On one of the hottest days of the summer, trying on satin bunny ears in Jennifer Behr's airy studio was hands down the most fun way to escape the heat. The accessory designer works in a converted factory building with enormous windows and a leafy Brooklyn view. Lining the walls are packing crates filled with unusual archive pieces. Brayden and I rifled through boxes labeled with tags like "Crocodile," "Ribbons," and "Vintage Rose Petals," and found bespoke masks made for Vogue Italia shoots, vintage turbans, and a mysterious box marked "Gaga/Real Butterflies."
We also got a look at Jennifer's creations. This season, she knitted wool hats trimmed with fur and finished leather headbands with shiny gold spikes. Nearly all the intricate handwork that goes into the pieces is carried out at the studio. Last week, the team was hard at work on the spring collection, attaching bright hand-curled flowers to neon netting.
I chatted to Jennifer about designing accessories for Frédéric Fekkai and working with Patti Wilson, and found out what's inside the Gaga box.
Shop all Jennifer Behr here.
All photos by Brayden Olson
Alice Newell-Hanson: You started out designing accessories for Frédéric Fekkai. I didn't know he used to make headpieces—what was the set-up like?
Jennifer Behr: It was hair accessories, but it was totally different to what my company is now. Frédéric was owned by Chanel then and we had these beautiful Provence-esque offices on Madison and 58th. We were sending off designs and having everything made in Italy, which was beautiful but felt remote. I did lots of leather work. When I started my own company I wanted it to be a working studio where we make all the pieces by hand and the design is completely integrated with the production.
ANH: Did working with a hair professional affect your understanding of how to wear accessories?
JB: Of course, though not how you might expect. Frédéric was actually very no-fuss about accessories and always insisted that pieces be super comfortable and easy to wear. Which is something that has carried over for me today.
ANH: Did you score any good hair tips?
JB: Actually my hair was super short and flame red for most of my time there and my styling technique was to not wash it. Now that my hair is long again, I wish I had paid a bit more attention.
ANH: At your own label, you've worked on a lot of bespoke projects. What is the most unusual piece someone has commissioned?
JB: A leather-covered unicorn horn for Lady Gaga’s horse.
ANH: You've also created custom pieces for stylist Patti Wilson. Is there a particular story you really enjoyed working on with Patti?
JB: Patti Wilson’s studio is great to work with because they always give us a lot of freedom. We first made our spiked turban for her, for Vogue Italia. At the time it seemed crazy that we would ever sell it, but we put it up for sale and sold tons. I was stunned.
ANH: Which piece has taken you the longest time to make? How many hours?
JB: My dear friend Persephone got married on May Day, when she was seven months pregnant. She runs a theatre company in E
We also got a look at Jennifer's creations. This season, she knitted wool hats trimmed with fur and finished leather headbands with shiny gold spikes. Nearly all the intricate handwork that goes into the pieces is carried out at the studio. Last week, the team was hard at work on the spring collection, attaching bright hand-curled flowers to neon netting.
I chatted to Jennifer about designing accessories for Frédéric Fekkai and working with Patti Wilson, and found out what's inside the Gaga box.
Shop all Jennifer Behr here.
All photos by Brayden Olson
Alice Newell-Hanson: You started out designing accessories for Frédéric Fekkai. I didn't know he used to make headpieces—what was the set-up like?
Jennifer Behr: It was hair accessories, but it was totally different to what my company is now. Frédéric was owned by Chanel then and we had these beautiful Provence-esque offices on Madison and 58th. We were sending off designs and having everything made in Italy, which was beautiful but felt remote. I did lots of leather work. When I started my own company I wanted it to be a working studio where we make all the pieces by hand and the design is completely integrated with the production.
ANH: Did working with a hair professional affect your understanding of how to wear accessories?
JB: Of course, though not how you might expect. Frédéric was actually very no-fuss about accessories and always insisted that pieces be super comfortable and easy to wear. Which is something that has carried over for me today.
ANH: Did you score any good hair tips?
JB: Actually my hair was super short and flame red for most of my time there and my styling technique was to not wash it. Now that my hair is long again, I wish I had paid a bit more attention.
ANH: At your own label, you've worked on a lot of bespoke projects. What is the most unusual piece someone has commissioned?
JB: A leather-covered unicorn horn for Lady Gaga’s horse.
ANH: You've also created custom pieces for stylist Patti Wilson. Is there a particular story you really enjoyed working on with Patti?
JB: Patti Wilson’s studio is great to work with because they always give us a lot of freedom. We first made our spiked turban for her, for Vogue Italia. At the time it seemed crazy that we would ever sell it, but we put it up for sale and sold tons. I was stunned.
ANH: Which piece has taken you the longest time to make? How many hours?
JB: My dear friend Persephone got married on May Day, when she was seven months pregnant. She runs a theatre company in E