Peter Do, a name synonymous with modern, sophisticated design, offers a candid glimpse into the realities of building a fashion brand in today’s demanding industry. In a revealing interview, Peter Do and his team, including key members like CEO Vincent and Press Director Jessica, discuss the emotional and financial tightropes walked on the path to success. From early inspirations to navigating production complexities and the allure of the Met Gala, Peter Do shares the lessons learned while establishing his eponymous label.
From Barney’s Nostalgia to Launching Peter Do
Reflecting on the evolution of retail and brand experiences, Peter Do reminisces about the iconic Barney’s New York, a place that held significant personal meaning during his school years. “It was an institution, so it’s sad how it ended,” Peter Do notes, highlighting the changing landscape of fashion retail. This sentiment underscores the importance of adapting and innovating, principles that are clearly embedded in the Peter Do brand ethos. The conversation also touches upon strategic decisions that propelled the brand forward, with Peter Do acknowledging the pivotal role of partnering with NAP (presumably Net-a-Porter) for their launch. This collaboration served as a crucial catalyst, boosting initial visibility and setting the stage for the brand’s current trajectory. The enduring relationships with the NAP team speak to the value Peter Do places on collaboration and strong industry connections.
Balancing Creative Impatience with Financial Prudence
The interview delves into the often-conflicting dynamics of creative vision and financial realities in fashion. When questioned about financial readiness for a runway show, Peter Do candidly admits, “I don’t know if we were financially ready for our show, to be honest. I was impatient. I was ready.” This raw honesty reveals the driving force of passion and ambition behind the Peter Do brand. While Peter Do acknowledges his eagerness to push creative boundaries, he also emphasizes the crucial role of his team in grounding these aspirations in financial practicality. He points to Vincent, the CEO, as the voice of financial reason, and acknowledges the invaluable support of Lydia and others in managing budgets and ensuring business sustainability. Peter Do describes himself as an “emotional designer,” a descriptor that perfectly encapsulates his creative approach, while highlighting the necessity of a balanced team to navigate the business complexities of fashion. This balance is key to transforming creative energy into a viable and growing brand.
The Sponsorship Equation and Show Economics
The conversation shifts to the financial intricacies of putting on a fashion show, a significant undertaking for any brand. Peter Do breaks down the costs and strategies involved, particularly the reliance on sponsorships. While acknowledging the emotional readiness to showcase collections from the outset, Peter Do highlights the learning curve in handling the financial aspects show after show. Sponsorships become a vital component, with Peter Do and his team actively seeking and securing partnerships to offset expenses. Press Director Jessica’s efforts in reaching out to potential sponsors are mentioned, underscoring the proactive approach taken by the Peter Do brand. While hair and makeup are often partially covered, securing a sponsor for the afterparty is a non-negotiable for Peter Do, emphasizing its importance for team morale and celebration, but also maintaining a fiscally responsible approach where such events are sponsorship-dependent.
Delving deeper into show expenses, Peter Do pinpoints production agencies as a major cost factor. These agencies, while representing a significant investment, bring essential expertise and navigate the complex regulatory landscape, especially in a city like New York. Peter Do highlights the myriad of rules and regulations, from drone usage restrictions to public versus private property permits, illustrating the hidden complexities of event production. This reliance on production companies is framed as a necessary safeguard, particularly for a young brand, to mitigate risks and avoid potential legal pitfalls. Peter Do subtly contrasts the current environment with a romanticized “Golden Age” of fashion, referencing Margiela’s early shows in Paris alleyways as examples of a more carefree era, now rendered impossible due to modern safety and liability concerns.
Navigating Business Mistakes and Production Learning Curves
When asked about business missteps, Peter Do jokingly points to the shows themselves, before acknowledging the multitude of ongoing learnings. He emphasizes the iterative process of refining production, particularly in navigating factories, fabric mills, and suppliers. Peter Do reveals the crucial lesson that successful sampling does not guarantee smooth large-scale production. He underscores the learning curve inherent in each season, openly admitting that production processes are still not at his desired 100% level of satisfaction. This candid admission of ongoing challenges reinforces the reality of brand building as a continuous process of improvement and adaptation.
Strategic Press Moves and Sample Management Challenges
The discussion moves to strategic decisions in press and public relations, specifically the move to Lucien Pages, a larger press agency. Peter Do explains the rationale behind this shift, driven by the need for broader, more global reach, particularly in European markets. While acknowledging the brand’s strong American press, often celebrity-driven, Peter Do expresses a desire to cultivate relationships with niche European magazines. However, practical challenges arise, particularly the logistical and financial hurdles of shipping samples internationally, especially for smaller publications with limited budgets.
Peter Do vividly illustrates the extreme pressure on their sample collection, often limited to a single set per show. This one set must serve multiple purposes: stores, e-commerce flats, campaign shoots, celebrity dressings, and magazine editorials, while also being available for production reference. The result is a constant juggling act, with samples circulating for months, creating a logistical “mess.” The interviewer humorously touches upon the phenomenon of designs appearing in magazines without official sample loans, a common occurrence in the fast-paced fashion world. Peter Do confirms this happens “all the time,” highlighting the somewhat uncontrolled flow of garments in the industry. He notes that working with a larger agency like Lucien Pages has improved sample management compared to their in-house press efforts, suggesting greater organization and control.
The Met Gala Moment: Personal vs. Brand Milestones
Finally, the interview culminates with the topic of the Met Gala, a pinnacle of fashion and celebrity culture. The interviewer probes into the experience, the press impact, and the financial investment associated with dressing someone for this high-profile event. Peter Do acknowledges the Met Gala as a “great moment” for both the brand and his team, recognizing its symbolic importance and the team’s enthusiasm for the event. However, he offers a somewhat detached personal perspective, stating he would be “ok with not walking the carpet again.” Peter Do clarifies that while he appreciates the recognition, it doesn’t represent a personal milestone in the same way as seeing someone wearing Peter Do in everyday life. This statement powerfully underscores his design philosophy, rooted in accessibility and everyday wearability rather than solely in “occasion wear” and celebrity endorsements. He emphasizes his personal preference for re-wearing garments, exemplified by his own Met Gala suit which he breaks down into versatile, re-wearable pieces. Peter Do concludes by reflecting on the brand’s growth beyond his individual identity. He observes that “when people speak about Peter Do, they speak about the entity, not a person,” describing it as an “out of body experience,” signifying the brand’s independent presence and impact in the fashion world.
