Spurr of the Moment
Simon Spurr doesn’t do gimmicky. While many young American menswear designers tend toward the gratuitous -- throwing in an extraneous epaulet here, some pointless embroidery there -- Spurr has quickly established his four-year-old line, simply called Spurr, through impeccable tailoring and a breed of quiet elegance not often found in the more-is-more world of men’s fashion.
So it was a surprise to few that Spurr, 35, was tapped earlier this year as a finalist for the CFDA/Vogue Fashion Fund Award (the awards, which are collectively considered the Holy Grail of honors for young designers, will be announced Nov. 16). This year’s competition is admittedly stiff: Spurr shares the honor with fellow menswear impresario Patrik Ervell, L.A.’s own shoe maverick George Esquivel, minimalist maven Wayne Lee and jewelry designer Monique Pean. But no one's counting him out.
Earlier this year, his Space Oddessy-inspired fall 2009 presentation at New York’s Milk Studios was easily one of the best men’s shows of the season; cashmere-blend peacoats and peak-lapel velvet jackets that evoked a kind of effortless elegance were among the standouts. The buzz was palpable, and it wasn't from the Veeve cocktails.
A native of Borough Green, barely a speck on the map of Southwest England, Spurr left a design director post for Ralph Lauren Black and Purple labels and launched Spurr in 2005 as a denim line (his denim is made in Los Angeles to this day). But his nod from the CFDA is all about his sportswear -- classic, luxe pieces with a sporty edge.
STREAMLINED: Understated looks from Spurr's Fall collection.
Style Section L.A.: Congrats on the nomination. When did you find out you were part of this year’s final ten?
Spurr: I was accepted into the CFDA in June on a Monday, and found out that I was a Fashion Fund Finalist the next day! Quite a roller coaster week. The nomination is, of course, a great honor. It has not only served as recognition from the industry for the hard work we have put in over the past few years, but has also given the brand more exposure. I'm not sure how many Vogue readers had heard of the brand before this month's issue came out [which featured all ten nominees].
The RL design post would be a pinnacle job for most menswear designers. Why did you leave?
I chose to leave RL for the simple reason that I was at a crossroads in my life and career. I loved working at RL, but I was 32 when I left, and I had decided that if I was going to make the leap to start my own company, then that was the time to do it. It's easier to take three steps backwards (financially) when you don't have overhead like a mortgage and children.
Talk to me about your denim -- which I know is made here in L.A.
We started the company four years ago with a luxurious, well-fitting jean that was modern and clean in its finish. We wanted to create a luxurious 501 -- a jean that every man must own, a jean that wears well and lasts a lifetime. I extrapolated this approach over the following few seasons into other product categories to create well-made, timeless clothes that move beyond fashion trends and that were more about having style.
What are your favorite pieces for fall?
Fall 09 was based on the theme of exploration. The collection took a deeper look at fabric, texture and pattern. This was also the first season that the Spurr aesthetic really began to take a foothold. My favorite pieces are the double-breasted suit in grey wool-cashmere flannel and the single breasted, black and white wool-silk modern tweed suit. I think these two pieces demonstrate that you can wear a suit and still look modern and young.
What can we look forward to seeing in stores next year?
You can definitely expect a more romantic look. Think [iconic French actor] Alain Delon in the late 1960's, early 1970's. Sophisticated and colorful suits in wool-silk and wool-linen blends are accented with double flowers in the lapels.
What's your take on how most men dress these days?
Menswear for me has been moving back towards a more sophisticated, elegant look. But this doesn't mean that you have to dress like a peacock. I think there's a younger, more modern way to achieve elegance -- by purchasing understated, well-fitting clothes that don't overshadow the wearer's personality.
The American male is also [now] more fashion-conscious, body-aware and is spending more time considering his appearance. It's no longer just the metro-sexual man that wants to dress well.