The Expert's Jeans
When designers want denim, she's who they call.
There are two things I really strive to do here: Help you find jeans you love, number one, and show you how to look at denim with a more discerning eye. Maybe you’ve noticed, I like being specific; attuned to the design choices that can change everything. It’s easy to miss how hard it is to make beautiful jeans. Truthfully, there aren’t that many people who do it.
Which is why, when fashion designers want denim in their collections they’ll often hire an outside consultant, someone who specializes in washes and fits; knows the history and can apply it thoughtfully; speaks the language fluently. Jeans aren’t something you assign to the person on the team who works on woven bottoms. Doing them right requires an expert.
Enter, Malin Dyer of Malin Denim, a design consultancy based in London. Malin is someone who has spent her entire career doing jeans. First, for Levi’s in Europe, where, over the course of many years, she worked on main line and the higher-end sub-labels like Levi’s Vintage Clothing (LVC) and Made & Crafted. (“Still the best job I ever had because it was so pure denim,” she told me.) Malin is one of those people whose experience and understanding of both the science and history of jean-making is matched by a level of taste that designers love. “I can do funky washes and things,” she said, “but my aesthetic is very vintage. Blue. And I have a broad archive that I can draw from.” More than six hundred pieces of premium vintage, dating back as early as the 1900s, to be exact. It’s no wonder everyone from GAP to Stella McCartney, Tory Burch, and Saint Laurent has hired Malin to help.
I’m sharing Malin’s story with you today because it offers a glimpse behind the scenes of designer collections, which we’ve all been watching so closely for the last month (haven’t we?). Fashion houses need faces, and those faces rely on specialists in specific categories and fabrics. Someone like Malin, who was part of the design team headed up by Phoebe Philo as she was starting Celine (!), is one of those specialists. She’s also someone who sees things about jeans that others – myself included – don’t. We can all learn something from her. And be inspired.
Let’s start with Celine. What were you doing there and what was it like?
I was brought in to be the Senior Designer for leather and denim when Phoebe [Philo] was first setting up. We started by doing some lookbooks and denim was a part of that. I worked on the fits, concept, and branding. My role was very much 70/30 leather/denim. Phoebe chanced on me to be part of that team as I had zero luxury experience at the time. She and I met at GAP – she was a consultant when I was at GAP Europe – and she knew I had done leather for Levi’s Vintage Clothing. Leather and denim are very similar. It’s the same seaming; same artisanal make. A worn leather biker jacket has a feeling, same as a worn pair of jeans. I think Phoebe knew I had a different handwriting, from doing LVC. I had done men’s. But it wasn’t luxury, and I think she liked that. So I did all of the leather and shearling for those very first collections. I could have kept going and immersed myself in leathers and furs, but I felt quite strongly about getting back to my roots. My love for denim was bigger.
[For those who might now know, Celine’s Spring 2010 collection was major. It threw a striking, new minimalism directly into fashion’s favor. I was a writer at Vogue at the time and the enthusiasm for the collection among editors was seismic.]
Is that when you started your consultancy?
Yes. This was like 2012 / 2013. A lot of brands didn’t necessarily have denim designers on their teams at the time. For me, it was great. I could come in and bring the resources and my industry experience. I started working with Marc by Marc Jacobs. With Luella [Bartley] and Katie Hillier. That was really fun. I got to work in New York and I was doing the shows. It was probably the first time I was part of a design team where we were showing denim on the catwalk.
From there I went more in-house with Stella McCartney after a stint as a consultant. Her denim was doing well and her team needed someone who was hands-on. It was good for me to work with a brand that is on the forefront of sustainability. We really pushed suppliers to work in different ways. Only used organic cotton. I picked up a lot of knowledge during those years.
What are you working on today?
Apart from designing and developing denim and leather capsules, I do a lot of denim research for brands – imagery and vintage research. I get direction from the brand and gather inspiration and historical references. Track current denim trends. I recently worked with Saint Laurent, where I focused on research and shared archival inspiration. Going to Italy, Turkey, and the Far East to work in the laundries is always a big part of any position I’ve ever had. Working closely on the development is key.
Let’s talk about your own jeans…
I’m wearing my favorite Levi’s 517 Orange Tab – for me, it’s the perfect straight-leg silhouette. I found them in Tokyo. The crease-lined 1970s style represents the majority of my denim archive. My fascination with 60s and 70s denim, and especially Levi’s, is more than an interest. It’s a life obsession. I'm always on the hunt. Finding truly unique pieces is like discovering treasures for a designer and collector like myself. Vintage denim comes with its own stories. We continue to build memories in it.
Many of my most loved personal pieces are patchworked or lovingly repaired. The shirt I’m wearing is a cut ’n’ shut piece I made from a faded vintage Wrangler that I customized with a newer shirt that’s been worn down over time. I love creating new from old, blending eras and fits. Denim has such a wealth of inspiration.
What's your denim philosophy?
As a designer, to create something modern, I believe it’s essential to understand and draw from history. Then, crafting pieces that resonate with contemporary aesthetics. The beauty of denim is its ability to adapt and tell a story. It’s functional, effortless, timeless, embodying durability and versatility but also capable of evolving over time with the person who wears it.
As a designer, what kind of jeans do you love to make?
My design ethos is to create jeans and new classics that tell stories, exploring the endless possibilities denim offers. I focus on using organic materials to minimize environmental damage, with low impact washes and a unisex and utilitarian approach. I love open-end fabrics inspired by the 1960s and 1970s, with their unique textures and shades of blue. The 1980s and 1990s also influence my work, and bring an element of playfulness to the design process, mixing fun with function. It’s a timeless quest to design and cut the best jean.
Please tell me what you love to see in a jean.
I love the functional design simplicity of the 1970s Levi’s Orange Tabs, with their pared-back details, emphasizing only the essential.
The pattern and cut of a jean are crucial. So is the craftsmanship of felled seams; I prefer a cleaner look with a tight stitch. A five-pocket design is my preference, with back pockets placed at the center of the back leg. Small back yokes and back pockets are a no-no. Pocket placement is key for a flattering fit.
Non-stretch fabric with pressed outseams. A clean finish inside with attention to details, such as thread color. Depending on the wash or fabric, I prefer a golden, tobacco color thread for outer top-stitch and always a proper metal jean zipper, especially if the denim starts from rigid. To fade – a journey in itself – you’ll want the zip to last. Minimal, thoughtful, considered branding on hardware. A leather patch and chain-stitched hem. French seamed cotton pocket bags.
Selvedge fabric in a beautiful, straight leg jean has a special place in my heart - my go to would be the A.P.C. Standard which I have a small collection of, as well as the 1950s 501s - it’s a 501 with a zip, the precursor to the 505.
Is there an ultimate jean for you?
The 1970s Levi’s 501 and any Orange Tab jeans from this time stand out with their versatility, aesthetic, and transcending gender appeal. The 517 is adaptable in size and you can create an upsized crop silhouette, slim straight high waist, or crop flare just by playing around with the sizes. The style options are limitless, making each pair unique. Vintage pieces from the 1960s, 1970s, and even the 1980s hold a special place in my collection for their unique fits and ability to be customized – each pair is so personal. Every era brings a new narrative. The idea of finding or creating the ultimate jean is an ongoing adventure.
I just finished reading Demon Copperhead by Barbara Kingsolver and feel gutted that it’s over. The writing! It made me want to be a better writer. I suppose this letter is about that, too. So, to all of you for reading – and liking, and commenting, and subscribing at any level – thank you. Thank you to Malin, too. Your support, as always, is everything.
Jane
More to read…
Barrel Jeans: The origins of a trend.
Vintage Jeans, Part II: What to ask and where to start when buying online.
This was dreamy! Thank you for this!
517s for the Win!!! And that crease line! Woah! Thanks for this inside look, Jane. Always look forward to reading what you dish out to us! 💙 Meg