A pile of new prints waiting to be sewn into final samples. "We always try to have a happy appearance in our prints, to make them optimistic-looking and brightly colored," explains Voloshin. "When we looked at the runways for spring, there were a lot of beautiful things happening that we decided not to pursue. Givenchy's zig-zag prints, severe placements on the body, mirror-images and photo-realism. It's fantastic to look at, but it just doesn’t work for the American public, which is who we speak to. It happened over time — at the beginning we were definitely more focused on edgier prints, and then in going on appointments and working with clients, it changed our outlook."
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A pile of new prints waiting to be sewn into final samples. "We always try to have a happy appearance in our prints, to make them optimistic-looking and brightly colored," explains Voloshin. "When we looked at the runways for spring, there were a lot of beautiful things happening that we decided not to pursue. Givenchy's zig-zag prints, severe placements on the body, mirror-images and photo-realism. It's fantastic to look at, but it just doesn’t work for the American public, which is who we speak to. It happened over time — at the beginning we were definitely more focused on edgier prints, and then in going on appointments and working with clients, it changed our outlook."