Suit of Lights shines brighter than ever.

The secondhand resale space is bursting with vendors that excel at bringing their own voice to the ecosystem, and Gisel, founder of Suit of Lights is a prime example. We catch up with her following her beautiful pop-up event in Stockholm to get a glimpse at what makes Suit of Lights shine so brightly. 

KURB

Where are you from? And what brought you to fashion? 

Gisel

I'm from the US and have a Latin American background. I've lived in Stockholm for almost four years. From a young age I paid close attention to how my mother and her sisters would style their eyeliner, their dresses, and their heels. It was a nod to the 60s which translated into my personal style. As I grew older, the music and the different subcultures also influenced me and expanded my view on style. So as much as I was still dressing like a girl out of Clueless, with a plaid skirt and a little purse, I hung out and saw what the metalheads, the band camp nerds, and the goth kids were into. My art teacher saw my interest in clothing and suggested I focus on building a fashion portfolio which motivated me to attend fashion school in New York. While I learned about great designers, I also worked at vintage fairs that still felt relatively new at the time. Eventually I moved onto the more corporate side of fashion, working for different companies like The Gap or more premium brands like Oscar de la Renta and Calvin Klein. The different introductions to style and fashion only made my appreciation for secondhand and a nod to the past so much greater.

KURB

It's so interesting to hear that cultural mix from being inspired by your mother to your experiences in high school that transitioned into your professional career. How have those opportunities shaped what you bring to your store Suit of Lights?

Gisel

Part of my perspective was formed from having immigrant parents, who worked for embroidery factories when they first moved to the States. They taught me the importance of understanding how your clothes are made from an early age and I thought that I would eventually want to be a designer, so it started with this curiosity about design but layered with the fact that I was exposed to different vintage fairs like the Manhattan Vintage Show or the Brooklyn Flea Market, enabling me to be involved in fashion in many different ways. 

KURB

From there, what inspired you to begin Suit of Lights?

Gisel

While I was working at Oscar de la Renta, I assisted the fabric department, so I became immersed in working with different types of silks. This fascination became the origin story for Suit of Lights. Initially I had thought I would make a small batch of silk separates. And luckily in New York, you have the garment district at your fingertips, so I started making some samples. However, I needed to shift gears because I decided to leave the States with my partner for Amsterdam, where you don't have the same manufacturing at your disposal. I still wanted to pursue the idea of doing something with Suit of Lights, since I had already started a narrative for the brand. I started seeing in Amsterdam, and I guess throughout Europe, this appreciation and wide embrace for secondhand. It was much greater than I had seen before, so it inspired me to pivot Suit of Lights to be a pre-loved boutique.

KURB

Earlier you mentioned it was much more about vintage markets, and during your life it's changed a lot. I'm curious to hear your thoughts even about how the resale environment has changed throughout your life?

Gisel

When I started working with vintage, many of my colleagues were much older and had a classic  appreciation for antiques, particular eras, or niche types of products. They would participate in the markets, selling some of their pieces, but some of it was too costumey or a bit difficult to communicate. So their stock would just sit in these massive warehouses in Queens, which was unfortunate. Only a few were dabbling on eBay. Nowadays, you see so many different types of resellers and curators. For me the biggest change is the overexposure through the internet. Now everyone has more accessibility to purchase secondhand. 

KURB

I think we can see some of that appreciation already with the establishment of institutions like the fashion library in Norway, Lab.zip, among other initiatives that produce high calibre resources for the community. We’re witnessing the change from vintage fashion being a novelty of the past to it being the historical artifact that captures the past. Moving from an eccentric commodity to something that represents a point in history. What do you think are the biggest differences between the resale culture in New York and that in Europe?

Gisel

If I'm just comparing New York and Stockholm, the resale environment is very different. I think it has to do with the relationship of garment production and its proximity. In New York you have the garment district. Although it is diminishing, there is still a relationship with the buttons guy, the zipper vendor, or the person that has the specific silk lining you need. Within fashion there is an appreciation for craft and with so many designers producing out of New York, people want the newest collections. Whereas in Stockholm you have fast fashion brands standing out and affecting our connection to quality clothing. Although fast fashion is much more well received in Stockholm, resale is also quite accepted. I think it's because people want to be tied back to pieces that were better made, from an older time. And in New York, there are many secondhand shops that have operated for years, however with so much retail competition I don't think it's reached a commercial level until more recently. 

KURB

I have a similar sentiment, when I moved to Stockholm it hit me there is a certain homogeneity in how people dress. And I think it kind of relates to a tiny bit what you were saying before, like with the big fast fashion companies being based here, they kind of have a stranglehold on the style. But I think there's an interesting paradox you're also highlighting that it also stimulates a desire to escape that. And I think that escape route often becomes resale where there's so much more to explore, that fast fashion can't quite capture,given their mode of production. But I want to switch on to something you mentioned before that’s related to this is that you have quite a strong focus on the clothing textile itself. Could we unpack how you orientate searching for clothing from that perspective?

Gisel

I guess it ties back a little bit to my Latin heritage and a close relationship to the regional products. In South America, leather shoes are made with pride. It’s tough being young, wanting the trendy sneaker or jelly sandal. Try to explain that to your mom who doesn't understand the value of a cheap plastic slipper over a well-made leather sandal that's going to form to your feet. I learned not to invest in bad materials like synthetics, polyesters, fibers that don't really breathe or feel good. On a hot summer day, you don't want to be stuck wearing a synthetic polyester top. Your sweat or fragrance is going to stick to those synthetic clothes for a long time. I knew that for Suit of Lights, I needed to start off right by only selecting pieces that come from natural materials. Those are silks, cottons, linens, wools, and leathers because I see value in them. I start looking at the fabric, questioning why, especially in newer productions, a designer is exhibiting pieces that are made out of stiff polyester for a higher price compared to a flowy silk 10, 20 years ago.

KURB

Exactly, at times a designer or brand may not even shift the material they use but the quality of that fabric may have come from a different factory or a different supplier. Not all textile producers employ the same methods or have the same attention to their product. That can be really frustrating for me as an avid online shopper, it's always something I'm wary of. For example, Rick Owens wool sweater made in the early 2000 is a very different wool to one today. Both will have their merits but they are still very different. That applies for a lot of brands, especially Belgian ones like Ann Demeulemeester, Dries van Noten where there are more noticeable tactical changes. I think it's symptomatic of this shift in production where they may adopt a surrogate fabric as a cost cutting measure. 

Gisel

At a certain point, a designer might have to produce something as interesting as an earlier season, for a cheaper cost.  At the end of the day, that's what they need to align to, even if the creative direction is not really about that. That's really something valuable that the resale space can provide, because I feel we have that understanding and ability to distinguish between what, in a certain brand's lifetime, have been their best product moments.

KURB

With that in mind, what's your favorite piece in your wardrobe right now and why?

Gisel

There's one piece that definitely comes to mind that I'll probably die with. It is an antique beige, cashmere-wool cardigan that has a silk lace lining to it. The cuffs have pearls attached to it. There's a snap-off collar for a cleaner look; it's such a beautifully made piece. The person that gave this to me bought it with her first paycheck working for a department store back in her youth. She knew I would appreciate it. There’s an extraordinary craftsmanship you don’t see in stores today. Wearing a pre-loved piece like this, comes with a romantic feeling that I’m carrying on the story of the previous owner.

KURB

There was one time where I found something online for a relatively underground brand, that I knew was a bespoke replica of that brand's design. But the person who I think had made it had modified the design to their standard, like they added pockets along with using a different calibre of fabric that wasn't typical for the brand. I thought that gesture was so interesting, that it’s possible to find something almost perfect but then take it upon yourself to kind of bridge the gap between what you want and what is proposed. Promoting the idea that it’s the clothing that should serve you. I think that sentimental loa can only be found in resale. On a separate note, I know you’re a bit of an American history buff. Would you want to tell us more about it?

Gisel

I wouldn't say that I’m a fashion historian. And people could definitely correct me on some things, but because I went to school in New York, there was a focus on learning about local brands. A lot of the brands that were very popular then are still thriving today, with the revival of Y2K or 90s minimalism. What I think makes these brands so iconic are the stories behind the designers themselves. 

You have the story of Ralph Lauren, who was more of a marketer than a designer. He started out going to whoever would basically listen to him, selling ties door to door until he got picked up by the department store Neiman Marcus. He now has this whole lifestyle brand around Americana style from apparel, to home goods, to restaurants that other brands try to imitate. 

There’s also female owned brands, like Donna Karan, who pleaded to work under Anne Klein, a classic womenswear empire. Karan was rejected at first but she kept persisting until Klein finally gave her a chance. They only worked for a short period until Klein’s abrupt passing due to illness. Yet in that crucial time, they developed this really strong friendship and business partnership. Karan really learned the ropes and took on the Anne Klein business after her passing. The brand was all about dressing women by a woman, which Karan took to the next level by incorporating her take on how the modern woman can dress. She created a smart business model selling women the “7 Easy Pieces”, a wardrobe for the busy woman who could recycle these 7 pieces into different looks that are still wearable today. 

And Marc Jacobs established his legacy, as the youngest designer to have won the CFDA award at the time, a prestigious fashion award in the US. He began his apprenticeship under Perry Ellis, a classic preppy brand, and debuted a grunge collection inspired by the music that was coming out then. Fashion critics were repulsed by his work and basically said that he wouldn't work again. Paris Hilton, Lindsay Lohan; these celebrities wore his brand and really cemented the look of the 00s. Jacobs also ran a famous campaign of t-shirts called “Protect the Skin You’re In”, which raised funds for skin cancer research. Naomi Campbell, Helena Christensen, and more posed naked for these tees. People wore them all around the city and showed that his brand was so much more than fashion. He was always relevant to the cultural conversations.

KURB

That's so cool. So reminds me of, I think Margiela had a safe sex campaign graphic that was put out during when he was active. And I think it has a similar sort of philosophy when they're trying to advocate for health concerns. It’s a beautiful way of taking fashion away from just the business of it and to more social elements. You’ve just had your first pop-up in Stockholm, can we more about how about it and what motivated you to set it up? 

Gisel

I've had Suit of Lights now for several years, and it has only existed online. When it comes to vintage, it is harder to introduce a brand to newcomers. I really wanted to have a space where I could meet people, understand where they're coming from and their fashion journey.  It gave me so much energy to meet people that really love fashion or are interested in secondhand, because I am not just buying for the brand but growing a nice little community.

KURB

Having a space is a whole different dynamic. Resellers can be quite confident and comfortable being online, neglecting  that there are so many avenues that are only made available by having an in person opportunity to not only communicate the clothing, but also the brand. And additionally, as you're describing this chance to meet people who might resonate really closely with what you're doing. And maybe you have just an idea of who may pick up a certain piece, that we couldn’t even imagine being attracted and engaging with the clothing.

Gisel

When buying online, you're taking a little bit of a risk. I do my best to provide very detailed pictures or measurements to gain trust. But some people aren't really used to that, so that might be intimidating. In person, you get to see how people are interacting with things, trying them on, and see what treasures they take home.

KURB

I think what I found really exciting in the past, being of both having a pop up and going to like pop ups, is meeting the person behind the brand and experiencing their enthusiasm. It has been invigorating to learn about their curation from their perspective. If someone's picking up a hanger and, you know, maybe it's not, a popular brand today by offering a bit of context sometimes you see their eyes begin to light up because they, they get this bit of knowledge that wouldn’t have had the opportunity to experience otherwise. Sharing that excitement for clothing is very precious, especially when given the opportunity to spread it. But coming to the final question, which is, oh, this is maybe you want, but what clothing have you been hunting for recently? I mean, personal or for sort of life. Yeah. Something you're looking to fulfill. 

Gisel

For Suit of Lights, I'm always looking for natural pieces with a story in mind, I come up with a theme. That's a little bit different than resellers that are working with specific designers or eras. I look within the requirements of natural fabrics or materials. I look at how people are dressing and really think about whether something vintage is worth investing for a future wardrobe because a natural one is going to be better than a plastic one.

If you’d like to explore more incredible vendors like Suit of Lights, you can find them using our luxury second-hand clothing search platform KURB. We also host a vibrant community Discord server where we chat about the most recent developments in the resale ecosystem. If you're a second-hand designer reseller like Gisel we want to hear from you! Please reach out to us so we can identify ways of collaborating and communicating your brand. We’re constantly introducing new services for KURB users so keep an eye on our Substack and Instagram if you want to be kept in the loop!