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I thought that I’d give you guys a bit of what is in the future for Styleforum – indepth interviews and profiles of some of the our favorite designers and retailers, with pictures by Whodini and text by a variety of contributors. This happens to be mine. Shoreman is our editor and tells us when our writing sucks.
Ken Chow is the designer for Krane, one of my favorite brands. Based out of Toronto, Ken started Krane Bag, using waxed cotton, and leather suede, and steel hardware, to make durably and stylish duffle bags, messenger bags, and briefcases. A little later, he started Krane Man, which interpreted military jackets in the same rugged materials as are used to make Ken’s bags. For the Fall/Winter 2009 collection, he has added a new color of waxed cotton, a dark olive, and has made some coats out of the vintage military blankets used as linings in his jackets the previous season. You can check out his designs at www.kranedesign.com. The collection is found at Roden Gray and Context Clothing,, among other retailers.
Styleforum: You are based in Toronto. Did you grow up there? How did that influence your development as a designer?
Ken Chow: I moved to Toronto when I was 11, so I spent the latter part of my childhood here. In addition to art and architecture, Toronto is rich and diverse in music and street culture. I met a DJ friend in the late 80s who introduced me to house music right before it was about to explode—it was spiritual and uplifting. I liked the energy and the emotions that it evoked in me. My friend would make me mix tapes, but I wanted more. I was 14, so I was underage for the clubs.
I met a friend in high school who worked at a club called the Phoenix in Toronto, which made it all possible. I started to meet the personalities who frequented the club, and then got invited to other parties. There was a little bit of a Paris Is Burning ball subculture that was growing at this time in Toronto. Fashion was a big part of it. My sister was also studying fashion in college, so my eyes were focused on the activities see was engaging in and the nightlife of the city.
Ken Chow with his FW09 collection at Capsule in January:
SF: I've noticed that a lot of your jacket designs are military inspired. When I was a kid growing up in Canada, we didn’t have a lot of boutiques, but plenty of surplus stores. Was that your experience?
KC: Yeah, I had a similar experience. There were a few high-end boutiques that stood out carrying high quality sweaters and suits. You’re so right about the abundance of surplus stores that were scattered across all the different districts in the city. I also remember head shops that had military gear in addition to rock’n’roll attire, like motorcycle jackets and studded belts and accessories. These were also the shops where you got your raglan tees with your favorite rock band on it.
The entire FW09 collection
SF: How were your experiences with Marc Jacobs and Cloak? How did they affect you personally and in your designs? How have you perceived yourself and your designs to have evolved since those early, GenArt days?
KC: Marc Jacobs was a big eye-opener. I went to school at FIT (the Fashion Institute of Technology,) and we learned about all the different stages of bringing a product from conception to delivery to the consumer. The Marc Jacobs business model is super-organized and compartmentalized. I interned with Marc Jacobs just when he was launching Marc. It was especially enriching because I was helping with the beginnings stages of the next chapter in the Marc Jacobs empire.
Cloak was another amazing experience. Cloak is a product of Alexandre Plokhov and Robert Geller. We met each other through GenArt’s International Design Competition when we were both finalists in the menswear category. They had only been in the market for a couple of seasons, so it was also a really good time to be working with them. When I was at Cloak, there weren’t a lot of staff—Alexandre, Robbie, Danny (accounts manager) and Yuko (pattern drafter). Everyone kind of just chipped in when there was work that needed to be done. Alexandre was an amazing tailor, and I wanted to fine-tune my tailoring skills the most, so I spent the majority of time helping him with patterns.
Marc Jacobs and Cloak have similar business models, but are quite different. Marc Jacobs is a global brand that has achieved success across the world. Cloak (in its time), on the other hand, achieved success across the globe, but within a smaller niche market. The two are a good case of the cool big company versus a smaller company. Experiencing the two has affected me in a big way. I’ve learned over the years that I am a details-oriented designer. Design details sometimes get me into trouble with increasing production costs. The ultimate goal is to provide the market with special objects of desire at a good price-point. Marc Jacobs and Cloak have helped me come to that happy medium between how far I should push it, to maintain that special quality that I want the consumer to feel when they purchase something bearing the Krane name.
Personally, these experiences have connected me to many interesting and passionate individuals…some I have become friends with along the way.
SF: I've noticed that you have not done an M65 in your recent collections—is it just not for you? Why did you pick the pieces/inspirations that you do/did?
KC: I love the M65 jacket. I have an original black one in my closet that I bring out in the fall and winter. Designing a collection is a little bit of a selfish process, because I’m designing a wardrobe that I would want to wear taking into account its relevance in the market for that season. Maybe this is why the M65 hasn’t appeared in my collections, because I have the original already in my wardrobe. It’s a tough one to make better, so when I’m inspired, it’ll pop up in one of the collections.
Military is a point of reference that I constantly come back to because of my childhood pastime of entering Remembrance Day / Veterans Day poster design contests. I did a lot of research for these graphic posters (much like the research that I would do for the Krane collections), so a lot of the imagery that I fed myself is ingrained in my visual vocabulary. I’ve decided to bring this into Krane, because this was such a big part of my childhood.
SF: You use a lot of waxed cotton and leather, and I see that you are using some of the wool blankets, previously your linings, as the shell for some of your fall/winter 2009 outerwear pieces. All these materials are really well suited to bags and outerwear. Do you see yourself expanding to offer a complete collection? If so, how do you see that evolving?
KC: Yes, this is true for the previous collections. The leather, waxed cotton and the wool blankets are quite heavy and strong in performance. I think the use of these materials have been effective in building up the strong, masculine, grand-industrial-crane part of Krane. There is also the elegant, softer, crane-bird side of Krane that I want to bring into the brand image as well.
We begin to see hints with the use of a softer, more delicate lambskin leather in the leather accessories from the Krane Man line. The concept behind this collection was to reduce the essential pieces in a man’s wardrobe down to its core structural makeup—the end result being a graphic exoskeleton of the garment. This would allow the customer to associate clothing pieces with the brand. For spring/summer 2010 I will be launching a fuller collection, building on top of the Krane bags, outerwear and accessories.
SF: The quilted elastic in the hems and cuffs—I love that—where did that come from? I know that it is super time consuming. Given the choice, would you still have that on the FW09 stuff? How do you feel about moving away from that? How do you feel about concessions to production costs?
KC: The hand-weaved elastic hems and sleeve cuffs were a result of an I.M. Pei documentary that I saw that sparked a back-to-basics approach in design. I was sourcing a knit ribbing for this, but was having a difficult time finding one with a tight strong stretch. The morning run is a good thing to fit into your daily routine. This idea came to me during a run on a sunny summer morning.
I remember bamboo baskets that my dad hand-weaved in China, so I’ve always liked that whole weaved aesthetic, so if it were less time consuming, I would continue with it for FW09. In fashion there’s this constant need to become bigger and better every season, so I think the shift is good. The time saved allows for focus on other areas of opportunity in the grand scheme of things. Also, the decrease in labor lowers the production costs, resulting in a lower price for the product, which makes the consumer happier—really the ultimate goal.
SF: I have an “Emory” bomber from FW08, which has a very classic bomber fit (relaxed in the body, shorter arms). I noticed that this is not the case for the FW09 version. Was that deliberate, to move away from that vintage feel? Or am I just talking out my butt?
KC: The Emory bomber from FW08 did have more of a classic fit, in the sense that it was a fuller fit—so your butt is actually quite wise. For FW09 I refined the fit to reflect a more tailored silhouette, to dress up the casualness of the bomber.
SF: Your bags—I notice some subtle changes in the designs each season. Do you have a Filson frame of mind? Do you see yourself, at some point, going to say "This is the way I want the Siebel, Harland, etc." (and maybe it will be made the same way in 50 years)? Or is your temperament to tweak a little every time?
KC: I like Filson, but Krane is quite different in terms of the goals that I want to achieve with the brand. The collection has been tweaked from season to season because for the first few seasons, Krane was only Krane Bag. Now that the brand is growing and there is increased focus on the Krane Man division. Eventually I see a permanent core bag collection. If changes are made, then it would probably be in favor of an addition of a few styles as opposed to changing the styles.
SF: Dumb question, but must be asked: Do you have a favorite piece that you designed? How about a favorite piece that someone else designed? Do you have that piece?
KC: One of my favorite pieces is the leather cardigan skeleton. It’s a versatile piece that adds that pop factor to an outfit. It’s a versatile piece that has many layering options, and a great conversation piece. One of my all time favorite pieces from another designer is a Helmut Lang knit collar skeleton from his SS03 collection (when he was still designing himself). It works well with my cardigan skeleton.
Cardigan skeleton and other pieces from the FW09 collection:
SF: Name one thing that you think guys couldor should do better, whether in their lives or their wardrobes?
KC: The bag has become such an essential item in the man’s wardrobe. The bag has gained significance in making or breaking a man’s outfit, much like footwear. You see a young executive who is fresh out of school embarking on his first real job; he’s in a nice suit with a nice waxed cotton overcoat and a nice pair of leather boots, but he’s carrying some technical nylon bag, it kills the whole look.
SF: Anything down the pipeline that you are really excited about? How about something other than designs?
KC: I’m a big Olympics guy. My brother and I watched them together as kids, and to this day still get excited when the Olympics approach. The 2010 Olympics being hosted in Canada makes it even more exciting.
Even more exciting, I will be working on a coat project with The Hudson Bay Company in Canada that will be on display in there store windows in Vancouver for the 2010 Olympics.
SF: Ever want to slap someone (me, maybe) for "not getting it" and asking you stupid questions? Is there something I should have asked, but didn't?
KC: Yeah, I think it would be gratifying to slap you. I wouldn’t slap you for “not getting it,” but rather just because you asked!
SF: You told me that the company is growing—in what ways? What is your vision for it? Do you have an idea of where Krane will be in 5 seasons? 5 years? Women's line? Do you see that happening?
KC: The company is growing in the sense that it will be entering the Japanese market for FW09. Japan is and always has been my market of choice. The boys in Japan are into men’s fashion like American boys are into cars. I’m quite hyped about the impact this will have on the company.
I have hopes and goals for where I’d like Krane to be in 5 seasons, but the uncertainty of the market is telling me to not make any drastic changes that involve heavy investments in capital too quickly. In 5 years’ time, I see some horizontal integration in the structure of the company.
I am an advocate of never say never. Although a women’s line is not in the immediate future, nor high on the priority list, I can’t say never.
Ken Chow is the designer for Krane, one of my favorite brands. Based out of Toronto, Ken started Krane Bag, using waxed cotton, and leather suede, and steel hardware, to make durably and stylish duffle bags, messenger bags, and briefcases. A little later, he started Krane Man, which interpreted military jackets in the same rugged materials as are used to make Ken’s bags. For the Fall/Winter 2009 collection, he has added a new color of waxed cotton, a dark olive, and has made some coats out of the vintage military blankets used as linings in his jackets the previous season. You can check out his designs at www.kranedesign.com. The collection is found at Roden Gray and Context Clothing,, among other retailers.
Styleforum: You are based in Toronto. Did you grow up there? How did that influence your development as a designer?
Ken Chow: I moved to Toronto when I was 11, so I spent the latter part of my childhood here. In addition to art and architecture, Toronto is rich and diverse in music and street culture. I met a DJ friend in the late 80s who introduced me to house music right before it was about to explode—it was spiritual and uplifting. I liked the energy and the emotions that it evoked in me. My friend would make me mix tapes, but I wanted more. I was 14, so I was underage for the clubs.
I met a friend in high school who worked at a club called the Phoenix in Toronto, which made it all possible. I started to meet the personalities who frequented the club, and then got invited to other parties. There was a little bit of a Paris Is Burning ball subculture that was growing at this time in Toronto. Fashion was a big part of it. My sister was also studying fashion in college, so my eyes were focused on the activities see was engaging in and the nightlife of the city.
Ken Chow with his FW09 collection at Capsule in January:
SF: I've noticed that a lot of your jacket designs are military inspired. When I was a kid growing up in Canada, we didn’t have a lot of boutiques, but plenty of surplus stores. Was that your experience?
KC: Yeah, I had a similar experience. There were a few high-end boutiques that stood out carrying high quality sweaters and suits. You’re so right about the abundance of surplus stores that were scattered across all the different districts in the city. I also remember head shops that had military gear in addition to rock’n’roll attire, like motorcycle jackets and studded belts and accessories. These were also the shops where you got your raglan tees with your favorite rock band on it.
The entire FW09 collection
SF: How were your experiences with Marc Jacobs and Cloak? How did they affect you personally and in your designs? How have you perceived yourself and your designs to have evolved since those early, GenArt days?
KC: Marc Jacobs was a big eye-opener. I went to school at FIT (the Fashion Institute of Technology,) and we learned about all the different stages of bringing a product from conception to delivery to the consumer. The Marc Jacobs business model is super-organized and compartmentalized. I interned with Marc Jacobs just when he was launching Marc. It was especially enriching because I was helping with the beginnings stages of the next chapter in the Marc Jacobs empire.
Cloak was another amazing experience. Cloak is a product of Alexandre Plokhov and Robert Geller. We met each other through GenArt’s International Design Competition when we were both finalists in the menswear category. They had only been in the market for a couple of seasons, so it was also a really good time to be working with them. When I was at Cloak, there weren’t a lot of staff—Alexandre, Robbie, Danny (accounts manager) and Yuko (pattern drafter). Everyone kind of just chipped in when there was work that needed to be done. Alexandre was an amazing tailor, and I wanted to fine-tune my tailoring skills the most, so I spent the majority of time helping him with patterns.
Marc Jacobs and Cloak have similar business models, but are quite different. Marc Jacobs is a global brand that has achieved success across the world. Cloak (in its time), on the other hand, achieved success across the globe, but within a smaller niche market. The two are a good case of the cool big company versus a smaller company. Experiencing the two has affected me in a big way. I’ve learned over the years that I am a details-oriented designer. Design details sometimes get me into trouble with increasing production costs. The ultimate goal is to provide the market with special objects of desire at a good price-point. Marc Jacobs and Cloak have helped me come to that happy medium between how far I should push it, to maintain that special quality that I want the consumer to feel when they purchase something bearing the Krane name.
Personally, these experiences have connected me to many interesting and passionate individuals…some I have become friends with along the way.
SF: I've noticed that you have not done an M65 in your recent collections—is it just not for you? Why did you pick the pieces/inspirations that you do/did?
KC: I love the M65 jacket. I have an original black one in my closet that I bring out in the fall and winter. Designing a collection is a little bit of a selfish process, because I’m designing a wardrobe that I would want to wear taking into account its relevance in the market for that season. Maybe this is why the M65 hasn’t appeared in my collections, because I have the original already in my wardrobe. It’s a tough one to make better, so when I’m inspired, it’ll pop up in one of the collections.
Military is a point of reference that I constantly come back to because of my childhood pastime of entering Remembrance Day / Veterans Day poster design contests. I did a lot of research for these graphic posters (much like the research that I would do for the Krane collections), so a lot of the imagery that I fed myself is ingrained in my visual vocabulary. I’ve decided to bring this into Krane, because this was such a big part of my childhood.
SF: You use a lot of waxed cotton and leather, and I see that you are using some of the wool blankets, previously your linings, as the shell for some of your fall/winter 2009 outerwear pieces. All these materials are really well suited to bags and outerwear. Do you see yourself expanding to offer a complete collection? If so, how do you see that evolving?
KC: Yes, this is true for the previous collections. The leather, waxed cotton and the wool blankets are quite heavy and strong in performance. I think the use of these materials have been effective in building up the strong, masculine, grand-industrial-crane part of Krane. There is also the elegant, softer, crane-bird side of Krane that I want to bring into the brand image as well.
We begin to see hints with the use of a softer, more delicate lambskin leather in the leather accessories from the Krane Man line. The concept behind this collection was to reduce the essential pieces in a man’s wardrobe down to its core structural makeup—the end result being a graphic exoskeleton of the garment. This would allow the customer to associate clothing pieces with the brand. For spring/summer 2010 I will be launching a fuller collection, building on top of the Krane bags, outerwear and accessories.
SF: The quilted elastic in the hems and cuffs—I love that—where did that come from? I know that it is super time consuming. Given the choice, would you still have that on the FW09 stuff? How do you feel about moving away from that? How do you feel about concessions to production costs?
KC: The hand-weaved elastic hems and sleeve cuffs were a result of an I.M. Pei documentary that I saw that sparked a back-to-basics approach in design. I was sourcing a knit ribbing for this, but was having a difficult time finding one with a tight strong stretch. The morning run is a good thing to fit into your daily routine. This idea came to me during a run on a sunny summer morning.
I remember bamboo baskets that my dad hand-weaved in China, so I’ve always liked that whole weaved aesthetic, so if it were less time consuming, I would continue with it for FW09. In fashion there’s this constant need to become bigger and better every season, so I think the shift is good. The time saved allows for focus on other areas of opportunity in the grand scheme of things. Also, the decrease in labor lowers the production costs, resulting in a lower price for the product, which makes the consumer happier—really the ultimate goal.
SF: I have an “Emory” bomber from FW08, which has a very classic bomber fit (relaxed in the body, shorter arms). I noticed that this is not the case for the FW09 version. Was that deliberate, to move away from that vintage feel? Or am I just talking out my butt?
KC: The Emory bomber from FW08 did have more of a classic fit, in the sense that it was a fuller fit—so your butt is actually quite wise. For FW09 I refined the fit to reflect a more tailored silhouette, to dress up the casualness of the bomber.
SF: Your bags—I notice some subtle changes in the designs each season. Do you have a Filson frame of mind? Do you see yourself, at some point, going to say "This is the way I want the Siebel, Harland, etc." (and maybe it will be made the same way in 50 years)? Or is your temperament to tweak a little every time?
KC: I like Filson, but Krane is quite different in terms of the goals that I want to achieve with the brand. The collection has been tweaked from season to season because for the first few seasons, Krane was only Krane Bag. Now that the brand is growing and there is increased focus on the Krane Man division. Eventually I see a permanent core bag collection. If changes are made, then it would probably be in favor of an addition of a few styles as opposed to changing the styles.
SF: Dumb question, but must be asked: Do you have a favorite piece that you designed? How about a favorite piece that someone else designed? Do you have that piece?
KC: One of my favorite pieces is the leather cardigan skeleton. It’s a versatile piece that adds that pop factor to an outfit. It’s a versatile piece that has many layering options, and a great conversation piece. One of my all time favorite pieces from another designer is a Helmut Lang knit collar skeleton from his SS03 collection (when he was still designing himself). It works well with my cardigan skeleton.
Cardigan skeleton and other pieces from the FW09 collection:
SF: Name one thing that you think guys couldor should do better, whether in their lives or their wardrobes?
KC: The bag has become such an essential item in the man’s wardrobe. The bag has gained significance in making or breaking a man’s outfit, much like footwear. You see a young executive who is fresh out of school embarking on his first real job; he’s in a nice suit with a nice waxed cotton overcoat and a nice pair of leather boots, but he’s carrying some technical nylon bag, it kills the whole look.
SF: Anything down the pipeline that you are really excited about? How about something other than designs?
KC: I’m a big Olympics guy. My brother and I watched them together as kids, and to this day still get excited when the Olympics approach. The 2010 Olympics being hosted in Canada makes it even more exciting.
Even more exciting, I will be working on a coat project with The Hudson Bay Company in Canada that will be on display in there store windows in Vancouver for the 2010 Olympics.
SF: Ever want to slap someone (me, maybe) for "not getting it" and asking you stupid questions? Is there something I should have asked, but didn't?
KC: Yeah, I think it would be gratifying to slap you. I wouldn’t slap you for “not getting it,” but rather just because you asked!
SF: You told me that the company is growing—in what ways? What is your vision for it? Do you have an idea of where Krane will be in 5 seasons? 5 years? Women's line? Do you see that happening?
KC: The company is growing in the sense that it will be entering the Japanese market for FW09. Japan is and always has been my market of choice. The boys in Japan are into men’s fashion like American boys are into cars. I’m quite hyped about the impact this will have on the company.
I have hopes and goals for where I’d like Krane to be in 5 seasons, but the uncertainty of the market is telling me to not make any drastic changes that involve heavy investments in capital too quickly. In 5 years’ time, I see some horizontal integration in the structure of the company.
I am an advocate of never say never. Although a women’s line is not in the immediate future, nor high on the priority list, I can’t say never.
![icon_gu_b_slayer[1].gif](https://www.styleforum.net/images/smilies/icon_gu_b_slayer[1].gif){kind=icon}
