Mingling with legends

To even the most ambitious young hopeful, the fashion industry looms large, a metropolitan massive of big-city business: New York City, Paris and Milan.

It is elusive, exclusive, expensive and, for those reasons, absolutely fascinating. Louisiana native Suzanne Perron (pictured)

knows all about it, having risen through the fashion world to work for celebrity designers Vera Wang, Carolina Herrera and Anna Sui, to name a few.

After graduating from LSU in 1991, Perron enrolled in an accelerated post-graduate program at New York’s Fashion Institute of Technology. Before long, Perron found success designing gowns for the rich and famous. Her designs have been featured on the cover of iconic fashion publications such as Vogue, Modern Bride and Martha Stewart Weddings.

Now, Perron has branched out on her own, but not in the New York epicenter of American fashion. She has set up her own bridal gown design business in post-Katrina New Orleans.

We sat down with Perron for a rare glimpse into the fashion world she has seen from within for a taste of what it takes to succeed.

225: Most successful people seem to have inclinations very early on as to what they want to accomplish. When were you first aware of your passion for fashion?

SP: At 5, I began sewing for myself. I would make elastic waist skirts and wear them to kindergarten. I loved to sew and create. In

eighth grade I made my older sister’s prom dress. Being a fashion designer was always a dream.

How substantial was your experience at the Fashion Institute of Technology? Is postgraduate work a must if you want to compete in the fashion industry?

Studying at FIT was invaluable. I had a great base from LSU, but FIT filled in the gaps, helped me see my strengths and introduced me to the industry. From my experience I would encourage LSU graduates to study at FIT. However, now that so many LSU graduates have been successful in New York it is possible to get an industry job without studying at a New York City or equivalent design school.

Your first job in NYC came to you in an unconventional way. Tell us about that experience.

My first industry job was with Carolina Herrera. She was the critic for an eveningwear class I was taking at FIT. Mrs. Herrera told my

professor that if I was graduating I should interview with the company. I was hired as a design assistant with the responsibilities

of draping, first patternmaking and sample room supervision. I quickly realized I was truly and uniquely gifted in draping and

patternmaking.

What role does a patternmaker and draper play within the overall design process?

My role was to interpret the garment sketches into three-dimensional garments through draping, patternmaking and samplemaking supervision. Basically, I was responsible for all aspects of the design between a sketch and a finished garment. The jobs are all intertwined and interdependent. A sketch is only as good as the draping and patternmaking. My draping and patternmaking is only as good as the sewing. The finished garment looks only as good as the model wearing it. Design is a team effort

Besides excelling in your craft, were there any other valuable insights gained during your time with Carolina Herrera?

That this former Louisiana 4-H sewer could hang with the big dogs!

Working for Mrs. Herrera was only the beginning of what you term your “Seventh Avenue career.” Next you worked with Anna Sui and eventually you ended up working closely with celebrated fashion icon Vera Wang. Please, tell us everything!

As a young 20-something I was thrilled to be a part of such a fashion-forward environment. Though Anna’s collections were works of art, she didn’t use couture construction techniques. I missed the exquisite craftsmanship I learned at Carolina Herrera, so I freelanced nights and weekends for Ralph Rucci for over six years.

In the fall of 1998 I accepted the position of head draper and patternmaker with Christina Perrin. Through her I had the opportunity

to work with Lesage, the oldest and most prestigious embroidery house in Paris, and to dress celebrities including Charlize Theron,

Christina Applegate and LeAnn Rimes.

I joined the Vera Wang design team in the fall of 2001. For four years I worked directly with Vera in the design development of ready-to-wear runway collections and bridal collections. Working with the designer known worldwide for her bridal designs was a blessing. The opportunity allowed me to expand my knowledge and experience in gown construction, and I was able to travel with Vera to Los Angeles for Oscar fittings. We still maintain a strong relationship, and I continue to freelance for her.

Do you have any special or proud moments you can share with us from behind the scenes at Vera Wang?

I was fitting a few Vera Wang pieces on (Vogue editor) Anna Wintour in the offices of Vogue Magazine—in the Vogue “closet,” to be

precise. Andre Leon Talley (Vogue editor-at-large) happened to drop in. I was in the room with two of the most influential people in the world of fashion, and Anna was happy with the fitting!

Wow! That’s definitely something to write home about. Who are some of the other celebrities you have outfitted, and what did you design for them?

Holly Hunter in a silk tulle Vera Wang gown for the Oscars, Jennifer Lopez in a Chantilly lace Vera Wang gown for her wedding to Marc Anthony, Mariska Hargitay in a pink crepe back satin bias Vera Wang gown for the Golden Globes and Katie Couric in a cotton taffeta Vera Wang gown for the Kennedy Center Honors.

After 13 successful years in NYC, what prompted your decision to return to New Orleans to begin your own business?

Well, my ultimate dream was to be near my family and to have a family. I dreamed of taking my gift, my talent and my experience home to open a small business. I dreamed of embracing the entire design process by designing a gown from start to finish for individual clients. I wanted to ensure that each client would receive a gown of utmost quality. I also wanted to create design jobs locally and keep our talent home.

Was your decision in any way affected by the storms of last year’s hurricane season?

Hurricane Katrina only intensified my desire to move home. My moving day was to have been Aug. 31, 2005. Though Katrina altered my plans, I did not let her destroy them. My belongings went into storage in New York. Vera Wang put me in a hotel. I continued working with Vera until I finally made it to the New Orleans area in October. I signed a lease on a shop in December. I found a business partner in January.

This spring Suzanne Perron LLC was formed. I dressed my first bridal client on May 27, and my second bridal client on June 3.

You now specialize in bridal and debutante gowns with your own studio and storefront on Magazine Street in uptown New Orleans. Summarize the Suzanne Perron style for us.

The Suzanne Perron bride is not looking to be fashion forward. She is fashionable, feminine, yet somewhat timeless. Staying up with and creating new trends can be mentally exhausting. I prefer to invest my mental energy in execution, technique and quality. I strive for beauty.

Now that you are back home and settled in, where do you see Suzanne Perron in 10 years?

I am more committed than ever to bring something beautiful to the city of New Orleans. I am more determined than ever to make this work. In 10 years I dream of seeing clients flying from all over the country for a Suzanne Perron couture gown and sampling and enjoying the culture of New Orleans while they are here. I would like to see Suzanne Perron recognized as the ultimate in bridal luxury. I want my business to help support the restaurants, hotels and cultural attractions of this beautiful historic city. I want to have enough business that I can hire and train local employees. I hope to have built a design staff of LSU graduates. We are a city and state in need of continued healing, and I am honored and blessed to be a part of that process.

Do you have advice for students, particularly here at LSU, who are interested in pursuing a career in fashion?

Take advantage of the Internet! Although LSU has a strong program, it is far removed from Seventh Avenue. By constantly pouring over Internet coverage, the gap is bridged. Keep up with designer collections, reviews and business news.

What does it take to succeed in the industry today?

Tenacity, exceptional talent and a very intense passion for what you are doing. This industry will chew you up and spit you out, no matter how good you are. You must love it enough and get enough personal satisfaction in your work that you can take the abuse and find joy in your craft.