Meet the Makers

NOT, located in the Upper West Side, blends fine arts and performing arts into a unique fashion brand. Founded by Jenny Lai, NOT is an independent designer label that has garnered attention from prestigious publications like The New York Times, Harper’s Bazaar, Vanity Fair, and L'Officiel. Jenny’s musical upbringing inspired her to become a fashion designer focusing on intricate and inspiring creations.

Jenny Lai’s path to fashion was paved with notes and rhythms, stemming from a deeply musical household. “I come from a very musical background,” Jenny reflects. “My mom was a big classical music lover. My siblings and I all grew up playing music. My brother studied at Juilliard pre-college, which brought my family to New York.” Despite her Californian roots, Lai gravitated towards the East Coast, where she pursued apparel design at the Rhode Island School of Design (RISD). This blend of artistic and musical influences is evident in her design ethos.

Describing NOT’s style, Jenny emphasizes its playful and architectural nature. “My design aesthetic very much comes from my background in both fine arts and performing arts,” she explains. “I think about clothing from the lens of architecture or sculpture, focusing on form and volume. But having been a performer involved in music, dance, and theater, I also consider the storytelling aspect and movement of clothing.” This duality creates garments that are not just worn but interacted with, transforming with the wearer.

The dynamic nature of Jenny’s workday reflects the versatility of her designs. “Every day is different depending on the projects I’m working on,” she says. Shifting from seasonal collections to a made-to-order model, Jenny’s tasks range from sourcing fabrics in the Garment District to pattern-making and client fittings. Jenny constructs some of her pieces, especially the custom garments, in her studio in the Upper West Side. Other work is constructed by independent seamstresses or sample makers in the Garment District. Jenny’s commitment to quality and hands-on approach ensures that each piece meets her exacting standards.

One of the most exciting aspects of Lai’s work is her collaborations, both in and out of the fashion industry. “I thrive off working with people from different disciplines,” she enthuses. “Whether it’s someone in lighting, choreography, filmmaking, or animation, I love learning about their fields and contributing to their projects.” A notable highlight was her 2022 puppetry residency at St. Ann’s Warehouse, where Lai melded fashion with puppetry for a unique performance. She has also designed textile pieces for a shadow puppetry company in Paris, showcasing her ability to blend fashion with various art forms.

Music continues to play a significant role in Jenny’s life and work. “Music has taught me discipline, creativity, and expression,” she shares. Collaborating with musicians—such as designing a garment that acted as an instrument for a percussionist—allows her to merge her love for music with her design skills. These collaborations are not just professional but also personal, enriching her creative process.

Navigating the high costs of bespoke fashion in New York is challenging. “There’s a lot of labor involved, and it’s tricky to manage in a place like New York where support for artists is limited,” Jenny says. Yet, she remains optimistic and forward-thinking, dreaming of a workspace for independent designers to support each other. “Fashion design feels very independent, and I wish there was more collaboration and sharing of resources,” she says.

Amid these challenges, Jenny finds solace and inspiration in opportunities that allow her to explore and learn. A residency this Spring at the Tatter Blue Textile Library in Gowanus allowed Jenny the freedom to pore over historical textile books without a specific project in mind, opening her up to learning and absorbing information in a new way—simply for the sake of learning. “There are these dyed stencil patterns called Edo komon that are very, very, very small, and they were worn by the samurai. During the Edo period, there were very strict rules about how each class could dress, and the samurai couldn’t dress too sumptuously. So they had these patterns that were very, very small, and from afar, it might just actually just look like a solid color, but when you go up close, you see that there are actually all these little patterns. And I love that there were these little stories, these hidden messages in the patterns.”

Shoppers can see for themselves what stories exist in NOT’s designs by visiting Jenny Lai’s [https://www.notaligne.com/.