Tomorrow’s classics

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Lola Abecassis Sartore, a creative force in menswear design, has carved her niche with an innovative yet grounded approach. Growing up amidst her family’s shoemaking legacy, she developed a keen eye for detail and a passion for craftsmanship. Educated at Atelier Chardon Savard, Lola’s career took off at Louis Vuitton, where she initially worked under the creative direction of Virgil Abloh and later continued to collaborate with Pharrell Williams. Now her designs are known for blending modern flair with classic elements and continue to set new standards in the fashion industry. 

hube: Could you tell us about your journey into the fashion industry and what inspired you to pursue menswear design?

Lola Abecassis Sartore: It all started at a very young age. My grandfather founded a shoe company that he passed on to my mother and her sister, and since I can remember, I’ve been around the creative process of designing products.

I knew very early on that this was what I wanted to do: design and create. I hesitated for a long time between architecture and fashion design. My heart ended up choosing fashion; I’ve been around it since I was a kid, and it made more sense to me. I started my studies with the idea of becoming a shoe designer, but as soon as I entered school, I developed a big appetite for menswear design. I was obsessed with it and have never stopped since. After I graduated from Chardon Savard, I started my position at Louis Vuitton, first under the creative direction of Virgil Abloh, who gave me the chance to be a part of his team, and later under Pharrell Williams’s direction. I loved working with both of them and consider myself very lucky for that.

h: How did your education at Atelier Chardon Savard shape your approach to fashion design?

LAS: First of all, I loved my years at Atelier Chardon Savard! I hated school before I could study what I was really passionate about – fashion. At Atelier Chardon Savard, I found peace with studying. While teaching us all the basics needed to work within a company, they really pushed us to focus on finding our own universe – what’s going to make us stand out from other designers? They help you find, build, and refine your own universe. I loved their unacademic way of teaching fashion design. I was taught that there is no right recipe when it comes to fashion – not only one process but as many creative processes as there are creative people.

I met an incredible group of friends while studying there. There was no competition at all; it was all very genuine. We were all focused on the same goal and helped each other achieve it.

h: What were some of the most significant challenges you faced while working at Louis Vuitton, and how did you overcome them?

LAS: There were many challenges during my years at Louis Vuitton, but the main one was the number of collections we worked on at the same time. At that time, all the design team would work across all ready-to-wear collections. We would work on five to six collections per season, 10 to 12 per year, all at the same time. It was definitely a brain workout. But for a young designer, this was also a big chance to learn a lot, fast. In many luxury houses, they separate the teams to work on separate collections. So you can end up designing the same product category in the same collection for years. Having the opportunity to develop your vision through different collections and products was a true chance. We had time to develop ideas throughout the seasons, and we were offered the opportunity to establish a consistent narrative.

h: Your designs often reflect a unique blend of contemporary and classic styles. How do you balance innovation with tradition in your work?

LAS: When I first started my fashion journey, I looked up to designers such as Martin Margiela, Raf Simons, and Helmut Lang. These were, to me, designers who knew how to capture the essence of a piece but add a brilliant detail that felt timeless, creating a new instant classic. That’s what I’m looking for when it’s time for me to get dressed. I want to design things that people will want to wear daily. I want my designs to help you create the core of your wardrobe. My mentor, Virgil Abloh, and his 3% approach really resonate with this. To keep being relevant, a classic has to evolve slightly with its own time. That’s something I always try to keep in mind while working on my designs.

h: Could you share some of your most memorable projects or collaborations at and beyond Louis Vuitton?

LAS: All these years were memorable for so many different reasons, but getting to work with Virgil on all of his denim programmes at Louis Vuitton was definitely one of the highlights. He taught me so much, and I had so much fun doing it. I couldn’t believe that this was my job; I was so lucky to wake up every day to do something I love.

From handcrafted denim made in Japan to both Nigo collaborations and our monogram-embossed denim programme, we had many memorable moments working on this together. We found a mutual passion and wouldn’t stop designing. We were both obsessed with this for hours, days, and months. This was a never-ending process for four years, always pushing the boundaries of what denim was at Louis Vuitton and what we wanted it to become. We shared the same love of craftsmanship and always tried to push it further. We had so much fun designing, and I hope people could tell and enjoy what we delivered!

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h: How do you stay inspired and keep your creative process fresh in the fast-paced world of fashion?

LAS: It may sound random, but I find inspiration in everything, every day. I must say that I’m deeply passionate about architecture and design in general. I wanted to become an architect when I was younger. I admire the work of Tadao Ando, Charlotte Perriand, and Ulrich Schaerer. I think this translates into my inspiration process as I love the idea of mixing design and function in an object. The timelessness that you can find in beautiful furniture design is something I want to recreate in fashion. I feel we need to bring back more sense into what we’re making in fashion. I try more and more to follow my own pace and listen more to my intuitions. I think the fashion industry has gotten to a point where the rhythm isn’t relevant anymore. People don’t need so many collections and products.

h: What advice would you give to aspiring fashion designers looking to make their mark in the industry?

LAS: Think outside the box. That’s something I’ve learned from both Virgil and Pharrell, and I think their careers speak for themselves. Nowadays, you can find online tutorials claiming that you can learn anything by watching a 10-minute video online. But what if you tried to find your own way to do it? Find your own method that will work for you and answer your needs. There isn’t one right answer for everything, especially when it comes to design.

h: How has your personal style evolved over the years, and how does it influence your professional work?

LAS: I’ve always incorporated classic menswear pieces into my wardrobe. When I look back, I think this is where my passion for menswear started, very early on. I would always look for the perfect version of a white shirt, a menswear blazer, a pair of jeans, or a tank top. This obsession with the same type of pieces led me to wear a type of uniform. On a daily basis, you’d rarely see me without a black slightly oversized blazer and a men’s white shirt. I wear mainly black or neutral colours. This allows me to forget about what I’m wearing and focus on what I’m working on. I feel wearing something too loud would take my attention away from what I’m trying to create.

h: What are your future goals and aspirations in the fashion industry, and what projects are you currently working on?

LAS: I would love to do more brand consulting. It’s something I started after I left Louis Vuitton, and I’m really into that. It allows me to work with different brands at the same time, different universes and teams, but also learn a different side of the business, and I’m always down to learn something new. I love that I get to work on different missions. Some brands need me for my creative input for a broad collection direction, some need help to structure their collections, teams, or processes. I still design small collections for brands or artists. In the longer term, I’m considering starting my own project, but I want to come up with something that will be truly meaningful for people. At the end of the day, fashion is all about sharing, and I want this project to speak to people and inspire them.

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Photography courtesy of artist

ISSUE 5

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