Exploring Upstate NY and Brooklyn Connections With Cheryl Pagano Of The Highlands Foundry
Saturday October 26-27th, The Highlands Foundry are bringing their one-of-one sustainably made custom pieces to Hatchet Supply - Brooklyn. We interviewed Cheryl Pagano, the brands founder, about her background, influences, and the thrill of curating vintage textiles.
Hi Cheryl, could you tell us a little bit about Highlands Foundry and about yourself?
I started The Highlands Foundry over 8 years ago after working in the fashion industry for 25 years. It started when I was inspired by a navy bandana tote I bought in LA and started to wear it constantly. I fell in love with this simple design and the beauty of the vintage 1950s bandana. I had so many vintage textiles in bins and cabinets in my barn that I bought along my travels for work that I never looked at or used. My aim was to change all that and create pieces using and celebrating these vintage textiles. I started out with tote bags and pillows and eventually moved on to making jackets which is still my favorite styles to design and make.
How would you describe your design sensibility?
My design sensibility is definitely based in workwear, Americana and styles that have a heritage and soul to them. This was deeply rooted from when I started as a menswear designer for Ralph Lauren. I worked there for many years and learned everything about vintage textiles, garments, construction details and classic styling that just stays with me even today. It set the tone for my esthetic and design knowledge for years to come.
We notice a lot of the fabrics you work with have been discovered in Pennsylvania. What makes Pennsylvania a special place for deadstock fabrics? Could you walk us through a specific place or moment and the wonder you experienced with handmade fabrics.
I grew up in Pennsylvania and was exposed to flea markets at a very young age due to my grandparents. Their hobby was buying and selling vintage things every weekend at flea markets. My grandmother sold textiles and glassware while my grandfather handled the tools and oddities. Going over to their house and basement was a discovery for me every time I went. So you can say I started my training at a very young age. Now I continue to go back to visit family and go out hunting for textiles, vintage clothes and trims.
There’s been a resurgence in NYC transplants to Upstate NY recently but you made your journey up north 24 years ago. What was the impetus for your decision to relocate to Upstate NY?
My husband and I basically wanted more space. He is a glass blower and lighting designer and I was still working in the city at the time, but we wanted more space and land to have chickens, a barn and garden. We found the perfect 1920s Arts and Crafts Bungalow with 3.5 acres with a small barn. This is where we live and work and it’s just perfect for us. I’m so glad we made that leap 24 years ago to move up here. We also love hiking, kayaking and being outdoors so this gives us the chance to do that every day if we want.
Does living in Upstate NY inform your work as a designer?
I think living upstate definitely influences my work. I don’t follow trends or what’s happening in retail. I design what I love and am inspired by, and that’s nature and the love I have for these heirloom textiles. It’s more the history and story behind these textiles that inform my decisions what to make. I may start with a historical fabric but I always put it into a style that is rooted in classic workwear, military or Japanese work style Haori jackets. The combination of the two is what I find interesting and gives the style a certain modernity that I like.
Anything you miss in Brooklyn?
I do miss the energy of walking around the streets and stopping into my favorite shops or restaurants. Everything up here is found by driving to it and I miss walking in Brooklyn and having that sense of community when I lived in Carroll Gardens.
What has been the biggest difference for you from transitioning from a corporate job to becoming an independent designer?
I worked for very large corporations like Ralph Lauren, Abercrombie + Fitch and The Gap. In my role I was overseeing design teams and informing the direction of the line each season. Now it’s back to me hand selecting every textile, mending it, creating my own patterns, and then cutting and sewing. I touch every garment that I make along with in person markets, pop ups and marketing. I don’t have a large team or factories producing my work, it’s just me and a few seamstresses that work out of their home. It’s a lot of work but it’s so rewarding to see people react to what I make and fall in love with a piece of mine.
Do you believe sustainability and one of a kind intersect with affordability?
I love how sustainability has grown to more and more small businesses making things by hand and reusing fabrics and garments. With slow fashion comes more time involved and cost to create these pieces. I feel it’s good to have a range of affordability for people so they can own and participate in this movement. You can buy a small accessory like a neckerchief or a jacket made from an heirloom textile from the 1800s that might cost a lot more.
What is your favorite part of the process from fabric discovery to concept to a finished product?
I think there is excitement in finding the textiles. It all starts with this for me. It’s the thrill of the hunt and then the imagination and creativity that goes into what I’m going to make with it. Then the reward is seeing someone try something on and get so excited to own it and cherish it. This is why I do what I do. It’s a lot more of an intimate experience with the customer and I have made many friends along my journey.
