Tucked away in Dusseldorf, Stephanie Hahn and her label 22/4 produce seemingly identical garments for men and women. But upon closer inspection, one will notice subtle tailoring techniques to fit the body’s gender-specific needs: give or take a few centimeters on a cinch or a pocket, and you get gender-bending yet well-fitting elegance.
Stephanie Hahn, the brain behind the brand, felt driven by a passion for wearing masculine clothes and merging the two universes – but realised the impossibility of a truly unisex garment. Her collections, which echo each other stylistically, are cut according to gender-specific classical tailoring techniques, highlighting in a most subtle manner the gendered body.
The almost-unisex garments are crafted in Bavaria, where Stephanie is from, using ages-old knowhow. Sleek caught up with the designer who’s preparing her presentation for the menswear shows in Paris:
How did your interest in gender-bending garments start?
I was always fascinated by my father’s suits and the whole universe that came with it. All of a sudden, it’s like he stepped into another personality, he held himself differently, was a whole new person. I tried to wear an old suit of his at the opera – my mum was not so amused. Later, I was also dazzled by Tilda Swinton’s performance in Orlando.
Despite this experimentation, you insist that your clothes aren’t unisex, correct?
No, they definitely aren’t – on a stylistic level you can come extremely close, but the closer you come, the more you realize the differences you can never ignore. As much as I like the idea of wearing my boyfriend’s shirt, a woman’s shirt or trousers need to be cut for her. Men and women inevitably put on weight in different areas, their waists are at different heights. I hope to create a dialogue between men-, and womenswear and create a hybrid between ancient techniques, formal menswear and gender-specific cuts. This is why my pattern designers are trained in both.
You experiment with tailoring a lot – what will we see on a technical level?
I continue experimentation of the summer collection, and reveal the skeleton of the construction but in a less obvious way – subtle English linings, seams on the exterior surface of coats. This continues my love story with classical tailoring!
I also added sportswear touches, such as sported elasticised elements, and a blanket coat to push further the idea of a bed outside the bedroom.
As for the men vs. women-specific cuts, that comes in very subtly placing the pockets on the back of trousers for a different effect, or having a seemingly oversized coat with a slight empire cut at the women’s back.
What are the influences of your upcoming collection?
These go from Greta Garbo in her pajama to Glenn Gould and Chilly Gonzales’ nonchalance. I like the items of clothing neither for the bed nor the street, but this in-between moment of familiarity and warmth.
What sort of presentation will the show in Paris be like?
My presentation will be at Door Studios in Paris on January 16th. It’ll see a live drummer set, a movie presentation and models in the clothes and an after show gig. Come!