints that I want to make into a jacket! I love sourcing materials. There’s nothing quite like finding an incredible fabric that makes your brain flip out. I love figuring out what patterns to mix and what colors vibe off each other in the right way. Fabric and prints are really my first love.
I never was one to covet traditional fashion designers or the industry. The whole culture around fashion is really what steered me into another visual field. It just seemed like a breeding ground for eating disorders and judgment. I found it boring and generally unappealing. Some of my creative influences along the way include John Waters, Bridget Berlin, Cookie Mueler, and Amy Sedaeris.
Hanging out at home with all of the patterns.
I get excited by unusual classics. The idea of making easy-to-wear silhouettes with interesting and unusual prints and colors has always been appealing to me. Creating pieces that might fall into a “comfortable maximalist” category, perhaps. I’m also striving to create pieces that you’ll love and wear for years. I strongly believe in refocusing our consumption back to the kind of thinking where you buy a selection of really nice, well-made garments each year instead of buying a ton of “garbage” fast fashion that you’ll wear a few times and then give away or throw out. I think it’s nice to have garments that are a little flexible in size as well. Since our bodies change throughout our lives, it's great to have clothing that is not so rigid and will change with us.
Late to the Party jackets made from 70s bedspreads.
When I was thinking about what to call my brand, I landed on “Late to the Party'' because it's a phrase I just really connect with in many ways. For one, I feel like I’ve transitioned through a variety of careers before landing on the idea that I wanted to pursue on my own. So, you know, it took me a minute to get here. Plus, since the core of my business is giving all these vintage and thrifted materials a second life, they are in turn “late to the party.” I’ve also been known to be a late person, but every party needs a fun caboose to bring the evening home, so no one’s mad about it.
Late to the Party detachable exaggerated check collars.
As for the future, I feel like we’re all leaning into lounging because of the pandemic (what choice do we have, really?!) So I’m excited to be launching a robe collection! I’ve always been obsessed with coats, capes, and robes. That’s like the holy trinity of garments for me, my core loves. These robes will utilize existing materials in a really cool way that also helps preserve our memories. I also have a very exciting and bonkers collaboration in the works with a favorite artist of mine from LA. Details to come on that! Lastly, should I start making capes? Slide into my dm’s if you’re cape curious.
Want to be featured?
Keep Reading
